Architectural Dissertation Report - Contemplative Spaces in Built Environment.

DISSERTATION Year: 2019-20 Batch No. 17

CONTEMPLATIVE SPACES IN BUILT ENVIRONMENT

Undertaken by: Aayushi Rajani Enrollment No.: 15E1AAARF40P004 V Year B.Arch A

Prof. GIRIRAJ NAGAR

Prof. ARCHANA SINGH

GUIDE

COORDINATOR

Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022

APPROVAL The study titled “Contemplative Spaces in Built Environment� is hereby approved as an original work of Aayushi Rajani enrollment no. 15E1AAARF40P004 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota.

It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.

December 2019 Jaipur

Prof. K.S. MAHAJANI EXTERNAL EXAMINER 1

PRINCIPAL

Prof. ARCHANA SINGH EXTERNAL EXAMINER 2

COORDINATOR

i

DECLARATION I, Aayushi Rajani, here by solemnly declare that the research work undertaken by me, titled ‘Contemplative Spaces in Built Environment.’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report.

This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide.

Aayushi Rajani V Year B.Arch A Aayojan School of Architecture, Jaipur

CERTIFICATE This is to certify that the research titled, Contemplative Spaces in Built Environment is a bonafide work by Aayushi Rajani of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota.

This research work fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University.

Prof. Giriraj Nagar Guide Aayojan School of Architecture,Jaipur

ii

ACKNOWLEDGEMENT It would not have been possible without the support of the institution to undertake this dissertation research and for which I wish to thank Principal & Director, Prof. K. S. Mahajani for providing a conducive college environment and proficient faculty members.

I also extend my thanks to Dean Academics, Prof. N.S. Rathore for his advice and time, throughout the course of my undergraduate education.

I would like to express my thanks to, Dissertation & Thesis Seminar Co-ordinator, Prof. Archana S. Rathore, for giving me a chance to take up this thesis and dissertation projects, and for her continued guidance since the inception.

My sincere thanks to all the dissertation guides and other faculty members, for their time, valuable and insightful crits during the reviews and discussions.

I would also like to express my gratitude to my dissertation guide

Prof.

Giriraj

Nagar,

for

his

valuable

advice,

encouragement and helpful criticisms throughout the course of this work. His recommendations and instructions have enabled

me

to

assemble

and

finish

the dissertation

effectively.

And special thanks to my friends and family for all kind of support and help during the course by giving encouragement and motivation.

Aayushi Rajani V Year B.Arch. A Aayojan School of Architecture, Jaipur

iii

ABSTRACT Contemplative Spaces in Built Environment Aayushi Rajani Spirituality is a sense of connection to something bigger than ourselves, and typically involves a search for meaning in life. One needs a certain time for ourselves to realize and analyze the inner most consciousness. Humans have now got a tendency to get attracted to what is outside them and not what lies within.

Though peace can be found anywhere and everywhere but, because of the hush and bush around, people are getting away from the real spirituality i.e. ‘connection with your inner self.’ Therefore, because of the imbalance that is being created, has to change in terms of human well-being giving an opportunity to the vast study of architecture to put forward its intelligence in creating spaces that will attract humans for their own benefits and that it will keep them at a distance from the commercial world.

This research studies the qualitative parameters of spiritual spaces such as form, geometry, philosophy and various elements which helps in creating the experience soul stirring for the user. The inter relation between form, geometry and philosophy, faith according to different religion of the spiritual spaces has been studied. The cases which were required to direct this research are: Matrimandir, Lotus Temple, Pyramid Valley International, Global Vipassana Pagoda, Dhamma Pushkar and Osho Dham. The research also focuses on the experience of human beings in such spaces.

The method used in this research is based on literature review for collecting data and observation to identify and analyze the qualities of various spiritual spaces. By comparing the result of identified cases the final result would be obtained.

The study would conclude that the spatial characteristics of a built space plays a major role in creating a spiritual environment and a positive experience for the user.

Various design elements would be recommended that helps in enhancing the spiritual sense of a place.

iv

CONTENTS Page No. Approval

i

Declaration

ii

Certificate

ii

Acknowledgement

iii

Abstract

iv

Contents

v-vi

List of illustrations

vi-xi

List of tables

xii

CHAPTER 1: INTRODUCTION 1.1

Background of the study

1.2

Criteria of selection

1.3

Research Questions

1.4

Hypothesis

1.5

Aim

1.6

Objectives

1.7

Scope

1.8

Methodology

1-5

CHAPTER 2: CONTEMPLATIVE SPACES AND ELEMENTS 2.1

Contemplation

2.2

Contemplative Spaces 2.2.1 Types of Contemplative Spaces 2.2.2 Examples

2.3

Attributes of a Spiritual Space

v

6-14

CHAPTER 3: SPIRITUAL QUALITIES OF IDENTIFIED CASES 3.1

BioGeometry

3.2

Case Studies - Form and Geometry

15-39

3.2.1 Matrimandir, Auroville 3.2.2 Lotus Temple, Delhi 3.2.3 Pyramid Valley, Bangalore 3.2.4 Global Vipassana Pagoda, Mumbai 3.3

Case Studies - Meditation Centers 3.3.1 Osho Dham, Delhi 3.3.2 Dhamma Pushkar Vipassana Center, Pushkar

CHAPTER 4: THE INTERPRETATION 4.1

Analysis

4.2

Inferences

40-46

CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS

47-50

5.1 Conclusions 5.2 Recommendations

BIBLIOGRAPHY

xiii

vi

LIST OF ILLUSTRATION Fig. no.

Illustration Title

Pg. No.

Source

Chapter 1: Introduction 1.1

Spirituality

02

Author

1.2

Church of the Light – Tadao Ando Layers of Contemplative Environment.

02

https://www.archdaily.com/101260/ad-classicschurch-of-the-light-tadao-ando

03

Author

1.3

Chapter 2: Contemplative Spaces and Elements 2.1

Attributes of Meditational Practices.

07

http://neuroarchitectura.blogspot.com/2016/05/c ontemplative-spaces-towards-new-design.html

2.2

Meditation Hall in North Eastern China by Hil Architects.

Facilitating the spiritual rituals, creating a focus point.

Theatric mode of Contemplative Spaces.

07

https://www.dezeen.com/tag/meditation-spaces/

08

https://www.dezeen.com/2013/07/31/st-moritzchurch-by-john-pawson/

08

Author

2.5

Closing off a spiritual place from the prosaic world.

09

https://arch.kuleuven.be/english/news/newsarchi ve/campus-roosenberg

2.6

Sanctuary mode of Contemplative Spaces

09

Author

2.7

Architectural object focussed

10

2.8

Contemplative mode of contemplative spaces.

Natural light through funnels from south facade.

Plan showing the funnels for natural light.

10

https://www.britannica.com/topic/Great-Mosqueof-Mecca Author

2.11

2.3 2.4

2.9

10

https://www.archdaily.com/84988/ad-classicsronchamp-le-corbusier

10

https://www.archdaily.com/84988/ad-classicsronchamp-le-corbusier

Church elevational view.

11

2.12

Plan showing use of geometry

11

2.13

11

2.15

The walls were specifically designed as a backdrop for the paintings.

The landscape enhances the contemplative environment.

Dhamma Giri, Igatpuri

https://www.architonic.com/en/project/mariobotta-church-san-giovanni-battista/5103575 https://www.architonic.com/en/project/mariobotta-church-san-giovanni-battista/5103575 https://www.archdaily.com/608268/windhovercontemplative-center-aidlin-darlin-design

2.16

Bagan Pagoda, Myanmar

2.10

2.14

11

https://www.archdaily.com/608268/windhovercontemplative-center-aidlin-darlin-design

12

http://www.giri.dhamma.org/

12

https://in.pinterest.com/pin/14496030034138895 /?lp=true

vii

2.17

Lotus Temple, New Delhi

12

https://en.wikipedia.org/wiki/Lotus_Temple

2.18

12

https://www.insidekyoto.com/walking-the-pathof-philosophy

2.19

Walking Path of Philosophy, Kyoto Art of Living, Bangalore

13

2.20

Taj Mahal, Agra

13

https://www.artofliving.org/art-livinginternational-center-bangalore-0 https://www.britannica.com/topic/Taj-Mahal

2.21

Pantheon, Rome

13

https://en.wikipedia.org/wiki/Pantheon,_Rome

2.22

Natural Light in the space

13

2.23

Shwedagon Pagoda

13

https://in.pinterest.com/pin/32024822348274038 7/?lp=true https://en.wikipedia.org/wiki/Shwedagon_Pagoda

2.24

Hindu Temple

13

2.25

Sacred Symbol

14

2.26

Presence of Pond in Osho Center, Pune

14

https://www.osho.com/visit/facilitiesservices/daily-meditations

2.27

Presence of water in Pyramid Valley Sacred Geometry

14

https://pyramidvalley.org/

14

https://skyboxcreative.com/downloads/sacredgeometry-vector-set-vol-6-2/

2.28

https://temple.dinamalar.com/en/new_en.php?id =908 https://www.auroville.org/contents/547

Chapter 3: Spiritual qualities of Identified Cases 3.1

Maitreya Buddha Pyramid, Bengaluru

16

https://pyramidvalley.org/

3.2

El-Sultan Hassan mosque, Cairo

16

https://en.wikipedia.org/wiki/MosqueMadrassa_of_Sultan_Hassan

3.3

19

https://www.auroville.org/contents/252

3.4

Master Plan of Auroville (The galaxy concept of the city) Mother’s symbol - paying homage to a lotus in full bloom

19

https://www.auroville.org/contents/252

3.5

The Golden Sphere

19

https://www.auroville.org/contents/252

3.6

Inner Chamber

20

https://www.auroville.org/contents/252

3.7

Prototype model showing Inner Chamber

20

https://www.auroville.org/contents/252

3.8

Under construction image of pillars

20

https://www.auroville.org/contents/252

3.9

21

https://www.auroville.org/contents/252

21

https://www.auroville.org/contents/252

21

https://www.auroville.org/contents/252

3.12

Golden section and proportions of great pyramid Two triangle of same proportions Inner Chamber at one-third of its height The Park of Unity - Plan

21

https://www.auroville.org/contents/252

3.13

Vertical Section

21

https://www.auroville.org/contents/252

3.14

Level 1 - Spiral Staircase

22

https://www.auroville.org/contents/252

3.10 3.11

viii

3.15

Level 2 - Ramp

22

https://www.auroville.org/contents/252

3.16

Entrance of Meditation Cell

22

https://www.auroville.org/contents/252

3.17

Open Air Theatre

22

https://www.auroville.org/contents/252

3.18

Aerial View of Lotus Temple

23

3.19

Front View

23

3.20

Top View

23

3.21

Master Plan

24

3.22

Information Center

24

3.23

Connecting bridge over pond

24

https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba

3.24

Section

25

3.25

Plan of Temple

25

3.26

Interior Dome & Ribs

25

3.27

Seating in circular pattern

26

3.28

Steal and glass roof skylight

26

3.29

Master Plan

27

https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba https://www.archdaily.com/158522/ad-classicslotus-temple-fariborz-sahba http://pyramidvalley.org/gallery/

3.30

View of the Pyramid Valley

27

http://pyramidvalley.org/gallery/

3.31

Pagoda Cottages

27

http://pyramidvalley.org/gallery/

3.32

Conference Hall

28

http://pyramidvalley.org/gallery/

3.33

View

28

http://pyramidvalley.org/gallery/

3.34

Drawings of the main pyramid building

28

http://pyramidvalley.org/gallery/

3.35

King’s Chamber

29

http://pyramidvalley.org/gallery/

3.36

View of the Pagoda

30

http://www.globalpagoda.org/

3.37

Section of the Pagoda

30

http://www.globalpagoda.org/

3.38

Entrance of Pagoda

31

http://www.globalpagoda.org/

3.39

Interior View of Pagoda for Meditational Practice

31

http://www.globalpagoda.org/

3.40

33

oshoworld.com

3.41

Google Map image showing location of Osho Dham Meditation Hall

33

oshoworld.com

3.42

Entrance of the Center

33

oshoworld.com

3.43

Conceptual Sketch of planning Landscape

34

oshoworld.com

34

oshoworld.com

3.44

ix

3.45

Master Plan showing zoning and circulation

34

Author

3.46

Organic Roof form

35

oshoworld.com

3.47

Meditation Hall View

35

oshoworld.com

3.48

View of the Kitchen and dining area

35

oshoworld.com

3.49

Path towards Meditation Hall

35

oshoworld.com

3.50

Views of Other Spaces

36

oshoworld.com

3.51

Location Map

37

Author

3.52

Pagoda for Meditation

37

Author

3.53

Entrance of the center

37

Author

3.54

Site Zoning

37

Author

3.55

Site Circulation for Male and Female Meditators Conceptual section of the pagoda complex Entrance of Pagoda complex

38

Author

38

Author

38

Author

Pathway towards Pagoda Complex

38

Author

3.56 3.57 3.58

Chapter 5: Conclusion and Recommendations 5.1

Symmetrical pathway leading to the main building Pathway surrounded by water body Open Air Theatre for public gathering in Art of Living Bangalore Common gathering space for small activities in Osho International, Pune

48

http://artoflivingsblog.com

48

https://www.osho.com/visit/facilitiesservices/daily-meditations

49

http://artoflivingsblog.com

49

https://www.osho.com/visit/facilitiesservices/daily-meditations

Natural Light from above in a Baha’i Temple in South America Natural Light from glass facades in a meditation space in China

49

https://ideas.ted.com/gallery-a-beautiful-templemade-of-light/

49

https://www.dezeen.com/2017/05/10/archstudio-concrete-buddhist-shrine-subterraneanunderground-grassy-mound-hebei-china/

5.7

Buddha Shrine in Osho International, Pune

50

https://www.osho.com/visit/facilitiesservices/daily-meditations

5.8

Shrine of Lord Shiva in Isha Foundation

50

https://isha.sadhguru.org/us/en/center/ishayoga-center-coimbatore

5.2 5.3

5.4

5.5

5.6

x

5.9

5.10

Dome, nine-sided space with nine entrances- Baha’i Temple in South America Baha’i Temple in South America

50

https://www.dezeen.com/2017/05/10/archstudio-concrete-buddhist-shrine-subterraneanunderground-grassy-mound-hebei-china/

50

https://www.dezeen.com/2017/05/10/archstudio-concrete-buddhist-shrine-subterraneanunderground-grassy-mound-hebei-china/

xi

LIST OF TABLES Table

Table Title

Pg. No.

Source

no.

Chapter 3: Spiritual Qualities of Identified Cases 3.1

Experiment results

17

Author

Chapter 4: The Interpretation 4.1

Analysis and Inference

41-43

Author

4.2

Analysis and Inference

44-46

Author

xii

CHAPTER 1 Introduction

Introduction

1.1 Background of the Study Spirituality derived from the word ‘spirit’ is a broad concept with room for many perspectives. In general it includes a sense of connection to something bigger than ourselves, and typically involves a search for meaning in life. It may be described as an experience of being sacred or transcendent or simply a deep sense of aliveness.

The individual description of spirituality may change throughout one’s life, become accustomed to one’s own experiences.

One needs a certain time for ourselves to realise and analyze their inner most consciousness. It is only at such instances that one realizes the importance of self healing and self awakening. In the new generation that we all are a part of, has outgrown the important of sustaining what was given to us. Humans have now got a tendency to get attracted to what is outside them and not what lies within.

Figure 1.1 Spirituality

To fill this void that has created a vast change in the human race, spiritual spaces are a need of the hour. Though peace can be found anywhere and everywhere but, because of the hush and bush around us, people are getting away from the real spirituality i.e. ‘connection with your inner self.’

Therefore, because of the imbalance that is being created has to change in terms of human well-being giving an opportunity to the vast study of architecture to put forward its intelligence in creating spaces that will attract humans for their own benefits and that it will keep them at a distance from the commercial world.

Architecture is a phenomenon that defines the quality of the built environment whilst accommodating various functions. Architecture is not simply the design of buildings, that are mere physical enclosures. On the contrary, it is an expression of thoughts, preferences, beliefs and emotions in built form, symbolically communicating with its users. Spirituality is aimed at all cultures and people of all communities are approached to embark on that journey.

Spiritual Architecture therefore serves the wider community in that all cultures come together at one place to conduct spiritual practices. Architecture relates to the spirit of a place - an environment Figure 1.2 Church of the Light - Tadao Ando where man engages for his daily activ- Providing Open Slits in the wall and allowing natities. Such a place can be defined by ural light inside creates a sense on spiritual environment in the Church. cosmic, spiritual and natural qualities.

Contemplative Spaces in Built Environment

Page 2

Introduction

Meditation is a means by which spirituality can be attained and people can realize their inner self.

Thus, Spirituality and Architecture are interlinked where different layers lead to the creation of a ‘Contemplative Environment’.

1.2 Criteria of Selection Contemplative space creates an environment for the user where meditation becomes easier. Contemplation architecture involves built environment that serve as a space for direct and purposeful meditation.

Figure 1.3 Layers of Contemplative Environment

In the case of Vipassana Centers, the technique of meditation requires the users to meditate in closed spaces. The quality of built environment will have a major role for such centers.

Therefore, a detailed study of form, geometry, shape and volume of a space that is capable of making an atmosphere for contemplation is required. To understand the nature of built and unbuilt spaces, a thorough comparative study of various meditation centers is needed.

1.3 Research Questions 01 Why mostly open spaces are preferred for meditation?

02 What is spiritual architecture and what are its features?

03 How does architecture evokes a sense of contemplation?

04 What are contemplative spaces and the qualities that describe such spaces?

05 How nature awakens a meditative environment?

06 Can environment influences the meditative practices?

07 What is the role of geometry and form in spiritual environment?

08 How will the elements of architecture be favourable for spiritual practices?

09 Why meditating in nature is easier?

10 Does scale and proportion of structure matter in spiritual spaces?

Contemplative Spaces in Built Environment

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Introduction

1.4 Hypothesis

Mindfulness depends upon the spatial characteristics of a place regardless of it being built or unbuilt.

1.5 Aim Analyzing the qualities of architecture that contributes in making of the spiritual environment and makes the experience of contemplation soul stirring for the users.

1.6 Objectives 01 To study the spiritual qualities of Built Environment.

02 To compare the built environment of various meditation centers.

03 To understand and study the qualitative parameters (form, geometry, philosophy, elements) of spiritual spaces.

04 To identify and conclude the impact of these spaces on user.

1.7 Scope and Limitation Scope The scope of this research would include understanding the spiritual aspects of architecture in terms of meditation centers.

Research will include the study of geometry, form and elements of spaces that enhances the meditative environment. It will also focus on the comparative analysis of various meditation centers.

Limitation A study of the built environment shall be undertaken which shall include only the spiritual aspect, the qualitative parameters and not the technical evaluation of the built form.

Contemplative Spaces in Built Environment

Page 4

Introduction

1.8 Research Methodology

Contemplative Spaces in Built Environment

Page 5

CHAPTER 2 Contemplative Spaces and Elements

Contemplative Spaces and Elements

2.1 Contemplation • • • •

The act or state of contemplating.

Thoughtful observation or study.

Meditation on spiritual matters, especially as a form of devotion.

Deep reflective thought.

The word contemplate derives from Latin, meaning “to observe, especially in a space (temple) marked off for observation”. With the word space integrated into the actual origin of the word, inherently a concern for the relation between the designed space and the act of contemplating arises. The dictionary explains contemplation equals meditation on spiritual matters, but contemplation can’t be considered to be an equivalent of meditation. Meditation is focussed on something or someone specific; a subject.

Contemplation on the other hand is a relation between two equal subjects. The human subject tries to open itself towards the other subject (often God) by just being in its presence. In modern society, the definition of contemplation is often used in a non-religious context. It is referred to as a mode of profound self-reflection, the devotion is not necessarily addressed to a super mundane power, but rather towards the essence of the subject’s own spirit. In this study, only the religious manifestations are considered.

2.2 Contemplative Spaces Spaces designed for the act of Contemplation.

The aim of such spaces is to provide an environment where people can easily achieve the state of contemplation. Various design elements are used which enhances the environment and the experience of the visitors.

Contemplative spaces can be anywhere - in a hospital for patients to heal, in a school for students to learn or in an office for employees to work. But when a divine or a religious value is added to a contemplative space, it becomes a spiritual space.

Thus, every Spiritual Space is a contemplative space but every Contemplative Space is not spiritual in nature.

Figure 2.1 Attributes of Meditational Practices

Contemplative Spaces in Built Environment

Figure 2.2 Meditation Hall in North Eastern China

by Hil architects.

Page 7

Contemplative Spaces and Elements

2.2.1 Types of Contemplative Spaces It is undisputed that physical design affects the state of mind and social interaction.

As Bermudez writes, architecture has the power of “moving us from the ordinary to the extraordinary, from the profane to the sacred.”

The physical design responsible for such movement can be a range of contexts, from sacred spaces such as religious buildings, to calming gardens, to spaces of refuge in vibrant urban centres.

There are three significantly different ways of conceiving of the relations between built forms and the act of contemplation.

1. Theatric Mode It involves architectural forms that provide the stage-setting or backdrop for theatrical spiritual activities. Here, the built forms themselves are mostly not the objects of the ritual. In these cases, it would be more accurate to say that people experience the ritual performances that the architecture facilitates rather than experiencing the architecture itself.

Ar. John Pawson’s St. Moritz Church,2013 The interior of the Church is in minimalistic style: • Use of translucent white stone on windows and glass for diffused sunlight.

• The interior is pure white contrasting with dark stained wooden furniture and Portuguese limestone for flooring is used.

• At night the illumination comes from LED lights concealed in the choir apse, at the base of columns in the nave and in rings round the cupola Figure 2.3 Facilitating the spiritual rituals, creating domes overhead. a focus point.

This architectural piece is a good example of theatric mode.

With its clear focus point on the altar and the spectacle of the mass, the building has a clear facilitating theatrical function, giving meaning and spirituality through its scale and impressive but modest architecture, that doesn’t form an object of devotion on itself.

Contemplative Spaces in Built Environment

Figure 2.4 Theatric mode of Contemplative Spaces.

Page 8

Contemplative Spaces and Elements

2. Sanctuary Mode This type entails architectural forms that provide boundaries between the general environment and something more special, creating a “sacred space� in which an experience of contemplation usually takes place.

Ar. Van der Laan’s Roosenberg Abbey, 1975 The abbey was originally built for twelve nuns and twenty-five guests. The complex was designed for contemplation, stillness or even intense encounter; it transcends the idea of functionality and can be used in various ways.

Figure 2.5 Closing off a spiritual place from the prosaic world.

The Christian abbey or monastery is a clear example of a building in sanctuary mode.

Most monasteries share their introvert typology, closing the inner spiritual environment off from the outside world, thereby creating a contemplative atmosphere in its heart; the courtyard. In some orders, traditionally the monks and nuns inhabiting the monasteries lived their lives completely between the walls of the domain, having no contact at all with the prosaic world.

Figure 2.6 Sanctuary mode of Contemplative Spaces

3. Contemplation Mode Third mode of conceiving the relationship between architecture and the contemplative experience was that of architectural contemplation. This involves built configurations that serve as the actual object of direct and purposeful, meditative attention. This is when architecture not only facilitates a contemplative experience, but is also crucial in instigating it.

Contemplative Spaces in Built Environment

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Contemplative Spaces and Elements

Hajj in Mecca Here the pilgrimage conduct a circular, counter-clockwise procession around the Kaaba.

Kaaba (Ka’bah), a cube-shaped structure draped in black silk, is the most sacred shrine of Islam and the chief goal of the pilgrimage.

Figure 2.7 Architectural object focussed

The most famous example of the contemplative mode is the Hajj in Mecca where the architectural elements are not just helpful but instead are absolutely crucial in instigating the subsequent religious experience.

The Temples in Cambodia like Angkor Wat and Borobudur are also prime examples of the contemplative mode.

Figure 2.8 Contemplative mode of contemplative spaces.

2.2.2 Examples - Spiritual Architectural Devices

Figure 2.9 Natural light through funnels from south facade.

Figure 2.10 Plan showing the funnels for natural light.

Chappelle Notre-Dame-du-Haut, France - Le Corbusier (1953) The architectural devices Le Corbusier implemented in the design primarily include the south facade wall in the way in which natural light enters the interior space.

The varying treatment of the glazing in form, seen best in plan, in turn effect the architecture as it funnels the light into the space and affects the individuals using the space.

Contemplative Spaces in Built Environment

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Contemplative Spaces and Elements

Figure 2.11 Church elevational view

Figure 2.12 Plan showing use of geometry

San Giovanni Battista church, Switzerland - Mario Botta (1996) Botta’s design features a cylindrical based plan symbolizing the anxiety of man. As the church elevates and meets with a perfect circular roof, symbolizing the perfection of the heavens, and cosmos.

Architectural devices - the use of geometry, proportion, scale, and internal landscapes creates a spiritual experience.

Figure 2.13 The walls were specifically designed as a backdrop for the paintings.

Figure 2.14 The landscape enhances the contemplative environment.

Windhover Contemplative Center, Stanford University - Aidlin Darling Design A unification of art, landscape and architecture to both replenish and invigorate the spirit of the users.

The use of rammed earth, massive walls of native rock, louvered skylights, water in conjunction with landscape, fountains within the main gallery and the courtyard provokes a deep feeling of serenity and quieten the outside chaos.

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2.3 Attributes of a Spiritual Space Architecture is the first pioneer of the highway towards the adequate realisation of inner self. For this means it levels space for self realisation, inform his external environment and builds a fit place for the aggregation of those assembled having similar faith, as a defense against the threatening of tempest, against rain, and savage animals.

Besides the variety of buildings and design approaches in the effort to create a space where man can feel spirituality, there can be found some common design tools that help to create the soul stirring experience.

1. Threshold

Figure 2.15 Dhamma Giri, Igatpuri

Figure 2.16 Threshold - Bagan Pagoda, Myanmar

The Threshold is the entry way into the sacred place which helps to separate the space from the greater surrounding space and invites you to step inside. In religious buildings it marks the journey of the worshiper from the tedium of the everyday world into a more liminal state. It is crossing over from the outside into the hallowed grounds of the spiritual space.

2. Pathways

Figure 2.17 Lotus Temple, New Delhi

Figure 2.18 Walking Path of Philosophy, Kyoto

The Path invites exploration and discovery along the route. It meanders through spaces, fuels imagination and entices one to see where it may lead. This notion of journey is exemplified in the pathways leading to places of worship. Sidewalks from parking areas can guide worshipers as they move from one area to another before arriving at the worship center. These pathways move people from the outside world to the inner precincts where one may hope to find a sense of the sacred.

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3. Plazas

Figure 2.19 Art of Living, Bangalore

Figure 2.20 Taj Mahal, Agra

The main purpose of a plaza is to foster the gathering of large numbers of people.

Such exterior gathering spaces are found near many spiritual spaces. Engaging with others can be a rewarding segment of public liturgy. The space in front of the main entry to a worship space can foster this experience.

These Plazas can be open green spaces which will inturn help in creating a spiritual experience.

4. Natural Light

Figure 2.21 Pantheon, Rome

Figure 2.22 Natural Light in the space

The daily cycles of day and night i.e., light and darkness, signify the unending cosmic struggle. Light signifies hope with the rising of the sun each day and enables us to experience the changing world. In spiritual place it is symbolic of the passage of time. Light in sacred place is typically provided from above and serves to provide orientation and contrast from the surrounding darkness.

5. The Door Joseph Campbell once remarked that anything is possible on the other side of the door to a spiritual space. There one also anticipates an encounter with the holy, where illness, loneliness, hunger, and desperation are replaced by health, companionship, sustenance, and hope.

Thus, the doors into a spiritual center bear a tremendous responsibility. These sacred portals enhance the spiritual experience, and should not be overlooked.

Contemplative Spaces in Built Environment

Figure 2.23 Shwedagon Pagoda

Figure 2.24 Hindu Temple Page 13

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6. Sacred Symbol - Lotus Flower This powerful image symbolizes harmony, spiritual illumination and unlimited potential. The lotus is a water lily which rises from the sludge of muddy waters. It reinforces the concept of resurrection. Use as a reminder that “this, too, shall pass.�

It symbolizes forgiveness, gratitude and compassion and invites a balance between humility and pride.

The Lotus flower is regarded in many different cultures, especially in eastern religions, as a symbol of purity, enlightenment, self-regeneration and rebirth.

Figure 2.25 Sacred Symbol

7. Water

Figure 2.26 Presence of Pond in Osho Center

Figure 2.27 Presence of water in Pyramid Valley

Water, a feature of the natural world that has been a centerpiece of spiritual symbolism and religious ritual in human communities for thousands of years. With remarkable regularity across human cultures, water has been used to communicate the sacred value of life; the spiritual dimension of purification, protection, and healing; and the profound meaning of suffering and redemption in human life.

8. Sacred Geometry Sacred geometry involves sacred universal patterns used in the design of everything in our reality, most often seen in sacred architecture.

Sacred geometry may be understood as a worldwide of pattern recognition, a complex system of religious symbols and structures involving space, time and form. According to this view the basic patterns of existence are perceived as sacred.

By connecting with these, a believer contemplates the Great Mysteries, and the Great Design.

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Figure 2.28 Sacred Geometry Page 14

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3.1 BioGeometry - Impact of geometry on users’ brain Biogeometry is the science that studies the effect of geometric shapes and forms on human bioenergy, and then it is possible to mitigate negative energies and enhance their positive qualities. As the space quality is affected by air quality and ventilation, it also is affected by its geometric form and construction materials.

Biogeometry aims to achieve a balance between architectural space and energy quality produced inside it. This balance is capable of promoting the quality of architectural spaces. One of the objectives of this science is to identify a geometric design language that interacts with the energy of forms to provide spaces with the balance required for their users’ comfort.

Certain experiments were conducted in spiritual spaces to study the effects of geometric forms on users’ consciousness status: Type 1 Maitreya Buddha Pyramid, Bengaluru In December 2011, a study investigating the effect of a building with a pyramid form on a number of meditators’ brainwaves was conducted.

An effort was made to investigate the cerebral electrical activity of fifteen meditators that are recorded by electroencephalograph (EEG).

Figure 3.1 Maitreya Buddha Pyramid, Bengaluru

Type 2 El-Sultan Hassan mosque, Cairo With the same methodology, another study published in 2014 aimed to measure the impact of staying inside a historic building space with a vault ceiling shape on the users’ consciousness status, by recording the brain electrical signals (EEG) of a number of volunteers inside and outside the building.

Figure 3.2 El-Sultan Hassan mosque, Cairo

Other experiments were carried out using CST Microwave Studio to identify the resonance frequency occurred inside different geometric forms with different construction materials, and then distinguish the related user’s brainwaves which influence his/her consciousness status. This may assist architects and designers in identifying appropriate geometric forms to suit the required uses and functions that need particular consciousness statuses.

The results of these experiments show different influences based on geometric forms and construction materials.

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Table 3.1 Experiment results - Users’ consciousness status for the investigated geometric forms.

According to the results of the experiments conducted, it is evident that there are different effects related to the geometric forms and construction materials of the architectural spaces on the users’ consciousness status.

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3.3 Case Studies : Form and Geometry 01

Matrimandir, Auroville

02

Lotus Temple, New Delhi

03

Pyramid Valley International, Bangalore

04

Global Vipassana Pagoda, Mumbai

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3.2.1 Matrimandir, Auroville

Location:

Auroville, Tamil Nadu

Year:

Started - February 1971 Completed - February 2008

Architect:

The Mother (Vision) Roger Anger (French Architect)

Figure 3.3 Master Plan of Auroville (The galaxy concept of the city)

Why Matrimandir?

At the very centre of Auroville one finds the ‘soul of the city’, the Matrimandir, situated in a large open area called ‘Park of unity’, from where the future township will radiate outwards. It is a world renowned spiritual space for meditation. It is known for its iconic form and structure attracting tourists from all around the world.

Propagating the ideas of Sri Aurobindo’s teaching, about the concept of ‘Universal Mother’, it has many elements that make this place a perfect example of spirituality in architecture.

Figure 3.4 Mother’s symbol - paying homage to a lotus in full bloom. The plan form of Matrimandir is inspired by this symbol.

Figure 3.5 The Golden Sphere

Inner Chamber The spacious Inner Chamber in the upper hemisphere of the Matrimandir is completely white, with white marble walls and deep, white carpeting. In the centre sits a pure crystal-glass globe which suffuses a ray of electronically guided sunlight that falls on it through an opening at the apex of the sphere. This luminescent globe radiates natural lighting in the Inner Chamber.

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The twelve pillars in the chamber in are made of steel. Surrounding the Mother’s symbol, they stand erect and abruptly end in the middle of the chamber with their open ends pointing towards the ceiling, indicating the continuity of their lengths.

Thus the chamber with twelve pillars in Matrimandir represents ‘A Thousand-Pillared Home’ in Heaven.

Figure 3.6 Inner Chamber

Figure 3.7 Prototype model showing Inner Chamber

The Four Pillars The four pillars that support the structure of Matrimandir, and carry the Inner Chamber, have been set at the four main directions of the compass.

They depict the four aspects or personalities of the mother.

• Maheshwari (South Pillar) • Mahakali (North Pillar) • Mahalakshmi (East Pillar) • Mahasaraswati (West Pillar)

Figure 3.8 Under construction image of pillars

Sacred Geometry • The Golden Section and the proportions of the Great Pyramid are precisely incorporated in its cross section (Figure 3.10).

• It was also discovered that Sri Aurobindo’s symbol fitted exactly into the Shaligram, the form in which Matrimandir has been built (Figure 3.11). In other words, there are two triangles with the same proportions as the Great Pyramid inside.

• The energy field inside the Great Pyramid is located at one-third of its height. If we project this to the two triangles inside the Shaligram, we get a band of about 110 centimeters where the energy field will be concentrated. This band will be in the Inner Chamber, precisely where the people will sit. (Figure 3.12.)

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Figure 3.9 Golden section and proportions of great pyramid

Figure 3.10 Two triangle of same proportions

Figure 3.11 Inner Chamber at one-third of its height

Figure 3.12 The Park of Unity - Plan

Figure 3.13 Vertical Section Contemplative Spaces in Built Environment

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The Matrimandir is a great example having all the spiritual qualities such as natural light, scale and proportion of the hall, the pathway for the inner chamber, the colour and texture, the landscape, the presence of lotus flower and water body around.

The plan form and vertical proportions are according to the sacred geometry and the concept of the Universal Mother makes Matrimandir an ideal place for contemplation.

Figure 3.14 Level 1 - Spiral Staircase

Figure 3.15 Level 2 - Ramp

Figure 3.16 Entrance of Meditation Cell

Figure 3.17 Open Air Theatre

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3.2.2 Lotus Temple, New Delhi Location:

New Delhi, India

Year:

Started - 1976 Completed - 1986

Architect:

Ar. Fariboz Sahba

Site Area: 24 acres Figure 3.18 Aerial View of Lotus Temple

Why Lotus Temple?

The Lotus Temple is world renowned and the easiest space that explains the meaning of spirituality in its true sense. It is in line with the teachings of the Bahai faith believing in the Oneness of God, the Oneness of Religions, and the Oneness of Mankind. As such, people of all religions and races are welcome in the temple as it is a place to worship the creator of the universe and not one particular deity. There is no idol to be worshiped and people of any faith, case, creed are welcome inside. The form and the monumental structure of this temple made it an ideal case to study.

Figure 3.19 Front View

Figure 3.20 Top View

Concept and Philosophy In hindu architecture, despite external differences between the various temples, one factor is common that they offer significant and sacred symbols common to all religions of India, symbols that have extended even to other countries and religions.

One of these nature’s symbols is the sacred flower of the Indians, ‘The Lotus’.

The lotus represents the manifestation of God and is also the symbol of purity and tenderness. Its significance is deeply rooted in the minds and hearts of Indians. There is a deep and universal reverence for the lotus which is regarded as a scared flower, being associated with worship throughout many centuries.

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The Baha’i faith is said to embody in itself the nine major faiths of the world and in order to symbolise this, each component of the temple is repeated nine times.

Conceptually inspired this flower symbolizes purity and holiness in the Hindu tradition is the reason that the architect developed it to this temple. This concept had to be converted to defined geometric shapes such as spheres, cylinders, toroids and cones, which translate into equations subsequently used as a basis for structural analysis and engineering drawings.

The Temple Complex

Figure 3.21 Master Plan

The temple complex consists of the main House of Worship, the ancillary block which houses the reception centre, the library and the administrative building and the restrooms block.

Set in the middle of a large sprawling lawn, the temple rises up on its large basement cum plinth to a lotus shaped superstructure which houses the assembly area.

Figure 3.22 Information Center Contemplative Spaces in Built Environment

Figure 3.23 Connecting bridge over pond Page 24

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The Lotus Temple • The Lotus Temple gives the impression of a half-open lotus flower, afloat, surrounded by its leaves. Each component of the temple is repeated nine times.

• It is formed of 27 giant marble petals which envelope the interior space, respecting the circular alignment of Bahá’í architecture. The interior has capacity for 2500 people.

• It is accessed via nine bridges which cross nine ponds surrounding the temple and provide access to nine doors.

• The doorways lead to a central area which reaches 40 meters in height, though shows no visible supports.

• The temple is surrounded by gardens and its location in the centre of the ponds creates the impression of a giant lotus flower floating on the water.

• The external covering of white marble ensures the building is visible from a distance and shines with the rays of the sun, turning violet at sunset.

Figure 3.24 Section

Figure 3.25 Plan of Temple

Figure 3.26 Interior Dome & Ribs

Geometry The lotus, as seen from outside, has three sets of leaves or petals, all of which are made out of thin concrete shells.

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• The outermost set of nine petals, called the ‘entrance leaves’, open outwards and form the nine entrances all around the outer annular hall.

• The next set of nine petals, called the ‘outer leaves’, point inwards. The entrance and outer leaves together cover the outer hall.

• The third set of nine petals, called the ‘inner leaves’, appears to be partly closed. Only the tips open out, somewhat like a partly opened bud. This portion, which rises above the rest, forms the main structure housing the central hall.

• Since the lotus is open at the top, a glass and steel roof at the level of the radial beams provides protection from rain and facilitates the entry of natural light into the auditorium.

• Below the entrance leaves and outer leaves, nine massive arches rise in a ring.

A row of steps through each arch lead into the main hall.

• The inner leaves enclose the interior dome in a canopy made of crisscrossing ribs and shells of intricate pattern.

Figure 3.27 Seating in circular pattern

Contemplative Spaces in Built Environment

Figure 3.28 Steal and glass roof skylight

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3.2.3 Pyramid Valley International, Bangalore Location:

Kebbedoddi Village Kanakapura Taluk (30ms from Bangalore)

Year of completion: 2008

Architect:

Ar. Nilesh Chopra, Bharathi Prem

Site Area: Figure 3.29 Master Plan

28 acres

Why Pyramid Valley?

The Pyramid Valley is a massive space dedicated to meditation and spiritual practices. The landscape design and architecture of the Pyramid Valley is inspired by scientific research on meditation practices and offers a peaceful space to meditate.

Taking inspiration from the Pyramids of Giza, the main meditation hall is in the shape of a colossal pyramid known as the Maitreya-Buddha Pyramid.

Figure 3.30 View of the Pyramid Valley

The Campus • The meditational pyramid is undoubtedly the main attraction, the walkway leading its entrance adorned with rocks, water bodies, and verdant gardens. At the entrance of the pyramid, guests are greeted by a statue of the meditating Buddha.

Figure 3.31 Pagoda Cottages

• The landscaped surroundings include coconut groves, gardens, and a bamboo bridge and are dotted with places to meditate. There are many other spots for meditation, named after famous modern day spiritual masters like Rampa and Osho.

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• There are art galleries with Buddhist themes and there is a meditation briefing centre. It also includes a library with different resources for those who want to learn more about meditation.

• There is also a 10,000-capacity amphitheater, large dormitory, air-conditioned deluxe rooms and pagoda style cottages for accommodation, 150-seater conference hall, semiopen dining room, and office rooms.

Figure 3.32 Conference Hall

Maitreya-Buddha Pyramid Maitreya Buddha Pyramid, with a capacity of 5000 people, is the World’s largest pyramid built solely for practicing intensive meditation. It has a base area of 160ft by 160ft and 102ft tall. The exterior surface of the pyramid is covered by beautiful murals depicting various elements of nature.

A flight of 21 steps leads to the core of the Pyramid, which is strategically lit up to filter the right amount of light inside.

Its spiral and vibrant King’s chamber, the most energetic spot on the Pyramid, stands 34ft tall and can accommodate 40 people for meditation at a time.

The lower hall of the Pyramid has beautiful murals and artwork of Buddha and paintings influenced by Ajanta-Elora caves.

The exterior surface of the pyramid is covered by beautiful murals depicting various elements of nature: • • • •

The north face represents air The south face represents fire The east face represents water The west face represents earth Figure 3.33 View

Main Entry

Basement Floor

Figure 3.34 Drawings of the main pyramid building Contemplative Spaces in Built Environment

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Inspired by Pyramid of Giza This pyramid is constructed on the principles of Pyramid of Giza: • oriented exactly in the North - South direction.

• having the golden angle of inclination at 52° 51’ on all sides.

• the King’s Chamber located at the center to one third the height of the pyramid.

Over 640 natural himalayan crystals are fitted inside the Pyramid to amplify the pyramid energy and help in more profound meditational experiences.

The journey from the entrance to the pyramid is surrounded by beautiful landscape of rocks, lush green gardens, soothing water bodies and pathways which helps in transcending the mind towards calmness. The peaceful meditative Buddha at the entrance of the Pyramid is a perfect setting to be one with self.

Why Pyramid as the Structure?

Pyramids are store houses of energy.

Their geometric design collects, radiates and stores Cosmic Energy. Pyramid help to reduce the level of stress and tension in the physical body. Meditation done inside a pyramid is thrice more powerful.

Contemplative Spaces in Built Environment

Figure 3.35 King’s Chamber

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3.2.4 Global Vipassana Pagoda, Mumbai Location: Mumbai

Year of completion: 2008

Architect:

Ar. Prvez Dumasia

Height:

89.93 Meters

Diameter:

93.82 Meters Figure 3.36 View of the Pagoda

Introduction The Global Vipassana Pagoda is a notable monument in Mumbai, India which serves for peace and harmony. It was built out of gratitude to the Buddha, his teaching and the community of monks practicing his teaching. Its traditional Burmese design is an expression of gratitude towards the country of Myanmar for preserving the practice of Vipassana. The shape of the Pagoda is a copy of the Shwedagon Pagoda in Yangon, Myanmar. But the shwedagon Pagoda is made of solid masonry whereas the Global Vipassana Pagoda is hollow with an exceptional dome to welcome meditators. It was built combining the ancient Indian and modern technology to ensure it lasting for a thousand years.

The inside of the Pagoda is hollow with a very large meditation Hall of 5700 msq. The construction work progressed without interruption supported selflessly by vipassana meditators and devotees from around the world. It is expected to exist as a beacon of peace and harmony for the next thousand years.

The Global Vipassana Pagoda complex consists of the following structures: • Pagoda dome containing relics of the Buddha. The pillar-less structure of the massive Pagoda dome encompasses a meditation hall to seat around 8,000 Vipassana meditators - the largest such meditation hall in the world.

• Vipassana meditation centre Dhamma Pattana • Museum depicting the historical life of the Buddha • Two smaller pagodas on the north and south side.

Contemplative Spaces in Built Environment

Figure 3.37 Section of the Pagoda Page 30

Spiritual Qualities of Identified Cases

• • • •

Library and study rooms Vipassana Research Institute office and facility for Pali study program Dhammalaya Guest House for Vipassana meditators The south pagoda contains 108 meditation cells for use by Vipassana students taking a meditation course at the adjoining meditation centre.

Figure 3.38 Entrance of Pagoda

Contemplative Spaces in Built Environment

Figure 3.39 Interior View of Pagoda for Meditational Practice

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3.4 Case Studies : Meditation Centers 01

Osho Dham, New Delhi

02

Dhamma Pushkar Vipassana Center, Pushkar

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3.3.1 Oshodham, New Delhi Location

Jhatikra Road, Najafgarh, Delhi

Architect

Ar. Snehanshu Mukherjee

Area

9 acres

Year 1996

Site Description Figure 3.40 Google Map image showing location of Osho Dham

35 kms from New Delhi

Introduction Oshodham has blossomed on the outskirts of Delhi in Nazafgarh offering a clean, green, aesthetic and peaceful environment for those on the inner journey and have various weekend meditation courses. Oshodham is a place for meditation supported buy residential facilities for long and short term stays. People come there to practice great meditation techniques explained by Osho.

Figure 3.41 Meditation Hall

Figure 3.42 Entrance of the Center

Concept and Philosophy Swami Atul Anand, the major patron wanted to design a new habitat for living in the 21st century derived from Osho’s discourse on daily living and spiritualism. It evolved and grew fashioning an environment conducive to the special requirements of the commune. The discussions with swami revolved around the ‘worldly and spiritual’ and resulted in the first sketch of a spiral path, the heart of the design. The spiral path winds inwards, to the meditation hall set amidst a grove of trees. It serves both a metaphoric and practical need. A journey in time, spiraling inwards to self discovery through meditation, it is also device for economical and efficient organisation of the site. The choice of a spiral rather than a relatively small landscaped area is traversed over a length of time, creating an illusion of a much longer space.

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Figure 3.43 Conceptual Sketch of planning

Figure 3.44 Landscape

Site Zoning and Circulation

Figure 3.45 Master Plan showing zoning and circulation

Meditation Hall The spiral path culminates in the shelter of the meditation hall the prime focus of the design and the first structure of the commune constructed in 1994. Meditation hall, in its symbolic form and function, may be likened to a banyan tree with its large canopy. It houses the chief function of the commune to conduct daily meditation session through the different seasons. To reach it, one moves along the path through a specially planted grove of trees, akin to a forest hermitage.

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The expansive, seemingly simple structure of the Hall, of a doubly curved shell roof supported on four columns, was designed to the sides from any barrier with the surrounding setting of ponds and groves. Walking on the path, one sees through the unenclosed sides, through the empty floor space and beyond to the forest, without perceiving the hall as a solid building, to finally enter its encompassing protection.

Figure 3.46 Organic Roof form

Figure 3.47 Meditation Hall View

Other Spaces 1. The heart of the design is the spiral path (main and first structure),which winds inward towards the Meditation Hall set amidst of the trees. The choice of a spiral rather than a relatively small landscaped area is transvered over a length of time, creating an illusion of longer space.

2. The reception, Dining and residential buildings are incorporated at the start of the spiral path, within a landscape area of 4 acres.

3. The Dorms and the dining hall with kitchen are at the foot from meditation hall and aligned to the axis of the short cut that leads to the Hall directly for regular use.

4. The Dining Hall is conceived as a pavilion.

5. Swamiji’s meeting room, a ferrocement roofed structure, which has a ventilated inner roof and is perfectly aligned climatically , which allows it to remain cool even during the hottest period of the year.

6. The campus incorporates 100% waste water recharge and recycle system which is passive and non chemical.

7. Most residential quarters and service facilities like kitchen are partially sunk into the ground and designed to be a part of the landscape forming backdrops and steps,pathways and reinterpreting the creation of built and open.

Figure 3.48 View of the Kitchen and dining area Contemplative Spaces in Built Environment

Figure 3.49 Path towards Meditation Hall Page 35

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The Integration of outdoor spaces to built indoor spaces creates an intense connection of the visitors of this Meditation Centre.

Features Osho Dham has blossomed with its clean, green , aesthetic and peaceful environment for those who visit to find inner connection and peace within. In tune with nature, a beautiful space has been for group and individual meditation , yoga and other dance and physical activities.

Meditation Centre is placed where there is no disturbance of the chaos of day to day life, set deep within a wondrous garden.

The path to the hall is spiral , which creates an illusion of a much longer walk through a large forest , without seeing the destination till ones come really close.

Contemplative Spaces in Built Environment

Figure 3.50 Views of Other Spaces

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3.3.2 Dhamma Pushkar Vipassana Center Location:

Village Rewat (Kadel) near Pushkar in District Ajmer, Rajasthan.

Site Area: 12 acres

Introduction

Figure 3.51 Location Map

Year: 2009

Dhamma Pushkar, meaning ‘Lotus of Dhamma’, is situated at Village Rewat (Kadel) near Pushkar in District Ajmer, Rajasthan. Residential meditation courses are held here throughout the year. The Centre is surrounded by the age old Aravalli hills on one side while the sacred lake of Pushkar and sprawling sand dunes stretch on the other. The surroundings are very calm and serene.

Figure 3. 52 Pagoda for Meditation

Site Zoning

Figure 3. 53 Entrance of the center

The overall planning of the center was done in two zones : Female and Male Zones.

Teacher’s residences were spread out around the Dhamma Halls. All the common areas were planned in the center.

Legend Pagoda Cells & Dhamma Halls Male Accommodation Female Accommodation Teacher’s Residences Dining Hall Administration Block Services Contemplative Spaces in Built Environment

Figure 3. 54 Site Zoning Page 37

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Site Circulation The entrance of the center for all the users were common at some extent.

The planning according to male and female zones was itself segregating the circulation for male and female meditators.

All the common spaces like Dining hall, Dhamma Halls and Pagoda Cells have separate circulation for both the meditators.

Legend Female Circulation Male Circulation Common Entry

Figure 3. 55 Site Circulation for Male and Female Meditators

Cell for Guru Ji Corridor Cell

Corridor Cell

Figure 3. 56 Conceptual section of the pagoda complex showing the arrangement of cells and the vents for ventilation in meditation cells

Figure 3. 57 Entrance of Pagoda complex

Figure 3. 58 Pathway towards Pagoda Complex

There was provisions of various resource saving systems: • Solar Heater • Solar Panels • Rain Water Harvesting System Contemplative Spaces in Built Environment

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Padoga Complex containing 62 cells for individual meditation.

The complex is in form of concentric circles with alternate cells and corridors.

The central room is left for the Guru.

Female Accommodation with 20 rooms.

Every room is for double sharing with attached bathroom.

Every room has small porch and green space and space for drying clothes.

Dimension-3.5m by 3m There is a ramp provided for two rooms.

Teacher’s Residence for 2 male and 2 female teachers.

Their residences were close to Dhamma Hall.

Male Accommodation with 30 rooms in 2 cluster of 15 rooms.

Every room is for double sharing with attached bathroom.

Every room has a small porch and green space and space for drying clothes.

Dimension-3.5m by 3m There was proper cross ventilation in rooms.

Service Area and Staff Quarters were near the entrance. There were proper residence for their families.

Contemplative Spaces in Built Environment

Entrance of the Center Dinning hall for both male and female meditators. There were 5 entrances male teacher, female teacher, male meditators, female meditators and staff. There was a movable partition in between.

Dhamma hall with a capacity of 120 meditators with proper cross ventilation.

There are four entrances in the hall - male teacher, female teacher, male meditators and female meditators.

Every entrance has a buffer space for shoe rack and belongings.

There are two store rooms for keeping the aasan.

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CHAPTER 4 The Interpretations

The Interpretation

Case Study I Matrimandir, AUROVILLE

Case Study II Lotus Temple, Delhi

Case Study III - Pyramid Valley, Bangalore

Case Study IV - Global Vipassana Pagoda

Analysis

Inference

01. CONCEPT AND PHILOSOPHY Based on the principles of Shri Aurobindo’s teaching Universal Mother. The planning is inspired by the Mother’s symbol.

Concept is derived from Lotus Flower as it symbolizes purity and holiness in the Hindu Tradition.

Inspired by scientific research Serves for peace and harmothat meditation done inside a ny showing gratitude to the pyramid is thrice more power- Buddha and his teachings. ful.

In case of Lotus Temple, Matrimandir and Global Vipassana Pagoda there is a strong philosophical concept attached which is related to the faith. In case of Pyramid Valley the scientific research of meditation and pyramids are the basis of the concept.

The concept and philosophy behind the design should show the essence of that faith and religion.

In case of Lotus Temple and Matrimandir the form has been inspired by Lotus Flower which has great symbolism in all the religions.

In case of Pyramid Valley and Global Vipassana Pagoda the form has been inspired by the existing buildings which in the history have religious symbolism.

The geometry and form of the spiritual space should have some symbolism and meaning so that people can easily connect and have emotional/religious value to it.

Presence of Water with statue Drum of Dhamma, Bell, Statue In all these cases there is of Buddha. of Buddha, statue of lion. presence of Sacred Symbols which expresses religous sentiments of that faith and have mystical significance.

There should be presence of sacred symbols as they can transform consciousness, behaviors, understanding, and wellbeing of a person.

02. FORM AND GEOMETRY Plan Form - Lotus Flower in full Half opened Lotus Flower, Pyramid inspired by Pyramid Pagoda inspired by Shwedbloom. with 9 outer petals and 9 of Giza. agaon Pagoda of Myanmar.

Geometrical form - Cosmic ponds surrounding it.

Egg (shaligram).

03. SACRED SYMBOL Mother Symbol, Shri Aurobindo’s Symbol, Lotus Flower

Lotus Flower

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The Interpretation

Case Study II Lotus Temple, Delhi

Case Study I Matrimandir, AUROVILLE 04. SACRED GEOMETRY Golden Section and proportions of the Great Pyramid.

Case Study III - Pyramid Valley, Bangalore Constructed on the principles of Pyramid of Giza.

Case Study IV - Global Vipassana Pagoda

Analysis

Inference

In both these cases the proportions and the design are based on the principles of pyramid as they are store houses of positive energy which help in meditation.

While designing, the sacred geometry of pyramid should be kept in mind as it is the most stable structure and collects and radiates cosmic energy.

Through arches and windows. In all these cases there is presence of natural light which signifies hope with the rising of the sun each day and enables the user to experience the changing world.

Natural Light for meditation spaces should typically be provided from above and serves to provide orientation and contrast from the surrounding darkness.

Circular gold discs and the in- White marble that shines with Covered by beautiful murals The spire is covered in real Materials and Colours used ner chamber has white mar- the rays of the sun, turning depicting various elements of gold, while the rest of the pa- here gives a calm and soothble walls. violet at sunset. nature. goda is covered in gold paint. ing feel to the user.

The golden colour inspires knowledge, spirituality and a deep understanding of the self and the soul.

Materials and colours should be used according to their significance and symbolism.

Colour is the attribute that clearly distinguishes a form from its environment.

05. NATURAL LIGHT Opening at the apex of the sphere for natural light.

Glass and Steel roof facilitates Through windows in all the the entry of natural light. directions.

06. MATERIAL AND COLOUR

Contemplative Spaces in Built Environment

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The Interpretation

Case Study I Matrimandir, AUROVILLE

Case Study II Lotus Temple, Delhi

Case Study III - Pyramid Valley, Bangalore

Case Study IV - Global Vipassana Pagoda

Analysis

Inference

07. PATHWAY The entrance to the Matrimandir has been designed in such a manner that it gives the user a soul stirring experience.

The series of plantations in The journey to the pyramid is front of the temple and nine surrounded by beautiful landwater bodies around it gener- scape of rocks, lush green garates a sense of entrance and dens and soothing water bodprovides the optimum scape ies. for the structure to stand out.

The main Pagoda rises up on In all these cases the Entrance Pathways should be designed the plinth with central stair- and the path towards the to give a soul stirring expericase towards the entrance main building is designed in ence to the user when they surrounded by gardens and such a manner that it creates enter this place of mindfulness. statues of Buddha. a journey for the user as they move from the outside world to the inner precincts where one may hope to find a sense of devotion.

08. SCALE AND PROPORTION Monumental Scale

Monumental Scale

Contemplative Spaces in Built Environment

Monumental Scale

Monumental Scale

Monumental Scale of a spir- Scale of the main building itual space gives it a higher should be monumental. value as one relates it to the divine.

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The Interpretation

Case Study I Dhamma Pushkar, Pushkar 01. THRESHOLD The main gate of the center was simple with no significance.

Case Study II Osho Dham, Delhi

Analysis

Inference

The main gate of the center was designed according to Pune Center.

In both the cases the main gates were not depicting the faith or the values of the center.

The threshold should be asthetically appealing and inviting as it marks the transition from the outside world to the inner world of spirtuality.

The spiral path leading to the meditation hall with trees surrounding it gives an experience of self discovery and mental peace.

In both cases the pathways were surrounded by trees and provided mental peace.

The surroundings are calm and peaceful and give the users a spiritual experience.

The pathway leading to the center should give the user soul stirring experience as they leave the outside world behind and enter into this world of spiritual experiences.

The central space was provided for gatherings and small activities.

The main purpose of the central space is to foster gathering of large number of people.

Such places in meditation centers help people to interact and make their experience memorable.

Central Spaces should be incorporated in the design as engaging with others can be a rewarding segment of public liturgy.

02. PATHWAY The pathways in the center were not paved and designed but were surrounded by trees and plants. The pathway leading to the main pagoda was peaceful and provided mental satisfaction.

03. PLAZA/CENTRAL SPACE

Contemplative Spaces in Built Environment

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The Interpretation

Case Study I Dhamma Pushkar, Pushkar

Case Study II Osho Dham, Delhi

Analysis

Inference

The circulation and zoning of the center was according to the various users. The main meditation hall was at the end with easy accesibility.

The circulation and zoning of both the centers were designed according to different users and all the spaces were easily accesible.

The circulation should be free of any chaos and there should be easy accessibility to all the different areas in the center.

The expansive, seemingly simple structure of the Hall, of a doubly curved shell roof supported on four columns. The hall is open from all sides.

The meditation spaces in both the centers were designed with proper ventilation and natural light. The user experience enhances due to these elements.

The meditation spaces should be designed keeping in mind the natural light and ventilation.

04. CIRCULATION AND ZONING The circulation was free from any chaos and all the areas were easily accesible. It was designed according to various users.

There were separate zones for male and female meditators. All the common areas were in the center.

05. MEDITATION SPACE Padoga Complex containing 62 cells for individual meditation.

Dhamma hall with a capacity of 120 meditators with proper cross ventilation.

Contemplative Spaces in Built Environment

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The Interpretation

Case Study I Dhamma Pushkar, Pushkar

Case Study II Osho Dham, Delhi

Analysis

Inference

The Integration of outdoor spaces and indoor spaces is done here. While designing the outdoor spaces are kept in mind.

The open built relationship creates an intense connection for the user. The integration of such spaces help the user in enhancing the experience.

There should be integration of open and built spaces in such centers.

The landscape in the center was designed with various elements. It was very calm and soothing.

The landscape plays a major role as it enhances the user experience. It gives positive vibes and provides a calm environment.

The landscape should be designed in such centers as it helps in mental peace and provides soothing environment for meditation.

06. OPEN BUILT RELATIONSHIP There is no integration of outdoor and indoor spaces.

07. LANDSCAPE There was only little landscape done outside the accomodations. It was not designed in the whole campus.

Contemplative Spaces in Built Environment

Table 4.2 Page 46

CHAPTER 5 Conclusions and Recommendations

Conclusion and Recommendations

5.1 Conclusion Qualities of architecture will influence the human spiritual experience.

The above research focused on the study of spiritual qualities of built environment and the understanding of qualitative parameters of spiritual spaces. The buildings analyzed have architectural elements that make the journey through them soul stirring for the user. These elements enhance the spiritual quality of a space as well as mental well being.

The study also identifies that there is an obvious relationship between the geometric forms of architectural spaces, their construction materials and the users’ consciousness. Based on analysis drawn from different case study examples and literature review, we can prove the hypothesis, “Mindfulness depends upon the spatial characteristics of a place regardless of it being built or unbuilt”.

The study concludes that qualities of architecture contributes in making of the spiritual environment and enhances the experience of contemplation for the users. These qualities of architecture can be used to design and enhance the environment of a meditation center where people can experience spirituality.

5.1 Recommendations 1. Threshold • The threshold of a spiritual space should depict the faith or philosophy of that particular religion or the spiritual symbol.

• The main entrance should be aesthetically appealing and inviting with landscape around.

2. Pathways • The pathway should lead to the main building and planning should be symmetrical as it is enticing and gives the user a soul stirring experience.

• The pathways should be surrounded by gardens or ponds as it enhances the user experience.

Figure 5.1 Symmetrical pathway leading to the main building Contemplative Spaces in Built Environment

Figure 5.2 Pathway surrounded by water body Page 48

Conclusion and Recommendations

3. Central Plaza • There should be a large central plaza in the spiritual space near to the main building for small group activities.

• The plaza can be in the form of a courtyard or an open air theater where a large group of people can gather.

Figure 5.3 Open Air Theatre for public gathering in Art of Living Bangalore

Figure 5.4 Common gathering space for small activities in Osho International, Pune

4. Natural Light • The spaces for spiritual activities should have provisions for natural light and ventilation as light signifies hope.

• Natural Light for meditation spaces should typically be provided from above and serves to provide orientation and contrast from the surrounding darkness.

Figure 5.5 Natural Light from above in a Baha’i Temple in South America

Figure 5.6 Natural Light from glass facades in a meditation space in China

5. Sacred Geometry • Golden Proportions should be used for the designing and planning of spiritual spaces.

• While designing, the sacred geometry of pyramid should be kept in mind as it is the most stable structure and collects and radiates cosmic energy.

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Conclusion and Recommendations

6. Sacred Symbol • There are various sacred symbols associated with every religion, presence of these symbols enhances a spiritual space.

• Sacred symbols such as lotus flower, water body, statue of Buddha etc.

Figure 5.7 Buddha Shrine in Osho International, Pune

Figure 5.8 Shrine of Lord Shiva in Isha Foundation

7. Form and Geometry • Form and Geometry of the main building should have some symbolism and should attract visitors.

• Form should have a connection with that religion and faith.

Figure 5.9 Dome, nine-sided space with nine entrances- Baha’i Temple in South America

Figure 5.10 Baha’i Temple in South America

8. Material and Colour • Material and colour should be used according to their significance.

• White colour depicts calm and soothing space, Golden colour depicts knowledge and spirituality.

9. Scale and Proportions Scale of the main building should be monumental.

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BIBLIOGRAPHY BOOKS 1. Bermudez, J., 2015, Transcending Architecture: Contemporary Views On Sacred Space 2. Karim, I., 2010, Back to a Future for Mankind 3. Haberakn J., Mignucci A., Teicher J., 2014, Conversations With Form: A Workbook for Students of Architecture

RESEARCH PAPERS 1. Birch, R., & Sinclair, B., 2013, Spirituality in Place: Building Connections Between Architecture, Design, and Spiritual Experience (ARCC Journal) 2. Journal of the Sri Lanka Institute of Architects, 2017, Spirituality in Architecture

ARTICLES 1. Businessworld, 2014, Calming Sounds Of Silence 2. Worksofteam, 2017, osho-dham 3. International Journal of Low-Carbon Technologies, 2018, The impact of architectural spaces’ geometric forms and construction materials on the users’ brainwaves and consciousness status.

WEB REFERENCES 1. https://www.auroville.org/contents/2141 2. http://research.auroville.org/system/papers/attachments/000/000/234/original/ Architecture_and_Symbolism_Gilles_Guigan_2014.pdf 3. https://mind-matrix.net/the-ascension/the-mind-matrix-kingdoms/multi-dimensional-realities/25-the-matrimandir/ 4. https://www.archdaily.com/158522/ad-classics-lotus-temple-fariborz-sahba 5. https://www.karnataka.com/bangalore/pyramid-valley/ 6. https://deccanherald.com/content/83088/design-cosmic-energy.html 7. http://pyramidvalley.org/gallery/ 8. oshoworld.com

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“There is no doubt whatever about the influence of architecture and structure upon human character and action.

We make our buildings and afterwards they make us.

They regulate the course of our lives.�

-Winston Churchill