ARCHITECTURAL THESIS- "Emptiness in architecture- a mode of perception"

EMPTINESS INARCHITECTURE

“AMODE OF PERCEPTION”

ISHA. B. JOSHI

USN: 2GI19AT022

ATHESIS SUBMITTED IN COMPLETION FOR THE DEGREE OF BACHELOR OFARCHITECTURE DEPARTMENT

KARNATAKALAW SOCIETY'S GOGTE INSTITUTE

OFTECHNOLOGY

UDYAMBAG, BELAGAVI.

DEPARTMENT OFARCHITECTURE

CERTIFICATE

Certified that the project work entitled " Emptiness inArchitecture - a mode of perception " "Shunya – Museum of Social Justice"

Is a bonafide work carried out by Ms. Isha Joshi, USN: 2GI19AT022, 10th Semester, in fulfillment for the award of degree of BACHELOR OF ARCHITECTURE of Visvesvaraya Technological University, Belagavi during the year 2023-2024. It is certified that all corrections/suggestions indicated for the internal assessment have been incorporated. The project report has been approved as it satisfies the academic requirements in respect of the Bachelor of Architecture Degree.

Signature of the Guide (Prof. Padma Sangolli)

Examiners:

Head of the Department (Prof. Ritesh Dharmayat)

Principal (Dr. M.S. Patil) KLS GIT Belagavi

D E C LA RAT I O N

I declare that the thesis report entitled, "Emptiness in Architecture - a mode of perception" has been prepared by me under the guidance of Prof.Ar. Padma Sangolli from Department ofArchitecture, Karnataka Law Society's Gogte Institute of Technology. No part of this thesis has formed the basis for the award of any degree or fellowship previously.

ISHAJOSHI

USN NO: 2GI19AT022

Department ofArchitecture, Karnataka Law Society's Gogte Institute of Technology, Belagavi- 590008

Signature of the student

SELF DECLARATION

I, Isha Joshi bearing USN 2GI19AT022, student of the academic year 2023 - 2024, from Department of Architecture, KLS Gogte Institute of Technology, Belagavi, wish to declare that the information compiled by me in the form of report containing photographs, sketches, drawings, data sheets, figures, written texts, case studies etc., are included in this thesis report as a part of support study to formulate and present in the form of Architectural Design Thesis (Part I & Part II) for the purpose of academic exploration only.

I further do not claim ownership of all the referred documents mentioned above. I sincerely apologize if I have overlooked in acknowledging and citing any references or sources of information.

Name of the student: Isha Joshi

Signature of the student

DATE: 17/05/2024

ACKNOWLEDGEMENT

The realization of this thesis owes its existence to the generous support and assistance of numerous individuals, to whom I extend my sincere thanks. I extend my heartfelt gratitude to all those who contributed to the completion of this dissertation. This academic journey would not have been possible without the invaluable support, guidance, and encouragement of numerous individuals.

Firstly, I am deeply thankful to my supervisor, Prof.Ar. Padma Sangolli, whose expertise, steady support, and constructive feedback were instrumental in shaping this research. Your mentorship and dedication to excellence have been a constant source of inspiration.

I would like to express my appreciation and gratitude to the members of my dissertation committee, Prof.Ar.Amit Prasadi, Prof.Ar. Vinayak Patil, Prof.Ar. Geetha Sambrekar, Prof.Ar. Nishitha Tadkodkar, Prof.Ar. Dinkar Oulkar, Prof Ar. Vinayak Patil, Prof.Ar. Siddharth Patil and Prof.Ar. Ashwinkumar Kalmani, for their valuable insights, suggestions, and scholarly guidance throughout the research process. Your expertise and constructive critiques have immensely enriched the quality of this work.

I would like to offer a heartfelt note of appreciation to my family, whose tireless encouragement, profound understanding, and unyielding belief in my abilities have been instrumental throughout this journey.

To my mother, Dr. Sonal Joshi, your constant support and guidance have been a steadfast pillar, consistently guiding me and holding my hand at every crucial step of this endeavour. Your wisdom and encouragement have been invaluable.

To my father,Ar. Bakul Joshi, you have been an endless source of inspiration and guidance, offering unwavering support and wisdom throughout all my pursuits. Your mentorship has played an integral role in shaping my path.

"I am profoundly thankful to each and every one of you for being a part of this journey and guiding me through it. Your support and encouragement have been invaluable, and for that, I am eternally grateful."

1- ABSTRACT

2- SYNOPSIS

2.1- TITLE OF THESIS

2.2- INTRODUCTION OF TOPIC pg-8

2.3- KEYWORDS pg-10

2.4- AIM pg-11

2.5- OBJECTIVE pg-11

2.6- HYPOTHESIS pg-11

2.7- METHODOLOGY pg-11

2.7- REFRENCES/ BIBLIOGRAPHY pg-12

3- LITERATURE STUDY

3.1- INTRODUCTION TO THE TOPIC OD EMPTINESS AND THE INTENTION ON THE THESIS.

3.2- KEYWORDS

3.3- STUDY AND RESEARCH ABOUT EMPTINESS IN ALL FIELDS AND PHILOSOPHIES pg-18

3.3-1 - EMPTINESS IN POETRY pg-18

3.3-2 - EMPTINESS IN STORIES AND FABELS pg-19

3.3-3 - EMPTINESS IN PHYSICS AND COSMOLOGY

3.3-4 – EMPTINESS IN ZEN GARDENS

3.3-5 - KENYA HARA

3.3-6 - KITARO NISIDA (PHILOSOPHY OF NOTHINGNESS)

3.3-7 – JOHN PAWSON

3.3-8 - ENSO

3.3-9 – KANSO pg-26

3.3-10 – HEART OF SUTRA pg-27

3.4 - CHARACTERISTICS ON EMPTINESS pg-28

3.4-1- POSITIVE CHARACTERISTICS pg-28

3.4-2- NEGATIVE CHARACTERISTICS

3.5- ASPECTS OF EMPTINESS

3.6- HISTORICAL ASPECT OF EMPTINESS

3.6-1 -SHIVA

3.6 -2- SHOONYA – THE POWER OF NOTHINGNESS

3.6-3- BUDDHISM

3.6-4- NAGARJUNA AND MADHYAMAKA pg-35

3.6-5- TAOISM pg-36

3.6-6- ZEN BUDDHISM

3.7- ARCHITECTURE DEAILING WITH THE PHENOMENON OF EMPTINESS

3.7-1 – CONCEPT OF EMPTINESS

3.7-2 – HOW TO CREATE EMPTINESS? pg-41

3.8- CHRONOLOGICAL DOCUMENTATION OF ARCHITECTURE DEAILING WITH THE pg-45 CONCEPT OF EMPTINESS

3.8-1- HINDU TEMPLES

3.8-2- ANCIET GREEK ARCHITECTURE

3.8-3- ISLAMIC ARCHITECTURE

3.8-4 – RENISANCE ARCHITECTURE

3.8-5 – MODERNISTIC ARCHITECTURE

3.9- CONTEMPORARY ARCCHITECTURE DEAILING WITH THE CONCEPT OF EMPTINESS

3.9-1 – NAOSHIMA CONTEMPORARY ART MEUSEUM

3.9-2- SEATTLE CENTERAL LIBRARY

3.9-3- LOUVERE ABU DHABI

3.9-4- THE SALK INSTITUTE

3.10- OPINIONS OF EXPERTS

3.11-

7- LIVE CASE STUDY

8 – SITE ANALYSIS (BKC- “G” BLOCK, MUMBAI)

11- CONCEPT AND DESIGN DEVELOPMENT (PROGRESS)

1-Abstract

The thesis will analyze the relationship of architecture in shipping, the concept of emptiness and its impact on the perception of spaces. Emptiness, although is sometimes disregarded or brushed aside as nothing more than voids, is vital when analyzing the purpose and essence of architectural spaces.

By tackling multiple dimensions of emptiness, exploring its psychological, philosophical, and spatial aspects. It will focus on how people's perceptions, feelings, and interactions in architectural settings are affected by the intentional utilization of voids, negative spaces, and absence in architectural design.

Through a mixed approach, drawing from architectural theory, psychology, and phenomenology, this thesis seeks to uncover the significance of emptiness in creating meaningful, enhancing spatial qualities, and evoking specific feelings or moods within architectural settings.

The thesis will intend to shed light on how architects and designers might intentionally use emptiness to create more meaningful, resonating, and engaging spatial experiences. By evaluating case studies, architectural examples, and sensory investigations. Ultimately by understanding on how it advocates for a deeper appreciation and conscious, by utilization of emptiness as an integral element in the creation of architectural spaces that resonate with human perception and experience.

2-SYNOPSIS

2.1 TITLE OFTHESIS – EMPTINESS –Amode of perception in architecture.

2.2 INTRODUCTION OFTOPIC-

Japan, a realm of architectural innovation created with minimalism, with a profound connection to nature left an imprint on my mind during my recent visit to Japan. I was drawn to the amazing marvels crafted by Tadao Ando. His signature style, characterized by an elegant simplicity that exudes tranquility, invoked within me a profound sense of emptiness. Emptiness strangely magnified the depth of all other emotions within me.It created space for imagination hence ensuring creativity.It is this experience that emptiness is a clean page where everyone can see and feel things in their own special way, leading me wanting to unravel the intricacies of this architectural phenomenon. I also want to figure out how architects make this feeling and how it makes our emotions and senses stronger. Hence steering me towards the phenomenon of "Emptiness in Architecture" as the focal point of my forth coming dissertation.

I stumbled upon a revelation that Tadao Ando's canvas was painted with strokes inspired by Zen philosophy and Buddhism. The very concepts that echo as 'enso' and 'kanso' had whispered their wisdom into his architectural masterpieces reflecting as emptiness that embrace simplicity, harmony, contemplation and connecting with nature. When applied to the idea of emptiness in architecture, Enso and Kanso adds an additional layer of meaning, emphasizing the elegance and power of simplicity within spatial design.

As quoted by Frank Llyod wright – “"The void is not a blank emptiness, but rather an essential part of the substance of space." In the realm of architectural design, space is not merely a physical construct; it is a canvas for human experiences, emotions, and interactions. While architecture is often associated with the arrangement of solid forms, the concept of emptiness a deliberate absence of material presence holds a profound significance that shapes the very essence of built environments. Emptiness in architecture represents a departure from traditional notions of construction and prompts a reevaluation of the relationship between form and void.

Emptiness in architecture is represented with an openness to interpretation. It is important that architecture does not forget the importance of “imagination in design”.

The concept of emptiness in architecture involves purposefully integrating voids, open spaces, or minimally intervened areas within a built environment. Emptiness isn't a mere lack of elements; it's a conscious design decision with the power to shape a space's overall character and functionality. Referred to as negative space or void, emptiness exists between architectural elements, going beyond absence to evoke contemplation about the interplay between presence and absence, solid and open. It invites reflection amid life's rhythms and frames narratives beyond physical structures. Emptiness is an active force that choreographs movement, light, and human experience, transcending its name.

In its purest form, emptiness signifies 'a state void of contents.' However, the manner in which it is apprehended varies for each individual. The concept of 'empty space' lacks universal uniformity. The idea of the ‘empty space’ is not a universal one- not in the sense that it doesn’t exist everywhere, but it is not received the same way, making it emptiness a mode of perception, a way of looking at experience as it adds nothing to, and takes nothing away from, the raw data of physical and mental events, and hence is an “ENIGMA”,

In the midst of today's rapid and intricate world, the importance of emptiness in architecture lies in its ability to provide a haven of simplicity and tranquillity. Embracing emptiness offers a counter to the overwhelming deluge of information and cultivates mindfulness, nurturing mental well-being. Its capacity to heighten sensory encounters and amplify emotions within spaces addresses the demand for impactful design. Additionally, architectural emptiness aligns with sustainability by augmenting natural light and airflow, while its adaptability caters to various functions. By sparking creativity, safeguarding cultural identity, and furnishing spaces for contemplation, emptiness contributes to comprehensive design, tackling modern urban challenges and elevating the human experience.

In a world where architectural landscapes are constantly evolving, where the boundaries between indoor and outdoor, physical and virtual, are becoming increasingly porous, the concept of emptiness emerges as a guiding light. It challenges us to reimagine spaces beyond their physical confines, inviting users to engage with the built environment in ways that resonate with the soul. As we embark on this journey of discovery, can we embrace emptiness as a catalyst for architectural innovation, a source of beauty, and a conduit for enriching the human experience within the spaces we inhabit.

• Emptiness- The state of containing nothing.

• Interactions- reciprocal action or influnce

- communication or direct involvement with someone or something.

• Nothingness -the absence or cessation of life or existence.

• Perception - the ability to see, hear, or become aware of something through the senses.

• Imagination - the faculty or action of forming new ideas, or images or concepts of external objects not present to the senses.

• Negative space - Negative space is a term used in art to describe the space surrounding a subject.Also called white space, it is typically empty and lacks details as to simplify an image. Negative space surrounds positive space in a work of art.

• Movement- an act of moving. - a change or development.

• Light - the natural agent that stimulates sight and makes things visible.

• Contemplation - the action of looking thoughtfully at something for a long time. - deep reflective thought.

• Interplay - the way in which two or more things have an effect on each other.

• Mindfulness - the quality or state of being conscious or aware of something.

- a mental state achieved by focusing one's awareness on the present moment, while calmly acknowledging and accepting one's feelings, thoughts, and bodily sensations, used as a therapeutic technique. -

• Oneness - the fact or state of being unified or whole, though comprised of two or more parts.

• Minimalism - a movement in sculpture and painting which arose in the 1950s, characterized by the use of simple, massive forms.

2.4-AIM-

To correlate the integration of emptiness in architecture with emphasis on sensory experience for contemplation and introspection.

2.5- OBJECTIVE –

• To study the qualitative, quantitative and emotional aspect of emptiness, and to learn how to create spaces which have a quality to evoke a possibility for imagination, oneness and mindfulness.

• I will strategically integrate and balance empty spaces within the architectural design to enhance functionality, aesthetics, and user experience while fostering a sense of purpose and harmony.

2.6- HYPOTHESIS-

“Emptiness in architectural spaces serves to, enhance sensory perception, evoke profound emotional responses, and ignite imaginative engagement in end user.”

2.7- METHODOLOGY

• By understanding and studying concepts and design principles of architects who have used emptiness in their designs such as TadaoAndo, Le Corbusier, Louis. I. Khan, Kengo Kuma, Peter Zumthor ,AlvarAalto

• And learning the origin and development of the concept of emptiness, through philosophies like Buddhism, Taoism , Zen Buddhism , Sufism , existentialism and it’s physiological and spiritual exploration.

1- taschen - tadao ando (author - Philip Jodidio)

2- -https://tricycle.org/magazine/what-do-buddhists-mean-when-they-talk-aboutemptiness/

3- Brownell, Blaine Erickson. Matter in the Floating World: Conversations with LeadingJapanese Architects and Designers. New York: PrincetonArchitectural Press, 2011.

4- Hara,Kenya. White Translated byJooyeonRhee. Zurich: LarsMüllerPublishers, 2015. 5- Nuijsink, Cathelijine. How to Make a Japanese House. Rotterdam: NAi Publishers,2012. 6- Sejima,Kazuyo, and Nishizawa Ryue. Kazuyo Sejima, 1983–2000 + Ryue Nishizawa/SANAA

1995–2000 Tokyo: TOTO Shuppan, 2003

7- Source link – https://medium.com/creativespace/simplicity-and-emptiness-inarchitecture-19181c7f08b9

8- https://www.thehansindia.com/posts/index/Spiritual/2017-06-10/Empty-space-and-freemind/305693?infinitescroll=1

9- https://www.fastcompany.com/3062926/why-do-we-love-images-of-empty-spacesneuroscientists- and-artists-explain

10-http://www.yss.fi/yks2010-3_krivy.pdf

11-https://assemblepapers.com.au/2018/08/02/sunyata-the-poetics-of-emptiness/

3.1- Introduction of the topic and Intentions of Thesis.

"Emptiness is a starting point. Emptiness is where it begins, where you are. In the beginning, there is only emptiness." - Adyashanti

In today’s Western world "Emptiness" refers to a state of being empty or lacking substance or content, devoid, absence or lack. It signifies a physical void, a feeling of hollowness. Emptiness is also a mode of perception, a way of looking at experience by adding nothing to, and taking nothing away from it. However, across different philosophies and studies, emptiness holds profound meanings. It can represent a blank canvas, providing opportunities for sublime experiences and remaining open to interpretation. Hence the concept of emptiness or the word “empty” raises a lot of controversies. Emptiness, in its diverse forms, invites contemplation and exploration in all aspects of life.

Poem-

Embracing Emptiness-Anonymous

Emptiness, a canvas blank, Invites me to let my thoughts rank,

To fill the space with what I choose,

And let my creativity amuse.

It's not a void of despair, you see,

But a realm of endless possibility,

Where dreams can bloom and ideas soar, In emptiness, I find much more.

So, let us not fear the empty space, For it's a canvas for our grace, A chance to make our mark, express, the beauty found in emptiness.

http://the-meraki.com/the-moment-of-nothingness/ Fig.1

Emptiness is Sublime

The sublime feature of emptiness lies in its capacity to inspire wonder, deep reflection, and a sense of interconnectedness with the universe. Emptiness is a concept that can lead to profound insights and a sense of magnificence beyond ordinary experiences.

This captivating idea has fascinated many people over time, including philosophers, religious scholars, artists, scientists and thinkers from different periods of times and cultural backgrounds, serving as a perennial subject of fascination and contemplation.

Emptiness isn't just a concept for one area; it's been important in philosophy, psychology, spirituality, and even science. Artists and writers often use it to inspire their thought or express themselves creatively. It is a tool for spiritual growth and enlightenment. The fact that emptiness appears in various cultures shows how relevant and adaptable it is as a concept The presence of emptiness in diverse cultural contexts demonstrates its enduring relevance and adaptability as a concept.

Emptiness has ancient roots in both eastern and western philosophies. Eastern philosophies like Buddhism, Taoism, Hinduism and Jainism and in the west thinkers like Meister Eckhart and existentialist philosophers examined existential emptiness.

In recent years, scientific inquiries into the nature of the cosmos have also led to considerations of emptiness, particularly in the field of cosmology and astrophysics. The vast expanses of interstellar space and the concept of dark matter and quantum vacuum emphasize the profound implications of emptiness on our understanding of the universe's structure and evolution.

Overall, the history of emptiness spans diverse time periods and philosophical contexts, serving as a fundamental concept in the exploration of the nature of reality and existence.

When a creative mind is questioned about their perception of a bowl, and their general reply is “the empty space within”. Just so, in art negative space is the black canvas, which is just as important as the painting itself categorized as the positive space, leading to create balance within the whole image. While, in music, the silence between each note, chord or phrase that separates to create intervals. Similarly, the concept of emptiness is within almost every field, but we fail to understand the importance of the beauty of it, Emptiness revolves around something that is nothing and has to be avoided. One cannot see the presence of emptiness. Physically, it is empty. Conversely, it can be viewed as an “empty vessel” which has the potential to be filled with something. It holds ‘emptiness’within.

” Respectively emptiness is also a part of architecture, though it is one of the most fundamental yet most often misunderstood phenomena in the creation of architecture- “empty space”

The concept of emptiness has been a part of architecture since ancient times and prominently featured in the design of sacred places.

Over the course of history many architects such as Tadao Ando, Le Corbusier, Louis. I. Khan, Kengo Kuma, Peter Zumthor, Alvar Aalto and many more have continued to embrace emptiness in their designs.

Emptiness comes with its own good and bad notions, just as any abstract concept and phenomenon does, it could be interpreted as both positive and negative, depending on individual perspective and also their cultural contexts.

https://www.indica.today/research/research-papers/semantics-of-nothingnessbhartrharis-philosophy-of-negation-part-i/

Though it is important to understand that the perception of emptiness is highly context-dependent, and what we might consider as positive and negative can vary depending on cultural, philosophical and personal views.

Few of the bad notions associated with emptiness are loneliness and isolation, loss, barrenness, waste etc. though as good always over rules the bad, the good notions of emptiness have a much greater value and can impact our life profoundly, few of them being mindfulness and presence, tranquillity, balance and harmony, simplicity, sustainability etc. Emptiness holds importance in one’s life as it offers a counterbalance to the hectic and busy schedules of today’s modern life and existence. It provides space for mindfulness, simplicity and reflection promoting mental and emotional well-being. Embracing emptiness could foster a sense of calm, clarity. In a world often characterized by complexity, emptiness offers a valuable opportunity for balance, introspection and a deeper connection with oneself and the environment.

Hence in this thesis my aim is to understand, “how to create a space of emptiness?” and intend to create a space which not only creates emptiness but which can bring a positive impact on the recipient/user, a meaningful experience. To understand how a built environment can shape our experiences, influence our mood and emotions, and affect our overall well-being. To understand the unknown presence that comes upon us, creation on an atmospheric space containing soul and feeling, perceived with our phenomenological experience. By creating an atmospheric quality which will evoke multi-sensory experience and create an individual perception, memory and imagination.All keeping in mind of the negative notions and how these negative notions can come into play of a space and a person’s well-being. By creating spaces from the concept of emptiness, that could transform these triggering notions into positive ones.

Hence understanding the “Fullness of Emptiness”.

Fig.2

https://lisamunnelly.carbonmade.com/projects/4333487

Fig.3

• Emptiness- The state of containing nothing.

• Interactions- Reciprocal action or influence

- communication or direct involvement with someone or something.

• Nothingness -the absence or cessation of life or existence.

• Perception - the ability to see, hear, or become aware of something through the senses.

• Imagination - the faculty or action of forming new ideas, or images or concepts of external objects not present to the senses.

• Negative space - Negative space is a term used in art to describe the space surrounding a subject.Also called white space, it is typically empty and lacks details as to simplify an image. Negative space surrounds positive space in a work of art.

• Movement- an act of moving.

- a change or development.

• Light - the natural agent that stimulates sight and makes things visible.

• Contemplation - the action of looking thoughtfully at something for a long time.

- deep reflective thought.

• Interplay - the way in which two or more things have an effect on each other.

• Mindfulness - the quality or state of being conscious or aware of something.

- a mental state achieved by focusing one's awareness on the present moment, while calmly acknowledging and accepting one's feelings, thoughts, and bodily sensations, used as a therapeutic technique. -

• Oneness - the fact or state of being unified or whole, though comprised of two or more parts.

• Minimalism - a movement in sculpture and painting which arose in the 1950s, characterized by the use of simple, massive forms.

3.3- STUDYANDANALYSIS OF THE CONCEPT OF EMPTINESS

Characteristics of emptiness refers to all the defining qualities and attributes associated with the concept of emptiness, which can be applied across many contexts, including philosophy, art, design, psychology, literature, architecture and many more.

Emptiness as a multifaceted concept, encompasses both negative and positive characteristics, providing a rich and diverse range of interpretations and experiences. The unique attributes that set out the concept of emptiness, when deeply examined assist in disclosing its significance in moulding our ability to understand the world, our emotional experiences and the physical spaces we occupy. From simplicity to openness to feelings of isolation and irrelevance, the characteristics of emptiness allow and invite us to explore the interplay between absence and presence, form and void, and the countless ways in which emptiness influences our lives and the environments that we create. The derivation of these aspects and characteristics have happened through various fields and various philosophies by extensive exploration, research and experiences. By analysing these fields and philosophies we can understand how versatile the concept of emptiness actually is.

3.3-1 Emptiness in poetry-

Emptiness in poetry often serves as a lens through which poets convey intricate emotions, philosophies and experiences. Whether considering the concept of emptiness as an existential void, a metaphor for lost love, a heartfelt connection to the natural world, or as an symbol for spiritual awakening. The concept still continues to inspire poets to capture the complexities of the human psyche and inviting readers for contemplation and reflection. Various themes of emptiness around which poems are categorised are- existential emptiness, love and loss, nature and solitude, spiritual and mystical emptiness, minimalist poetry, metaphysical exploration. Many renowned poets such as T.S Elliot, Emily Dickinson, William Wordsworth, Rumi, Langston Hughes, Basho and many more have written on the concept of emptiness.

Here is an example of a poem written by the Sufi poet “Rumi”, exploring the concept of emptiness. Essence is emptiness. Everything else, accidental.

Emptiness brings peace to loving.

Everything else, disease. In this world of trickery emptiness is what your soul wants.

-Illuminated Rumi, rendered by Coleman Bark

Rumi’s poem conveys that the idea of true essence of existence is emptiness, while everything else in the material world is temporary and accidental. Explaining that emptiness is associated with inner peace and genuine love, while this attachment to the material world could only lead to spiritual turmoil. Rumi in his poem is trying to encourage his readers to seek the emptiness and to rise above the illusions of the world for a deeper connection with the essence of existence.

3.3-2 Emptiness in stories and fables;

Many writers and authors to explain the varied concept of emptiness, have illustrated their perception about the topic in form of stories and fables, explaining the reader how the concept could be interpretated.

Short stories are quick fictional tales, adorned with themes ad characters- these stories could either be long or short.

Fables are short stories with an animal or object, considered as characters, that ultimately teach us a moral or lesson.

Everything Is Empty – A Zen Story by Sadhguru

Yamaoka Tesshu, a samurai and student of Zen, travelled around Japan studying from various Zen masters. One day, he wandered into the Shokoku Temple and happened upon the monk Dokuon.

In the essence, this story teaches us that emptiness is not just a concept to be intellectually understood or physically grasped. Emptiness is a profound reality that goes beyond ordinary perception and can only be understood through direct experiences. Sekkyo’s unusual method of Fig.4

In a desire to show his comprehension of Zen, Tesshu stated to the Master, “The mind, the Buddha and all beings are empty. The true nature of all things is emptiness. There is no enlightenment, no delusion; no sages, no commoners; no toil, no reward.”

teaching, aims to shake the samurai out of his conceptual understanding and point him towards a deeper realization of the power of emptiness.

The Empty Vase- an Aesop fable.

Once upon a time, in a bustling village, there lived a wise old vase. This vase was adorned with intricate patterns and vibrant colours, and it was highly esteemed by the villagers. People from all around came to admire it, and they often filled it with beautiful flowers to enhance its beauty.

One day, a curious young girl visited the vase. She asked, "Vase, why are you so admired and cherished by everyone in the village?"

The vase replied, "My dear child, I am cherished not for what I hold, but for what I don't hold."

The young girl was puzzled and asked, "What do you mean?"

The vase continued, "You see, I am empty inside. I hold no flowers, no water, no earthly possessions. I am empty, and it is in my emptiness that I find my true value. I am a vessel of possibility, waiting to be filled with whatever beauty life offers. It is not what I possess, but what I can receive, that makes me special."

The young girl pondered the vase's words and realized the wisdom in them. She left with a newfound understanding that emptiness, far from being a void, can be a source of potential and beauty.

In this fable, the empty vase symbolizes the profound concept of emptiness, as a vessel of potential. By teaching us that emptiness rather than being an lack or void is an opportunity for something new and beautiful to be embraced. Just as the empty vase in the fable knows its value in what it can receive, we too can find meaning and richness in our hearts and minds. Embracing emptiness can lead to new opportunities for experiences and possibilities which can help us lead a more fulfilling life.

2.3-3 Emptiness in physics and cosmology;

In physics, emptiness is typically referred to as the absence of matter or particles in a given space, often associated with the concept of vacuum, which is a region of devoid matter and hence has a very low density. However even in a seemingly empty space or vacuum there still can be traces of small amounts of particles, which are called as virtual particles in quantum theory or cosmic background radiation, which makes it not entirely empty in an absolute sense.

Fig.5

Vacuum is what is considered to lie in the vast expanses of space, permeating around everything. In many cultures. The world as we know it was believed to have originated from emptiness, void or nothing.

Hence in physics emptiness, or an empty space, is not truly empty as we might assume. These spaces are filled with quantum fluctuations, virtual particles and energy fields. The concept of emptiness in physics challenges the idea that empty space is merely a void and emphasizes that there are dynamic and unpredictable processes happening at the quantum level. Emptiness in physics is far more complex and active as a phenomenon, unlike what it seems to appear on surface.

In cosmology, emptiness refers to empty regions of space in the universe, commonly known as cosmic voids. These areas appear empty on a larger scale, even though they contain traces of matter and energy, including the dark matter. Modern cosmologists say that over ninety-nine percent of the cosmos is empty. Over ninety-nine percent of an atom is empty. Ninety-nine percent of existence is empty. Emptiness in cosmology challenges the idea of complete voids, and helps us understand the dynamics of the universe, including its expansion and the influence of dark energy.

https://www.economist.com/books-and-arts/2016/11/17/the-uncanny-physics-of-empty-space

3.3-4 - Emptiness in Zen gardens

Fig.6

Traditional Japanese garden design is created relating to ideas of zen, which is one of the art forms that uses the concept of emptiness. All Zen gardens are also recognised as rock gardens, following the principles of zen Buddhism and emphasizing on the concept of emptiness in many ways.

Zen gardens are minimal in design and incorporate minimal elements in their gardens, elements like gravel, rock and sand, encouraging contemplation of emptiness through simplicity. Creating and designing Zen gardens with the emphasis on balance and harmony, reflecting ideas of zen and Buddhism of finding balance within emptiness. These gardens promote mindfulness, allowing spaces for meditation, and embracing mental well-being. The nature of Zen gardens changes over time, illustrating the temporary nature of all things. Zen gardens serve to aid for meditation.

Through the emptiness shown by all the elements used in design and the emptiness of the volumes, hence the scenery of the garden leaves room for imagination and the whole zen garden revolves around the interpretation of the persons individual imagination. The gardens invite every individual for introspection and reflection, fostering a connection with the idea and concept of emptiness as source of wisdom and tranquillity

https://www.bbc.com/culture/article/20220406-the-meaning-behind-the-japanese-zen-garden

Fig.7

Kenya hara is a Japanese designer and the art director of Muji. Muji is a well-known global Japanese retail company selling a wide range of products from household consumer items, furniture, clothing and food products. The philosophy of Kenya hara and the brand Muji is “minimalism” and a “no-logo” or “no-brand” policy. While describing and expressing any Muji products, hara spoke about emptiness, “to be simple is to be empty”. Through emptiness an ideal image can immerge, meaning that there was no image to begin with and we could insert our own image, allowing us to take hold of our imagination.

In 2015 hara wrote a book called “white: The Circle of Eternity”, in which he investigated the source of Japanese aesthetics that construct simplicity and subtlety. The book allows the readers to reflect on the beauty of simplicity, emptiness and the inherent meaning of emptiness in design and life. In the present day, modern world, emptiness is considered to be nothingness, null and lacking, though Kenya hara said it can convey much more, such as a condition in which something is likely to be filled with content in the future. “A creative mind, in short, does not see an empty bowl as valueless, but perceives it as existing in a transitional state, waiting for the content that will eventually fill it.”- says hara. Hence concluding by saying that it’s easy to imagine emptiness being filled and can be understood as a condition of hope and expectation.

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https://merton.bellarmine.edu/s/Merton/item/52254

Fig.14

Kitaro Nishida is a prominent Japanese philosopher, known for his “philosophy of nothingness”. His philosophy of nothingness is a complex and profound exploration of the nature of reality, selfawareness and the relationship between the cosmos and consciousness.

Nishida’s concept of nothingness declares that nothingness is not merely an absence but rather is a dynamic and creative principle. He stated that nothingness is a ground from which all things emerge and return, a dynamic source of potential and change. Believing that individual selfawareness is closely connected to absolute nothingness, arguing that when one is engaged in selfawareness they encounter a form of nothingness in the core of their consciousness, and this considered to be absolute nothingness, as the foundation of individuality and self-awareness. Nishida was prominently influenced by zen Buddhism and particularly the zen concept on emptiness- “sunyata”. He believed that art and aesthetics plays a crucial role in disclosing the true nature of reality and nothingness. Kitaro Nishida’s philosophy of nothingness has had a profound impact and influence on Japanese philosophy and yet continues to inspire many and more scholars and thinkers globally, his philosophy has been influential in fields of philosophy, theology, literature and cultural studies.

3.3-7 John Pawson- Minimum

John Pawson is a British architect and designer known for his minimalist and contemporary architectural style. Simplicity functionality and the use on minimal palette of materials being his main design philosophy. “Minimum” is a book written by him in 2006, and explores the principles of minimalism and emphasizing the beauty and elegance that can be found in simplicity. Pawson discussed how the reduction of elements to their essential forms and functions can result in clarity

and purity. By showcasing visual simplicity and elegance, featuring clean lines and monochromatic colour schemes. He also discusses how to explore the quality of space and the importance of

proportion, light and spatial arrangement in creating environments that are aesthetic and comfortable. Highlighting the use of natural materials and paying attention to tactile qualities on the surfaces, often employing materials in their raw sate to emphasize their inherent beauty and texture. This book is a source of inspiration for understanding and mastering minimalistic design and its impact. As emptiness and minimalism go hand in hand, his book also acts as guideline for creating architecture of emptiness.

3.3-8 Enso

“Enso” is a Japanese word and a symbol that represents a hand-drawn circle with a single, an unrestricted brushstroke. “Enso” holds an profound significance in Japanese culture, particularly in the realms of zen Buddhism and traditional Japanese art. Enso is deeply associated with enlightenment, completeness and the universe’s infinite nature.

Enso is the idea that everything is interconnected and there is a sense of unity and wholeness in all things. Its closely associated to zen Buddhism, zen practitioners try to experience it by creating Enso as a form of mediation, as it requires intense focus and presence of the moment. The act of painting an Enso could be a spiritual act itself, drawn in a freehand manner and is left incomplete on purpose. This imperfection symbolizes the unpredictability and temporary nature of existence, also us a reminder that perfection is not necessary for completeness or enlightenment. The circular shape is a representation of the cycle of life, death and rebirth, symbolizing the cyclic nature of existence and stating that the ideas of beginnings and endings are all interconnected.

Enso is not only limited to spiritual or meditative contexts, it’s also a common motif in Japanese calligraphy and ink painting, creating Enso as an artistic expression.

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Enso features a circular form, consisting of a central open space, representing a void or emptiness reflecting to a fundamental concept in zen philosophy signifying the potential for new beginnings and the infinite possibilities.

In essence Enso is a symbolic and artistic representation of wholeness, imperfection, interconnectedness and the cyclic nature of existence. The act of creating Enso can be profound experience that reflects one’s state of mind and spirituality.

2.3- 9 Kanso

“Kanso” is a Japanese aesthetic principle which focuses on attention to simplicity, elegance and a sense of purity. Down to its core, Kanso is about simplicity and the removal of unnecessary embellishment’s, seeking to achieve beauty through simplicity. The principle of Kanso values and promotes clean lines, uncluttered spaces and a sense of orderliness. Kanso also embraces a sense of naturalness and authenticity, driving inspiration from the natural world. While simplicity is a key component of kanso, it does not mean plainness or bareness. It seeks to achieve a harmonious balance, valuing proportion and a sense of balance between elements, hence creating a feeling of tranquillity and serenity

Kanso is closely related to Zen Buddhism and Zen philosophy, having to share similarities of mindfulness and living in the present moment. Kanso can be found in traditional Japanese architecture, tea ceremonies, ikebana (flower arranging), and various other art forms.

Architect TadaoAndo followed the principle of kanso in his architectural works.

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3.3-10 Heart of sutra- the fullness of emptiness

One of the most esteemed texts in Mahayana Buddhism is the heart sutra and the phrase “the fullness of emptiness” is often associated with it, closely related to the concept of emptiness(shunyata).

Heart of sutra also known, as the “heart of the perfection of wisdom”, summarizing the essence of emptiness and teaches us that within the realization of emptiness lies the fullness of wisdom, compassion and enlightenment, it signifying that by understanding the true nature of reality, one can gain profound awareness into interconnectedness of all things. Teaching that emptiness is not a separate form and form is not separate from emptiness. In the west, when a circle is drawn, people consider it to be zero or nothingness. But in India and many otherAsian countries, when a circle is drawn it means totality and wholeness. Both the meanings being completely opposite hence proving “form is emptiness, and emptiness is form”, the same is true with feelings, perceptions, mental formations and consciousness, because these contain each other. Because one exists, everything else proceeds.

The fullness of emptiness has a keen wisdom of looking at things as they are and the limitless compassion that arises from emptiness.

https://www.dharmanet.org/heart_sutra.htm

Fig.19

3.4- CHARACTERITICS OF EMPTINESS

Therefore, based on all the research and studies carried out, we can now list the positive and negative characteristics of emptiness.

3.4-1 POSITIVE

Emptiness possesses several distinctive characteristics, here are few of the positive characteristic of emptiness

• Absence of inherent meaning

This character of emptiness implies that emptiness does not arise with a predefined or fixed meaning or importance. Instead, it’s a blank canvas, onto which one can present/project their own interpretations and assign meanings according to their own unique experiences and perspectives, hence making it completely free of any preconceived thoughts or prescribed definitions. Emptiness instead invites an individual to engage actively and subjectively on this blank canvas.

Emptiness is particularly relevant in art and philosophy, where this absence of inherent meaning allows the artists and author for a wide range of personal interpretations and emotional responses.

This is a fundamental characteristic of emptiness which allows for dynamic and open-ended exploration of the concept.

• Simplicity and minimalism

The relation of emptiness with simplicity and minimalism emphasizes a fundamental principle in design and aesthetics, the deliberate reduction of clutter and unnecessary elements to achieve a sense of clarity, elegance, and focus. This characteristic of emptiness plays a significant role in shaping various aspects of human experiences, from visual aesthetics to functional design and beyond.

In design and aesthetics, simplicity and minimalism often involve the attentive selection and arrangement of elements to create a sense of harmony and balance. Emptiness is not merely an absence but it’s about purposeful exclusion to emphasize what truly matters.

The concept of simplicity and minimalism in connection with emptiness reflects a philosophy that values clarity, functionality, and the elimination of distractions. Emptiness, when utilized effectively, allows for a refined and purposeful design that can enhance the human experience by offering a sense of order and calm in a world often filled with complexity and clutter.

• Openness and space

The characteristic of "openness and space" is associated with emptiness bounds both physical and metaphorical aspects, offering for a profound sense of freedom, creativity, and boundless possibilities. This characteristic of emptiness can be observed in various contexts, from architectural design to personal mindset. Hence, they are categorised mainly into two divisions, that are physical openness and metaphorical openness.

• Physical openness

In architecture and design, open spaces are the key aspect of combining and embracing emptiness, “most prominent way of incorporating emptiness”. These spaces could be seen within buildings and also urban settings, providing a sense of freedom and liberation, offering room for movement, social interaction and artistic expression. In art open spaces are seen in the blank spaces on the balance and are also majorly in sculptures, exploring the

interplay between form and emptiness, resulting in fascinating creations, conveying exploration and openness.

• Metaphorical openness

Emptiness concerning to one’s mindset and emotions is defined as metaphorical openness. Requiring one to have an open mind, letting go of biases, and fostering mental and emotional vastness, allowing for personal growth, inner peace and mindfulness. Metaphorical openness also promotes emotional freedom, allows to release emotional and mental baggage and make personal growth easier This kind of emptiness encourages creativity and spiritual development, opening doors to a world full of possibilities.

• Clarity and focus

The characteristic of “clarity and focus” with emptiness is related in its role of eliminating distractions and allowing individuals to concentrate on essential aspects or ideas. This characteristic has a great impact on multiple aspects of life and is particularly relevant in the domain of design, mindfulness and personal development.

Architectural

clarity and focus

Empty spaces in architecture can create a sense of clarity by minimizing visual clutter. By careful selection and arrangement of elements.

Absence of excessive ornamentation and unnecessary details permits viewer to focus on the purity of form and interplay of light and space. This enhancement in the aesthetic experience allows promoting a sense of clarity in design.

• Concentration and mindfulness

Emptiness is considered to be a tool of mindfulness. Emptying the mind of racing thoughts and distractions, individuals can experience and attain a heightened state of concentration and clarity. Mindfulness uplifts us to focus on the present moment, helps pursue awareness and allows to have deeper connection with the surroundings. By playing a pivotal role emptiness helps by creating a mental space that is free from mental clutter.

• Creative and intellectual focus

The characteristic of creative and intellectual focus involves stripping away all unnecessary information or preconceived notions to put an edge on our core ideas or concepts. The characteristic amplifies intellectual clarity and promotes a deeper understanding. In all creative fields such as writing or problem-solving, emptiness can be a canvas upon which one focuses all their creative energies, by eliminating all nonessential or irrelevant distractions, one can channel their creativity more effectively.

• Emotional clarity

This characteristic allows for individuals to let go of any emotional clutter and noise, by allowing for a clearer understanding of one’s emotions and others emotions as well, hence encouraging heathier relationships and emotional well-being.

• Cultural significance

Cultural significance in emptiness refers through meanings, symbols, and values, different cultures attribute to the concept of emptiness. All across the globe, emptiness holds various interpretations:

This cultural significance of emptiness holds meaning in spirituality, art and daily life. Whether symbolizing the cultural importance in Buddhism, Taoism, Hinduism, Japanese

aesthetics and philosophies, western minimalism, existentialism etc, both eastern and western cultures reflect from emptiness and emptiness also reflects to the human’s pursuit of deeper meaning and connection within cultural expressions and beliefs.

• Aesthetic appeal

The characteristic of aesthetic appeal of emptiness lies in its vastness to create visually fascinating experiences through the interaction of light, shadow and all other natural elements.

Emptiness being a fundamental element in art, architecture and design used to engage the viewer and evoke their emotions, allowing for dynamic compositions and contrasts. It is a sense of balance and elegance, making emptiness a key characteristic of visual beauty and aesthetic appeal

• Balance and harmony

The characteristic- balance and harmony is intertwined with emptiness, in all aspects such as design, relationships and one’s inner state. Playing a pivotal role emptiness helps in attaining visual balance in design, respecting personal boundaries, fostering healthy relationships, encouraging inner peace through mindfulness and spiritual practices. Emptiness promotes individuals to find an equilibrium and well-being in different aspects of life.

• Cognitive and emotional aspect

The characteristic of cognitive and emotional aspect of emptiness is complicated and context-dependent varying from time to time. Emptiness can harness all kind of emotions, bad and good, feelings of hollowness, detachment, inner peace and creative inspiration among many others. This characteristics concept invites people to explore and investigate the depths of their inner experiences and emotional states, offering various chances for selfexploration, personal growth and extreme transformations.

3.4-2 NEGATIVE

Emptiness, while possessing many positive attributes, its crucial to acknowledge that there are negative characteristics associated with the concept of emptiness, depending on how its perceived and experienced. Though it’s extremely important to note that the negative characteristics of emptiness are not inherent to the concept but rather arise from individual experiences, cultural influences and contextual factors and can be understood and experienced in abundant ways.

Here are some major negative characteristics or possible downsides of emptiness;

• Loneliness and Isolation:

Emptiness could also symbolize a sense of void in one’s social life, linking to emotional isolation caused by struggle to connect with own self and others’emotions, hence leading to feelings of isolation and loneliness. Emptiness is often intertwined with mental health concerns such as depression and anxiety, implying that Lack of human contact, human connection or emotional emptiness are also causes for loneliness and isolation.

• Meaninglessness:

Emptiness is perceived as lack of meaning or purpose, generating feelings of despair or disillusionment. Existential emptiness is when one struggles with the questions about what is the purpose or meaning of life and what could be triggered by factors such as personal

crises, loss of direction, uncertainty, inner turmoil, disconnect from spiritual beliefs etc many of these factors often result from loss of faith and meaning in life, leading to the issue of meaninglessness.

• Void or Loss:

Emptiness is sometimes symbolized by void or loss, by signifying the absence of something meaningful or significant, it could be a person, relationship, identity or purpose. Emotionally taxing experiences such as loss, grief, nostalgia, loss of identity and emotional void are amongst the range of emotions that can be evoked due to loss or void.

• Barrenness:

Emptiness can also be perceived as barrenness implying a lack of productivity or creativity, viewed at times as unproductive or unfulfilling. Few examples of barrenness caused by emptiness are creative barrenness, productivity block, existential stagnation

• Waste:

Waste of space or resources can sometimes be viewed negatively as emptiness, suggesting that its potentially and most often critiqued to be inefficient and unproductive.

• Cultural Variation:

Emptiness and philosophies are connected associated with-it various cultures, and their definitions vary from culture to culture. Hence causing their perceptions to vary significantly, proving to us that what is considered as a positive impact in one culture could be negative in another.

• Psychological Impact:

Anegative psychological impact could also be caused due to emptiness, particularly when its leading to feelings of emptiness within an individual, these emotional responses could be associated with various conditions such as depression, anxiety etc.

3.5ASPECTS

Emptiness is known to be a multifaceted concept with a several aspects that can range over various domains, including philosophy, art and architecture.All these aspects of emptiness exhibit versatility and its connection across wide range of disciplines, illustrating how it can be both a philosophical concept as well as a practical design principle with extreme inference for human experience and well-being.

Some of the key aspects of emptiness:

• PhilosophicalAspect:

The philosophical aspect of emptiness is an intense and multifaceted concept explored in many philosophical traditions. The Key philosophies of emptiness are the “Buddhist concept” of "sunyata" or emptiness, explaining that all phenomenon’s lack inherent existence and everything in life is interconnected. “Taoist philosophy” views emptiness as the source of existence which is represented by the “Tao”. “Zen Buddhism” focus on meditation through which it directs experiential awareness of emptiness. Existentialism and Western philosophy dive into existential emptiness and the absence of its inherent meaning of emptiness. Personal transformation and enlightenment are often associated with questions of emptiness which are elevated with respect to ethical, phenomenological and

interconnectedness. Overall emptiness challenges our understanding of reality, existence and one’s self, through its philosophical aspects.

• PsychologicalAspect:

Psychological aspect of emptiness is surrounded a wide range of emotional and analytical responses, ranging from tranquillity and reflection to anxiety and depersonalization. Being a complex aspect of the human experience, having a prominent impact on mental health and personal growth. Acknowledging and addressing this psychological aspect of emptiness is crucial for overall well-being.

• Artistic andAestheticAspect:

Visual Emptiness: In visual arts, emptiness can refer to the use of negative space, voids and open spaces or utilization of minimalism in artistic compositions. Exploring on how the absence of elements can convey a meaning and create visual impact, hence understanding the importance of the aspect of visual emptiness.

Aesthetic Emptiness: a number of artists and designers incorporate emptiness as an aesthetic principle, focusing all their attention towards simplicity, tranquillity, and the interaction of light and shadow and other natural elements within their artworks.

• ArchitecturalAspect:

In architecture, emptiness is employed as a fundamental design element, with the use of open spaces, voids, and negative space, influencing the spatial experience, aesthetics, and functionality of architectural spaces.

• Cultural and SpiritualAspect:

Emptiness holds major significant role in numerous cultures. Many concepts and philosophies have been derived from all these different cultures. In spirituality, emptiness is known to be a symbol and can symbolize a state of receptivity, supremacy or connection with the divine. often relating to experiences of inner peace and enlightenment.

3.6 HistoricalAspect of the phenomenon.

Emptiness as a concept has a rich and diverse history, spread across different cultures and philosophical traditions. Throughout the course of history, the subject of emptiness has always been open to deep contemplation, exploration, and has been interpreted and reinterpreted by these various cultures. This profound and enduring subject of exploration, touches on fundamental questions about the nature of reality, existence, consciousness and human experience.

3.6-1 Shiva

In Hinduism Lord Shiva is known as omnipresent, omnipotent and omniscient, known as “ Mahadev”- The great god. Shiva refers to both “that which is not” and “adiyogi”, because in many ways they are synonymous. The being- adiyogi is a yogi who is considered to have experienced his life existence as himself. To be nothingness one has to experience every moment of his life containing his existence within himself, for every moment. “Only nothingness can hold everything.

Something ca never hold everything.” “Avessel cannot contain the vast ocean but this planet can hold the ocean, but it cannot contain the solar system. Just so the solar system can hold all our planets and the sun but it cannot hold the entire galaxy. Progressing in this direction, we ultimately see and understand that it is only nothingness that can hold everything.”

“Shiva is nothingness” - In today’s western world, science is proving to us that everything comes from nothing and goes back to nothing. Hence concluding that the basis of existence and the fundamental quality of the cosmos is actually vast nothingness. It Entails that galaxies are just a small happening, while everything else is all vast empty space- “nothingness” By referencing to the womb from which everything is born and to the oblivion into which everything returns too, just like the shiva – the creator and destroyer- proving that everything comes from shiva and everything returns to shiva.

Meditating is also shiva, an embodiment of profound stillness and inner emptiness. Therefore, shiva is associated with emptiness in many symbolic and philosophical ways, representing both a philosophical and experiential aspect of the divine and the universe.

3.6-2 Shoonya-“the power of nothingness”

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Shoonya is a philosophy in its own right, in India’s ancient texts. If we look at “Shoonya” numerically, it simply means zero. Shoonya was invented in India, it possesses no measurable value, but adds exponential value to any number. The invention of zero, wasn’t considered to be a number of absence but was considered as the ultimate number. On a literal level “Shoonya” means emptiness, devoid of matter of essence. Though when we analyse it philosophically, it is not considered as absence of things; hence it isn’t a negative notion; it is in fact considered to be known to have profound recognition of limitless presence.

“Forms disappear, only formless remains. Definitions disappear, the undefined remains.” - Osho

‘The spilling of one’s consciousness into the vast limitless expanse of the universal consciousness is known as “Shoonya”’. It is considered as a unit that is consumed by the whole; by theAtma that is Bhrama.

As Osho explained, “Only nothingness can be infinite; somethingness is bound to be finite. Only out of nothingness is an infinite expanse of life, existence, possible - not out of somethingness. God is not somebody: He is nobody or, more correctly, nobodiness. God is not something: he is nothing or, even more correctly, no-thingness. He is a creative void.”

Therefore it’s no wonder, that “shoonya” is termed to be a cosmic void, it is symbolised in age-old ancient texts as “ “parambrahman”- the formless spirit that is beyond description but is considered as the ultimate basis of everything”

Eventually, Shoonya meditation and the experience of emptiness can lead to an extreme shift in one’s perspective, allowing all individuals to free themselves from the need of external validation and decoration, to allow individuals to recognise the boundless emptiness within themselves and the entire cosmos.

3.6-3 Buddhism/ Buddhist Philosophy (c. 6th century BCE onwards);

Emptiness is known as “sunyata” in Buddhism, which has originated with the teachings of Siddhartha Gautama, “the Buddha”. Emptiness in Buddhism is considered to be the ultimate nature of reality, empty of the inherent, independent existence. Hence suggesting that all the phenomena, including objects, events, and mental states, are devoid of inherent existence and essence, instead, they are considered to be dependent, and are said to arise in dependency of other causes and conditions, suggesting that nothing ever exists in isolation and that everything will always be interdependent and is always in a constant state of change, including one self. Buddhism Highlights the interconnectedness and interdependency of all things, by challenging attachments and progressing towards freedom from any suffering.

Understanding the realization of emptiness is considered a key step on the path to enlightenment in Buddhism – “a deeper understanding of the reality”.

3.6-4 Nagarjuna and Madhyamaka (2nd century CE);

Nagarjuna ater buddha himself, the most prominent and most important Buddhist philosopher, he was considered as one of the most original and influential thinkers in the history of Indian philosophy. His philosophy was based around the central notion of “emptiness” – “sunyata”, which was known as “middle way”- “Madhyamaka”. The teachings of Madhyamaka prominently emphasized on the middle way, concept of dependent origination and the distinction between conventional and ultimate truth. The distinguishing between conventional and ultimate truth, using logical methods to illustrate emptiness. The teachings aim at liberating individuals from suffering and encouraging compassion and ethical behaviour. Nagarjuna opened a school of Madhyamakaschool of thought, extensively exploring the concept of emptiness and its implications. Nagarjuna’s influence of this Buddhism spread to Tibet, China, Japan, and otherAsian countries. His philosophies still continue to be influential in Buddhism and also impacting today’s contemporary philosophical thoughts.

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3.6-5 Taoism /Taoist Philosophy (c. 4th century BCE onwards);

Taoism is an ancient Chinese religion and philosophy, which emphasizes in harmony living with the Tao (the natural order of the universe), which is defined as the ultimate reality of way. In Tao emptiness signifies the formless, un-manifested aspect of the Tao from which all things arise.

Taoism is attached to philosopher “Lao Tzu”, who has written the main book on Taoism, the “Tao Te Ching”, the book contains versus that refer to the significance of emptiness as a source of potential and creation. Embracing emptiness is a key aspect of Taoism, where emptiness allows individuals to tap into source of creativity, wisdom and natural spontaneity, encouraging a life that flows effortlessly and unburdened without any external attachments or desires.

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3.6-6 Zen Buddhism (c. 7th century CE onwards);

Zen Buddhism also known as “Chan Buddhism” in China is a branch of Mahayana Buddhism, which emphases its concept on the direct experience particularly in the realization of emptiness through meditation. Emptiness being the central concept on zen Buddhism which is intimately tied to the practice and philosophy of zen. Zen practitioners achieve these by learning and understanding practices such as, “zazen” (seated meditation), “koans” (paradoxical questions) and the concept of non-duality and the integration of emptiness in everyday life, forming all the fundamental aspects of zen Buddhism. In zen, emptiness is often referred to as “Mu” or nothingness, which is not only a philosophical concept but a lived experience that spread through ones understanding of reality and nature of self. Emptiness in zen Buddhism is not only confined to theory but is a lived experience that goes way beyond words and concepts.

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3.7-Architecture dealing with the phenomeon of emptiness:

Admits the modern era where there is constant development occurring, especially in the field of architecture, all spaces are designed through the exploration of fundamental components of space and details in design which are trying to enhance the phenomenological experience in architecture, looking into the spiritual aspect and the invisible-emptiness.

The concept of emptiness, has always sparked controversy and is usually being perceived as nothingness, non-existence and absent. Hence a space can be cluttered or be filled with objects; nevertheless, its yet conceptually empty.

“Emptiness allows us to see space as it is, to see architecture as it is, preventing it from being corrupted or hidden by incidental debris of the paraphernalia of everyday life” (Pawson, 1996, book- Minimum).

What do we feel or experience as we enter an empty space? This unknown presence that comes upon us, which cannot be explained! Can presence be felt in absence? And what is the quality of emptiness?

Hence all these questions could be answered, by the analyses of the idea of emptiness as it can be applied in architecture, discussing how emptiness can create phenomenological experience for the user, understanding conceptual space and qualities of emptiness that bridges the relationship between human, emptiness, space and architecture.

Emptiness – what is emptiness, what is the quality of emptiness and what is its relation with architecture, and how to create emptiness?

As emptiness is a controversial concept, some consider emptiness to be absent and non-existent while others consider it to be the origin of everything. To support the latter, Kenya Hara’s philosophy and works explain and state that – “emptiness does not mean “nothingness”; rather, it indicated a condition which will likely be filled with context in the future.”’

In the realm of architecture, emptiness plays a remarkable role in the building design principles and aesthetics. It is not only used to indicate physical voids or vacant spaces but it is also used to deliberate thoughtfulness and purposeful use of unoccupied spaces to amplify its functionality, aesthetic appeal and overall human experience within built environments.

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Emptiness in architecture influences the overall quality of life, by offering mindful, functional and emotionally evoking spaces for the end user.

3.7-1 Concept of emptiness

The concept of emptiness is a captivating and transformative idea. Plenty of philosophers and designers, both from easter and western perspective try to explain this concept of emptiness.

Western point of view - From the western point of view there are four different expressions/ interpretations on the concept of emptiness-

• Constructivist emptiness – based on the uncertainty and the temporary. Pure forms and freedom of movement, capture this concept of emptiness creating a balanced relationship between objects and people, ensuring in equal and inter-subjected relationships.

https://architecturecompetitions.com/museum ofemotions2/

• Minimalist emptiness- made from the purest forms and clean geometry, explained as essential forms.

Alvaro siza and Carlos castanheira, saya park

Louis Kahn, Hurva Synagogue, unbuilt, digital reconstruction by Kent Larson. [Photo via MIT Media]

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• Formal emptiness- interpreted as an elimination to achieve deep impression of visual silence.

Green energy efficiency biomass reservoir/ christopher hesse architects.

https://www.archdaily.com/955738/most-importantly-i-can-stimulateprocesses-in-conversation-with-christophhesse/600f23d463c0178097000042-most-importantly-i-canstimulate-processes-in-conversation-with-christoph-hesse-photo

long museum west bund. shanghaiATELIER

DESHAUShttps://divisare.com/projects/268679Atelier-Deshaus-Long-Museum-West-Bund

• Organic emptiness- interpretation of timeless dynamics, spontaneity and portrayal of symbols.

https://www.reddit.com/r/ArchitecturePorn/comments/ axjfwu/stairs_tate_modern_london_uk_oc_3089_x_46 33/?utm_source=ifttt&rdt=33346

MAD tops Shenzhen cultural park with "monumental stones"https://www.dezeen.com/2020/06/25/mad-shenzhenbay-culture-park/

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Eastern point of view

The eastern point of view is mostly influenced by many philosophies. Emptiness is pondered as the ultimate foundation of reality that goes beyond the idea of “being and “non-being”.

Based on “Kitaro Nishida’s” concept of emptiness, three points are elected to explain the concept of emptiness-

•The dialectic of opposites – states that – the harmony between opposites is a face of the philosophy of emptiness. It discusses of being relevant to the issue of the identity. This identity is intent on not by what is believed to be existing within itself, but its relationship with the opposite.

To put it another way, the idea of emptiness is the realization that things are defined by their relationship to the opposite, not by what is inherent in them.

For instance, the only way we can distinguish between warmth and coolness is if we are aware of what coldness is.As a result, something's identity depends on its relationship to opposites as well as what it contains within. We can better comprehend the nature of things thanks to this interaction between opposites.

•The bodily subject of immersion- as stated by Nishida, the self as “empty vessel” is mastered through the sensing body.

To explain in simpler terms, Nishida’s idea is to consider one’s inner self as an “empty vessel”, which becomes real through our physical experiences and sensations. By implying that when we feel and experience through our senses, we don’t judge or evaluate them by any preconceived ideas or values. Rather, we accept these experiences as a part of ourselves, hence we choose to shape our sense of self by our direct sensory experiences rather than any preconceived or pre-existing concepts and beliefs.

•The dialectic between the ideal and real- this implies that concepts like eternity or infinity could only be experienced through actual real and tangible things. But at the same time, the real world exists because of these concepts’ad ideals, demonstrating that everything is interconnected and everything relies on each other. One cannot exist without the other, and will eventually end up complementing each other, this applies to all universal ideas and also specific and individual ideas.

3.7-2 How to create emptiness?

From these discussions, we know that emptiness can be thought of as an "empty space," as a shelter in the built environment, where silence and calmness produce a sense of stillness.

There is no way to plan emptiness, but by drawing its boundaries we can let emptiness come to life.

Creating architecture of emptiness, is not literally an empty space, but could be achieved through the concept of simplicity.According to “John Pawson, in his book minimum (1996)” he stated that-simplicity can be achieved through the idea of “minimum”, achieved as a result of subtraction in order to attain perfection. Simplicity surpasses aesthetics, in which it is trying to reach to the inner quality of space, to purify the spirit and offer a sense of tranquillity. Recognizing simplicity is not easy, needing to reach into its essence and achieve the qualities of simplicity.

In the field of architecture, from the composition of geometry form is obtained. Hence to attain simplicity, form plays a crucial role. Rhythmic repetition is a composition that provides a sense of order and exhibits a quality of simplicity. Pure geometry exhibits a sense of calming and shows the space as it is. Materials also play a crucial role in obtaining simplicity, creating aesthetic integrity with architecture and giving a sense of depth.

Simplicity could be referred to as an idea of representation, paving a path to create an empty space and evoke a sense of emptiness and as a quality to help people perceive the space and architecture as it is.

Despite its physicality, architecture of emptiness should be labelled as “architecture for the senses” , influencing the perception of time and allowing a ‘pause’to rest the body and mind. It is a kind of architectural creation that speaks to the soul and body.

According to Karagiannidou Eleni (2013), in her thesis, A Chapel for Atheists, there are six components that should be applied in the architecture in order to create the sense of emptiness. Consisting of – idealization, authenticity, slowness, plasticity, sensuousness, and silence.

Idealization – the idea of idealization in architecture suggests that buildings should focus on addressing humanity’s factual concerns. The idea of idealization is based on the belief that the modern world lacks balance, due to failing to notice its fundamental human aspects. To achieve this, architecture must provide spaces that resonate with shared and mutual memories and experiences. Taking inspiration from Plato’s idea of reality, by including elements like human being, becoming one with the environment. By adopting humanity’s essence and staying connected to experiences, architecture can create meaningful spaces that resonate on a profound level.

Summarising idealization permits architecture to be personalised and much more meaningful for every individual, based on their common memories and ideals.

Authenticity –Authentic architecture gives rise to emotional responses that help connect with our induvial identity and help us connect with understanding the purpose in the world. Authenticity provides a sense of safety and makes us feel safe, this sense of safety allows us to let go our minds to wander, leading us to a feeling of emptiness where our imaginations are let to run free and could interpret space in our own unique ways.

An Exploration Into DigitalAnd Physical Design With Wang & Söderström

Slowness -Within our perception, architecture has its part to slow down its perception in time. In architecture every journey is a sequential process, demanding the factor of time and movement in spaces. To communicate this idea of slowness, every space must achieve the potential to allow people to stop with pause for curiosity for the framed scenery rather than move with direction, providing “options” and not commands for movement. capturing the effortlessness and natural flow of movement and letting the stop happen on its own accord, depending on personal experience.

Plasticity- is known as one of the most valuable characteristics of architecture. To create this plasticity in architecture, one must be able to create architecture of the senses, designed and curated with tactility and reference towards human body and senses. Including aspects such as atmosphere, light, shadow, movement and materiality would help evoke human senses.

Sensuousness- with plasticity in the space, sensuousness will be created automatically, which allows people within the space to use their sense to feel and experience the phenomenological dimensions of that space even though physically, it could be an empty space.

Silence- The most important component of all is silence. The meaning and reference of silence here is unrelated to noise; but it’s a quality that turns us towards the self, a state of mind offering an existential and self-implying awareness which is proceeded by adopting sensory qualities. The space designed and created must provide abstract spaces that keeps us captivated in a sensorial experienced silence, here silence is where we can sense ourselves, absorb the emptiness and approach or enter the void. The moment of silence created will provide a pause, an intermediate space, where time is felt as if stopped or slowed down, hence creating architecture of emptiness.

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How do we define and feel the architecture of emptiness?

One of the phenomenology principles that helps us experience the quality of emptiness is narrative architecture in relation to the concept of emptiness. The narrative connects various emotions, guiding individuals through and create a holistic journey within a structure Each of this movement and transition from one emotion to other emotion with respect to transition of one space to another will help people to try to find the hidden presence and the silent voices that have been concealed in the body of architectural work. This theory is based on the notion that architecture evokes emotional reactions by becoming entwined with the archetypal structures of our existential experiences which end up evoking emotional responses.

According to Gaston Bachelard, in his book “The Poetic of Space” (1958), he stated that “physicality in the safeness of our houses will allow us to have a mental traveling” . The primary goal of this safety is to induce the absence of conscious mental activity. Here, "safety" refers to a feeling of shelter that arises from unconscious brain activity and is shaped by our imagination and memory banks. We associate every physical aspect of the room with our own imaginations and memories of safety.Awooden deck, for instance, contrasts the vast, dark interior of the house with the sunny, outdoor space of the garden. One way to think of concrete forms is as solid, heavy objects. Every material reflects with time, providing memory, and a hint of history through the way it “holds” the moisture. These applications show that the absence of conscious brain activity leads us to safeness and through this safeness; it gives an empty space where it offers our imaginations to come in and create our own interpretations.

To create a new interpretation, narrative architecture only lays out a journey for us to explore different components that can evoke our imaginations and memories. Besides that, the engagement of one’s body also plays a huge role in helping us to identify the quality of all these elements that we need in order to create imaginations through our senses.

3.8 Chronological documentation ofArchitecture dealing in that phenomenon. The idea of emptiness has always been closely linked to the field of architecture, changing and taking on different forms over time. This historical voyage reveals the deep and dynamic connection between architectural design and the concept of emptiness. The concept of emptiness has profoundly influenced architectural practices throughout history, from the regal tranquillity of old temples to the cutting-edge minimalism of new constructions.

In this chronological documentation, we embark on a journey through the years and eras of architectural history, showing us how emptiness has been utilized, understood, and applied as a fundamental key component in forming the built environment. Each era and architectural style add a layer to this rich tapestry, revealing the significance of emptiness in architectural design and human experience.

3.8-1 Hindu temples (4th century C.E)

Emptiness can be observed and appreciated in Hindu temple architecture. Hindu temple design is deeply rooted in philosophical and spiritual concepts, and the concept of emptiness plays an important and significant role in shaping the architecture.

•Garbhagriha (Inner Sanctum): The most sacred part of a Hindu temple is the Garbhagriha or inner sanctum. Which is a small, dark chamber that houses the main deity. This inner sanctum represents emptiness in the sense that it is lacking of any decorations, symbols, or elaborate ornamentation. Devotees enter this space to connect with the divine, and the emptiness within allows for a direct and uncluttered spiritual experience, as we relate to emptiness as a way towards spirituality and tranquillity.

•Mandapas (Halls):All Hindu temples often feature large halls or mandapas that constitute of gathering spaces for rituals and ceremonies. These halls are featured by their open design, with rows of columns supporting massive roofs. The emptiness within the mandapas allows for gathering of devotees, creates a sense of calm even though they are juxtaposed with the columns which are sometimes adorned with intricate carvings, this adds to the play of light and shadow within the space.

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•Courtyards and Water Bodies: Many Hindu temples are designed with spacious courtyards, surrounded by colonnades. These courtyards represent a sense of emptiness in the midst of all the architectural grandeur. In some temples, there are water bodies or tanks, such as the sacred Pushkar Lake in Rajasthan. These serene water bodies symbolize emptiness by offering a reflective surface, allowing visitors for contemplation and connect with the divine.

These are the three main characteristics that are common in almost every temple and show how emptiness has been an integral part of designing and creating these spiritual realms even though they are adorned by such intricate and heavy motifs.

Open-Air Temples (E.g., Khajuraho): few of the Hindu temples, such as the temples of Khajuraho, are known for their open-air design. These temples feature intricate sculptures but are designed with open spaces. The juxtaposition of detailed carvings against empty spaces highlight the importance of emptiness in temple architecture. It allows visitors to focus on the intricate artwork while maintaining a sense of balance and tranquillity.

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Mountainside Temples (E.g., Kedarnath): Natural setting temples embrace the emptiness of the surrounding landscape, like the Himalayan Kedarnath Temple. In the middle of the vast emptiness of the mountains, these temples, which frequently have simple structures, serve as spiritual retreats. The emptiness of the natural environment enhances the spiritual experience.

In architecture of the Hindu temples, emptiness is not a void but a deliberate element that facilitates the connection between the worshipper and the divine. The use of emptiness allows for contemplation, focus, and a sense of supremacy, making it an integral aspect of temple design.

The concept of emptiness in architecture is often associated with components and principles of openness, space, and minimalism. These can be observed in some aspects of ancient Greek architecture. Classical Greek architecture is renowned for its emphasis on proportion, harmony, and the use of columns and pediments, elements of emptiness can be identified, particularly in the design of open public spaces and the use of courtyards.

Agoras:Ancient Greece featuredAgoras, which are open public spaces used for various purposes, including political gatherings, markets, and social activities. These open areas are surrounded by buildings and colonnades which allow for a sense of emptiness within the urban fabric. They served as communal centres where people could assemble and interact.

3.8-2 Ancient Greek architecture. (800 BC-146BC)

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Peristyle Courtyards: Within their temple structures, Greek temples frequently featured open colonnaded areas or peristyle courtyards. These open-air courtyards with columns enclosing them served as places for rituals, meetings, and reflection. The same kind of emptiness that defines the temple precincts was evoked by them.

Stoa: Stoas were long, porticoed or covered walkways with columns that bounded the sides of Agoras or public buildings. They involved the play of light and shadow, adding to the sense of aesthetic appeal and spatial variation even though they weren't completely empty spaces.

Greek philosophy, especially the writings of Plato andAristotle, had a significant influence on architectural theory. One could view Plato's philosophy as an early investigation of the connection between emptiness, form, and reality because it places a strong emphasis on the world of ideas and forms, hence exploring the relationship between emptiness, form, and reality.

AncientAgora ofAthens.

The concept of emptiness ca be exemplified by theAncientAgora ofAthens. This historical site featured a large open area surrounded by civic and religious structures created an impression of emptiness within the urban setting. TheAgora performed a number of tasks, such as acting as a marketplace and a location for social and political gatherings, despite appearing to have no formal structures. Architectural elements such as colonnades and stoas provided shelter while maintaining openness and allowing for the interplay of light and shadow. Moreover, theAgora's close proximity to philosophical hubs highlighted the philosophical importance of emptiness in Greek thought, transforming it into a multifaceted idea in architectural design.

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Therefore, while the concept of emptiness in ancient Greek architecture may not align with contemporary minimalist or open architectural styles, it could still be recognised in the thoughtful use of open spaces, courtyards, and the interplay of light and shadow. These architectural elements contributed to the overall experience of Greek architecture, allowing for a sense of openness and spatial richness within the built environment.

3.8-3 Islamic architecture (7th – 8th century)

The concept of emptiness in Islamic architecture is often woven together with principles of design, spirituality, and functionality. Even though Islamic architecture is renowned for its intricate ornamentation and geometric patterns, emptiness, or "khala," also holds significance in various aspects:

Courtyards: Numerous Islamic architectural structures have massive courtyards which provide the building complex a feeling of emptiness. Besides to being useful for gathering places and ventilation, these courtyards symbolize openness and a link to the natural world.

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Prayer Halls: The prayer hall of mosques is frequently distinguished by its large, open area free of furnishings or clutter. This emptiness emphasizes the space's spiritual focus as it renders it possible for Muslims to pray and worship without interruption.

Symmetry and Balance: Islamic architecture typically employs the use of symmetry and balance, which may result in building facades with voids or blank areas. These regions have been deliberately left empty of ornamentation in order to preserve the overall harmony and balance of the design.

Calligraphy andArabesque:Although Islamic architecture and art are adorned to the point, calligraphy and arabesque patterns frequently create voids in their elaborate patterns. Verses from the Quran are expressed through calligraphy, especiallyArabic calligraphy, in which the visual impact of the verses is enhanced by the contrast between the ornate letters and the empty spaces.

Reflection and Contemplation: Islamic architecture's emptiness can encourage instances of reflection and contemplation. Individuals may pause, reflect, and commune with their spirituality in the serene courtyards, reflecting pools, and shaded alcoves.

Functionality andAdaptability: Certain Islamic architectural designs feature vacant areas for practical purposes, encouraging adaptability and ease of use. For instance, depending on the occasion, open plazas or courtyards may be utilized as places for social events, markets, or gatherings of the community.

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The Great Mosque of Cordoba in Spain,

The Great Mosque of Cordoba in Spain, originally built in the 8th century. The eight century is when the Great Mosque of Cordoba, Spain, was first constructed. The mosque's design includes an extensive central courtyard encircled by colonnades with arches.Among the primary components of Islamic architecture is the courtyard, or "sahn," which symbolizes the idea of emptiness.

In general, the sahn is an open, uncluttered space without any ornamentation.As a result of its emptiness, worshippers are able to gather for group rituals and prayers. Worshippers are encouraged to feel united and compassionate in this open space, which highlights their equality before God.

In addition, the sahn enhances the comfort of mosque patrons by performing as a natural cooling and ventilation system during extreme temperatures. Hence, a sacred space that emphasizes openness, unity, and functionality is created.

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In Islamic architecture, the concept of emptiness encompasses not only the absence of physical elements but also the design of areas that promote a feeling of peace, spirituality, and oneness with the divine. It exhibits an in-depth understanding of the balance between form and function, ornamentation and simplicity, and the material and religious dimensions of architecture.

3.8-4 Renaissance architecture (14th -17th century)

Essentially emptiness in Renaissance architecture refers to the deliberate insertion of voids or open spaces to accomplish an array of aesthetic, practical, and symbolic goals. The following are some significant ways that the idea of emptiness appeared in Renaissance architecture:

Courtyards andAtria: The idea of emptiness was a common tool used by Renaissance architects when creating courtyards and atria. These interior courtyards or areas enclosed by architectural features carried out an array of purposes. Through introducing in natural light and ventilation, they improved the interior areas' sense of openness to the outside world. In addition, these gaps frequently became centres for social interaction and gatherings, encouraging humanistic values and a sense of community.

Centralized and Geometric Layouts: The idea of emptiness was evident in the development of centralized plans, such as the Greek cross as well as the centralized dome, in Renaissance church architecture. These layouts often featured spacious, clear interiors with an appealing central void. An excellent example is the central dome of St. Peter's Basilica in Vatican City, which was created by Michelangelo and other artists and provides a profound sense of emptiness and spiritual elevation.

Classical References: Classical antiquity proved to be a common basis for inspiration for Renaissance architects. The Roman Pantheon, with its open oculus in the dome creates a focal point of emptiness within the grand architectural space, is an example of how classical temple forms have been adapted to convey the idea of emptiness.

Villa Farnese in Capriole, Italy.

Notably, the Villa Farnese features a central courtyard known as the Courtyard of Silence, showcasing the principles of symmetry and proportion. Encircled by graceful Corinthian columns, this courtyard offers a peaceful area for reflection and fosters a harmonious relationship with the natural world. In Renaissance architecture, emptiness is used to promote a sense of calm and appreciation for both nature and design by striking a balance between open spaces that enhance the surrounding landscape and elaborate interiors.

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In conclusion, the idea of emptiness in Renaissance architecture included both real voids and the appearance of voids. These components supported the overall harmony, balance, and humancentred design principles of the Renaissance era by serving functional, aesthetic, and symbolic purposes.

3.8-5 Modernistic architecture (19th- 20th century)

Modernist architecture fundamentally departs from earlier architectural styles of elaborate ornamentation and cluttered designs by embracing the concept of emptiness. In reaction to the swift changes created by industrialization and urbanization, modernism developed in the late 19th and early 20th centuries. It emphasized openness, simplicity, and functionality in an effort to capture the essence of the modern era. Some key aspects of how emptiness is manifested in modernist architecture are;

Minimalism:Architects of the modernist movement embraced the idea that "less is more." They eliminated away unnecessary ornamentation and decoration, highlighting geometric shapes, clean lines, and simplifying architectural elements to their fundamental forms. In this context, "emptiness" refers to the removal of unnecessary details to promote simplicity and clarity.

Open Spaces: Open floor plans and a blurring of the lines between both indoor and outdoor areas are frequent features of modernist architecture. Vast, light-filled interiors may be created with the assistance of large windows, sliding glass doors, and materials like steel and glass. These open spaces, which let in an abundance of natural light and air, express emptiness.

Functionalism: Modernist architects believed that architecture should make sense and function well for the purposes for which they are designed. The focus on functionality led to the elimination of features that weren't necessary, producing designs that were clear and functional. In this case, emptying is the process of eliminating what's not needed in order to maximize functionality.

Abstraction: Modernist architecture frequently avoids traditional architectural forms and embraces abstraction. Without needless adornment, architects aimed to convey the fundamental characteristics of a building's structure and function.Abstract and geometric compositions that radiate a sense of purity and detachment from past traditions are ways in which emptiness is expressed.

Interaction with Surroundings: Abuilding's interaction with its surroundings is highly valued in modernist architecture. In order to establish a connection between the built environment and the natural world, architects created open, unobstructed spaces while employing materials that blended in with the surrounding area. In this sense, emptiness stands for peaceful coexistence with the outside world.

Frank Lloyd Wright's Fallingwater, Le Corbusier's Villa Savoye, and Ludwig Mies van der Rohe's Barcelona Pavilion are notable examples of modernist architecture that capture the idea of emptiness. Emptiness is a key component in defining the aesthetics and functionality of these buildings, which are prime examples of minimalist architecture, open spaces, and functional design.

In order to create a sense of emptiness, this iconic structure embraces minimalism, open spaces, functionalism, abstraction, and interaction with the surroundings. Its clean aesthetic, smooth transition between indoor and outdoor areas, and emphasis on key components show how modernist architectural design can emphasize simplicity and environmental harmony by emphasizing emptiness as a defining feature.

To summarise, the modernist architectural concept of emptiness involves simplifying design, prioritizing functionality, establishing spacious, uncluttered areas, and strengthening the bond between the constructed environment and its surroundings. It embraces a more uncomplicated and harmonic approach to architectural design, marking a break from the excesses of the past.

3.9 Contemporary architecture dealing with phenomenon.

Emptiness is a concept that is often explored in contemporary architecture as a design principle. This investigation of emptiness is frequently employed to foster adaptation, sustainability, and original spatial experiences. The following are some general approaches that modern architecture takes to address the idea of emptiness:

Minimalism: Contemporary architecture often adopts a minimalist style, with rooms purposefully kept open and uncluttered. Clean lines, a limited colour scheme, and an emphasis on key components are common characteristics of minimalist architecture, which emphasizes simplicity and clarity by evoking a sense of emptiness.

Barcelona Pavilion by Ludwig Mies van der Rohe

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Open Floor Plans: Contemporary residential architecture frequently features open floor plans with no unrelated compartments or walls. This design strategy fosters a feeling of flow and connection within the house by generating a sense of spatial emptiness that permits flexibility in the way spaces are used.

Negative Space: Negative space is the use of emptiness, where gaps or voids are essential components of architectural compositions. These voids can be used for an array of purposes, such as making artistic and sculptural expressions or offering natural lighting and ventilation.

Transparency: Transparency is a common feature in contemporary building facades, enabling people walking by and within to see through the building. The line between interior and outdoor spaces becomes less distinct due to this transparency, which gives the impression of visual emptiness.

Adaptive Reuse: Repurposing preexisting structures is another aspect of embracing emptiness. Old industrial buildings and warehouses are frequently transformed into new spaces through contemporary architects, who leave behind large, open volumes that celebrate the history and emptiness of the original structure.

Sustainability:Akey component of sustainable design is emptiness, which makes room for natural light and ventilation while lowering the demand for artificial lighting and climate control. Additionally, you can install renewable energy systems, grow vegetation, or collect rainwater in empty spaces.

Cultural Centres: Emptiness is incorporated into the architecture of some modern museums and cultural centres to create spaces that are serene and contemplative. Visitors are able to interact contemplatively with the art and exhibits because of the emptiness.

Mixed-Use Developments: Urban planning and modern urban architecture frequently feature vacant public areas or plazas that function as hubs for social interaction and community building in mixed-use developments.

In conclusion, the idea of emptiness is frequently explored in modern architecture to produce visually arresting, flexible, sustainable, and emotionally impactful spaces. This design philosophy embraces the ability of open, clutter-free spaces to improve the human experience, challenging traditional notions of enclosure.

3.9-1 Naoshima contemporary art museum by Tadao Ando

Architect TadaoAndo's 1992 design of the Naoshima ContemporaryArt Museum on the Japanese island of Naoshima is a prime example of how architecture can represent nothingness or emptiness. Ando's approach to design is firmly based in minimalism and the notion of making areas that promote reflection and a sense of connection to the natural world. Here’s how the Naoshima

ContemporaryArt Museum reflects the concept of emptiness:

MinimalistAesthetic: The minimalist architectural style of TadaoAndo is well-known for its clear lines, straightforward geometric shapes, and extraction of elements to their most basic parts. Following these guidelines, the museum's exterior is simple and unadorned, highlighting its geometric shapes.

Spatial Emptiness: The interior spaces of the museum are intentionally designed to evoke a sense of emptiness.Ando frequently uses voids, open courtyards, and thoughtfully framed views to allow

light into the building. The voids present in the structure function as a platform for the exhibited artworks, highlighting the dynamic relationship between art and the void.

Harmony with Nature: Naoshima is known for its natural beauty, andAndo's design seamlessly integrates the museum with its surroundings.Akey component of the idea of emptiness is the building's interaction with the natural environment.As they walk through the museum, visitors get a sense of emptiness because the artwork is set against the backdrop of nature.

Reflection and Contemplation: The design encourages visitors to reflect and contemplate the artworks and their surroundings. The emptiness within the museum spaces allows individuals to engage with the art on a deeper level, fostering a sense of introspection.

Simplicity and Silence: In architecture, emptiness usually refers to the lack of unnecessary components and distractions. Visitors can immerse themselves in the art and feel a deep sense of emptiness at the Naoshima ContemporaryArt Museum because of its simplicity and quiet.

In summary, TadaoAndo's minimalistic style, spatial emptiness, harmonious relationship with nature, as well as invitation to contemplation and introspection render the Naoshima Contemporary Art Museum a prime example of the concept of emptiness in architecture. It is an excellent example of how architecture can design environments that connect with the spiritual and emotional aspects of human experience alongside to the physical.

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3.9-2 The Seattle Central Library, designed by Rem Koolhaas

Rem Koolhaas and his Office for MetropolitanArchitecture (OMA) created the Seattle Central Library, which is a well-known illustration of modern architecture that plays with the ideas of nothingness and emptiness.

Spatial Composition: Open areas and voids are part of the dynamic spatial composition incorporated into the library's design. It is well-known for its "Book Spiral," a limitless ramp that winds up through the structure to evoke an air of openness and emptiness. This spiral's design highlights the idea that knowledge is a continuous, ever-expanding entity and makes it easy for visitors to navigate the collection.

Transparent Facades: Large glass sections on the exterior of the library create transparency and an illusion of emptiness between the inside and outside. Because of its transparency, the building receives more natural light, which blurs the lines between inside and outside demonstrating the availability of knowledge to the general public.

Void Spaces: There are atriums and voids throughout the interior of the library that visually connect its various levels and sections. These gaps create a sense of emptiness within the mass of the building, giving visitors a view of various parts of the library and encouraging a sense of exploration and connection.

Use of Light and Shadow: For the purpose of to create dramatic effects, the library's design also plays with light and shadow. This interaction highlights particular components or materials in some places and adds to the impression of emptiness in others.

In conclusion, the spatial arrangement, transparent facades, void spaces, and the interaction of light and shadow of the OMAand Rem Koolhaas-designed Seattle Central Library all serve to represent the ideas of nothingness and emptiness. It embodies the notion that a library is a place for investigation, discovery, and the never-ending quest of knowledge rather than merely being a collection of books.

Emptiness between program and skin

Emptiness through verticality.

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3.9-3 The LouvreAbu Dhabi, designed by architect Jean Nouvel

One of the best examples of how the idea of emptiness is applied to modern architecture is the LouvreAbu Dhabi, which was created by architect Jean Nouvel and debuted in 2017. The museum's design, which combines avant-garde modernist ideas with traditional Islamic architectural elements, make multiple use of the concept of emptiness.

The Floating Dome: The enormous dome of the LouvreAbu Dhabi, which resembles a huge canopy floating above the museum, is one of its most recognizable features. The dome is made of overlapping stars made of aluminium and steel arranged in a complicated geometric pattern. During the day, a "rain of light" effect is produced by sunlight passing through the dome's openings. The dome is lit up at night, giving it the appearance of a starry sky. The concept of emptiness is symbolized by the play of light and shadow as well as the spaces in the dome's structure. It inspires awe and a sense of spirituality in viewers, urging them to reflect on the universe.

Reflective Pools: Reflective pools encircle the museum, reflecting the architecture of the structure. The pools give the impression that the museum is floating on water in addition to acting as a cooling system. The building's reflection adds a sense of emptiness, making it harder to distinguish it from its surroundings.

Open Courtyards and Promenades: There are open courtyards and promenades connecting the various areas of the LouvreAbu Dhabi. Visitors have the chance to stop, think, and take in the architecture's emptiness in these areas. They emphasize a connection to the environment by providing views of the surrounding landscape, the sea, and the sky.

Interiors and Galleries: The galleries within the museum are laid out with a sense of openness and space. The exhibition spaces are infused with natural light thanks to well-placed windows and gaps. This design strategy improves the experience of the visitor by evoking a sense of emptiness that goes well with the artwork that is on show.

Cultural Bridge: The goal of the LouvreAbu Dhabi is to unite East and West through culture. This is reflected in its architectural design, which combines aspects from different traditions and cultures. This blending of influences further supports the idea of emptiness as a forum for crosscultural communication and exchange by implying an openness to various viewpoints and ideas.

In conclusion, the LouvreAbu Dhabi skilfully uses light, reflection, voids, and open spaces to effectively integrate the concept of emptiness into its architectural design. It invites guests to investigate the connection of art, culture, and the universe within the context of architectural art by fostering a contemplative and intimate atmosphere.

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3.9-4 The Salk Institute by Louis. I. Khan

Louis I. Kahn's design for the Salk Institute for Biological Studies is a striking illustration of how architecture can embrace emptiness to create profound and meaningful spaces. The Salk Institute is a scientific exploration research facility situated in La Jolla, California. Several characteristics that highlight the concept of emptiness are apparent in the institute's architecture:

Symmetry and Minimalism: The central plaza of the Salk Institute is flanked by two identical concrete buildings. These buildings have a minimalist aesthetic, with simple lines and no decorative accents.An initial feeling of emptiness is created by the buildings' simplicity.

Open Courtyard: The courtyard or central plaza is an expansive open area that stretches all the way to the Pacific Ocean. It emphasizes the idea of emptiness as a key component of the architectural experience by being designed as an empty void. The solid structures create a dynamic interplay with the emptiness of the courtyard.

Connection to Nature: There is an endless emptiness to the Salk Institute because of its oceanfront location. Through the design, visitors can connect with the vast sky and sea through feeling the vastness of the natural environment woven into the architectural experience. The idea of emptiness as a place of inspiration and reflection is strengthened by this relationship with nature.

Play of Light: Kahn is a master at using natural light. The open areas of the buildings are intended to collect and disperse light, which varies during the day. The architecture gains depth and character from this play of light and shadow, which also gives the interior spaces of the buildings a dynamic, captivating quality.

Contemplative Spaces: The buildings' laboratories and offices, for example, are thoughtfully planned to be open and uncluttered, creating a space that encourages reflection and emptiness. These purposefully vacant areas allow researchers to concentrate on their work without interruptions.

Overall, the Salk Institute embraces the idea of emptiness in architecture by fostering an atmosphere that promotes reflection and reflected through the use of open courtyards, minimalist design, a close relationship to the natural world, light play, and contemplative areas. The thoughtful harmony that exists between open, void spaces and substantial buildings emphasizes the importance of emptiness as a source of experience, meaning, and inspiration in architectural design.

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3.10 Opinions of Experts

Here are views and opinions from some experts who have made significant contributions to the understanding of the concept of emptiness in their respective fields:

Buddhist Philosophy:

•Nagaarjuna – “All is possible when emptiness is possible. Nothing is possible when emptiness is impossible.”

Nagaarjuna is an influential Buddhist philosopher who extensively explored the concept of emptiness.

In this statement he is is attempting to highlight the significance of keeping an open, receptive, and willing to accept emptiness as a source of potential and growth. It implies that we can access limitless opportunities and reach our full potential when we break free from mental restrictions and preconceptions. On the other hand, we restrict our own possibilities and our potential if we close ourselves off to emptiness or stick to rigid beliefs.

•Dalai Lama – “Since form is emptiness and emptiness is form, then instead of a hand grasping at nothing, it is better to grasp at someone’s nose because its closer to reality.”

Dalai lama is the spiritual leader of Tibetan Buddhism, who has spoken on the concept of emptiness in Buddhist teachings.

The quote from the Dalai Lama talks about realizing how interconnected everything is in the world. It states that though practically different, such as grabbing at someone's nose, things are actually a part of a larger whole. Being empty is not emptiness; rather, it is a perspective that all things are interconnected. Hence, rather than attempting to understand emptiness as something remote, we are able to observe how emptiness is a part of our world by taking lessons from the ordinary.

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Philosophical existentialism

•Jean – Paul Sartre - “Nothingness carries being in its heart.”

Jean-Paul Sartre is a prominent existentialist philosopher who wrote about existential despair and the feeling of emptiness in the absence of its inherent meaning.

The quote from Jean-Paul Sartre implies that the idea of emptiness is a necessary component of life. Put another way, the very essence of existence is emptiness, or the absence of something. It suggests that without embracing the existence of emptiness or nothingness alongside existence, we are unable to fully understand or appreciate it. This philosophical concept pushes us to investigate the complex relationship between existence and non-existence by highlighting their interconnectedness.

Phycology and emotions

•Viktor Frankl- “Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom.”

Viktor Frankl is a renowned psychiatrist and Holocaust survivor known for his work on existential psychology and the search for meaning in life.

The quote highlights that our real power is found in the space or pause that exists between external occurrences and our reactions. We can exercise our freedom of choice within this emptiness, and by choosing wisely, we can achieve personal growth and liberation.

•Rollo May - “The human being cannot live in a condition of emptiness for very long: if he is not growing toward something, he does not merely stagnate; the pent-up potentialities turn into morbidity and despair, and eventually into destructive activities.”

Rollo May is an existential psychologist who explored human emotions, including the experience of emptiness.

In accordance to this quote, people require a sense of direction or purpose in their lives. It feels devoid within if we don't have aims or things to aim for. Negative emotions like depression and hopelessness may result from this emptiness. These unfavourable emotions may eventually even prompt dangerous behaviour. Essentially, it emphasizes how crucial it is to have the goals and a feeling of progress in order to preserve our wellbeing and refrain from harmful behaviours.

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Architecture and design

•TadaoAndo - “If I can create some space that people haven't experienced before and if it stays with them or gives them a dream for the future, that's the kind of structure I seek to create.”

TadaoAndo is a renowned Japanese architect known for his minimalist and contemplative architectural designs. His work combines modernist principles with a profound understanding of emptiness and spatial experiences, creating structures that inspire reflection and connection with the surrounding environment.

TadaoAndo's statement demonstrates his goal of using architecture to create singular, emotionally impactful spaces. His goal is to create environments that are unique, inspiring people to dream of the future and making a lasting impression on them. This method is consistent with the idea of emptiness in architecture, which stresses the development of spaces that transcend the material, promoting reflection and change. Through his work,Ando aims to elicit strong spiritual and emotional reactions, inspiring contemplation and inspiration in architecture.

“If you give people nothingness, they can ponder what can be achieved from that nothingness.”

In accordance with TadaoAndo's quote, when people see emptiness or nothingness in architectural designs, it encourages them to consider what can be made or accomplished within that emptiness or nothingness. It highlights how imagination and creativity can be sparked by emptiness.

•Rem Koolhaas - “If less is more, maybe nothing is everything.”

Rem Koolhaas is a renowned Dutch architect known for his innovative and unconventional approach to architecture. He has made a significant impact on the field with his visionary designs and writings on urbanism and contemporary architecture.

"If less is more, maybe nothing is everything," as said by Rem Koolhaas, fits in with the idea of emptiness in architecture. It suggests that we might find a deeper richness and potential within spaces if we reduce or eliminate elements in a design and embrace emptiness or voids. In summary, it implies that emptiness rather than being a lack can provide deep architectural meaning and experience, as the absence of components enables a deeper interaction with the constructed environment.

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3.11 Takeaways from the literature study.

• Emptiness Definition: In architecture, emptiness is not synonymous with nothingness but rather a purposeful idea employed to improve the quality of human experience in constructed environments. It entails making the most of empty spaces to enhance their practicality, beauty, and emotional impact.

• Concept of Emptiness: Both Western and Eastern viewpoints can be used to understand emptiness. Western perspectives encompass constructivist, minimalist, formal, and organic emptiness, whereas Eastern viewpoints emphasize the dialectic between ideal and real, the bodily subject of immersion, and the dialectic of opposites.

• Creating Emptiness: Simplicity is the key to emptiness. To be simple means to take away things in order to be perfect. Form, rhythm, and materials are essential for achieving emptiness and, consequently, simplicity.

• Six Components for Emptiness: To create a sense of emptiness in architecture, consider the six components:

• Idealization (addressing existential concerns),

• Authenticity (evoking emotional responses),

• Slowness (allowing for pauses and curiosity),

• Plasticity (tactility and sensory experience),

• Sensuousness (engaging the senses), a

• Silence (providing a pause for self-awareness).

• Safety and Imagination:An environment of safety that is fostered by architecture can foster creativity. Our subconscious brain activity and memories connected to the tangible components of space, like materials and their properties, are the foundation of this sense of safety.

• Engaging the Senses: It is essential to use the senses of the body to assist people in recognizing the characteristics of objects that stimulate the imagination and produce a feeling of emptiness. Architecture's physicality facilitates interpretation and mental exploration.

• Architecture of emptiness, is closely related to , architecture of senses and narative architecture.

Suming up Characteristics of emptiness in architecture – to create emptiness.

1.Balance and Proportion:

It is important to achieve equilibrium between positive (solid) and negative (empty) spaces. When open spaces are balanced with solid elements, the composition becomes harmonious.

2.Hierarchy:

Astructure's hierarchy of spaces and forms can be used to create focal points and direct the viewer's attention while also establishing a sense of emptiness.

3.Scale and Size:

When designing, the size and proportions of empty spaces and forms should be carefully taken into account because they can have an impact on the overall state of the space. While smaller voids can provide intimacy and coziness, larger voids can convey a sense of grandeur and openness. These voids and spaces should be proportionate to the intended use and design of the area.

4.Transparency and Light:

Akey component of integrating emptiness in architecture is transparency and light, which is associated with positive ideas of calm, tranquillity, and the ability to spark the imagination. By utilizing skylights, glass walls, or large windows, natural light can enter the space and link residents to the outside world. The increased perception of emptiness brought about by this transparency can give spaces a more airy, welcoming feel.

5.Circulation and Flow:

Emptiness can be used to create circulation and flow by efficiently enabling it inside a building. The seamless navigation of the space is ensured by strategically placed voids and easily oriented spaces.

6.Materiality and Texture:

In order to achieve emptiness, materials and textures are crucial because they can highlight the differences between solid and empty spaces. The user's experience can be altered by the material chosen; for example, textured materials can provide dynamic visual interest, while smooth and reflective surfaces can improve the feeling of openness.

4 - LITERATURE CASE

4.1 - CHICHUART MUSEUM – TADAOANDO (ISSUE BASED)

The architectural philosophy of TadaoAndo is consistent with phenomenology, which sees space as a phenomenon shaped by time and light, two immaterial elements. According to him, architecture must be experienced through the senses and is influenced by factors such as location, history, culture, and climate. It cannot be fully understood through reasoning alone. Ando believes that architecture, embracing natural elements like light and wind, transforms based on human and natural interactions, creating a dynamic spatial experience where simplified geometric spaces adapt and resonate with movement, merging various perspectives for the observer.

Tadao Ando's architecture maximizes spatial experiences by his design solutions created in the relationship among surrounding nature, human, and architecture. Among his greatest works that encapsulate TadaoAndo's design philosophy is the ChichuArt Museum. By concentrating on analysing the ChichuArt Museum's architectural features and aesthetics, as well as by looking at how Tadao Ando's common design languages are applied, it will be possible to better understand how the ChichuArt Museum's architecture of emptiness contributed to its creation.

“If you give people nothingness, they can ponder what can be achieved from that nothingness”

– TadaoAndo

Born in 1941 in Osaka, Japan, TadaoAndo is a leading modern architect known for his simple designs that allow architecture to blend in naturally with the surroundings. With his geometric precision, clean lines, and deep sense of stillness,Ando has won numerous prestigious awards throughout the world, including the PritzkerArchitecture Prize in 1995.

PHILOSOPHY = PHENOMENOLOGY

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(1)

ADAPTATION TO THE NATURAL ENVIRONMENT:

Embracing nature, adjusting to the surroundings, and breathing with them are the goals of our architecture. It produces an environment and space that is richer and more harmonious by fostering an organic relationship between people, the natural world, and architecture.

(2) HARMONY OF MODERNITYAND TRADITION:

Traditional Japanese architectural features are seamlessly incorporated into the Western modern architectural language, and these features are modernly reinterpreted to create a truly unique space.

Furthermore, it is critical to convey local sensibilities by utilizing materials that are native to the area and taking into account the topography and cultural context. It is a singular piece of art that exists in that setting and is distinguished by locality and placeness that has the right to be there rather than being a universal architecture that can be constructed anywhere.

Therefore, the traditional Japanese architectural elements shown at the ChichuArt Museum are summarized as follows.

(1) Clarifying the hierarchy of space through the method of entering the building.

(2)Architectural elements like light are used to highlight the qualities of aesthetic space and to segment and connect it. Differences in height or materials are used to create space.

(3) It is crucial to take openness and visual depth of space into account.

(4)Adeep view of the middle or distant landscape can be obtained by introducing an external landscape with the help of a concrete wall frame.

(5) deliberately obstructing or permitting the view that serves as its introduction.

(6) Natural elements such as trees, grass, stones, wind, and the sea are introduced as experience elements.

(7) Employing this arrangement method, the courtyard's outer perimeter forms an external space that encloses the internal space.Amovement passage, a semi-external space, is positioned between the courtyard and the internal space. This lets you move with an appreciation for the outdoor courtyard and establish a close bond with the natural world.

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(3) GEOMETRICALFORMSANDAXES:

Acomposition that stresses axes and pure geometric shapes simplifies the plane and arranges it in different ways, like intersecting, to produce a distinctive space. The architecture's axis and direction in relation to sight lines, movement lines, and light provide a range of guided spatial experiences that unfold like a maze.

In the “CHICHUART MUSEUM”- Geometrical forms applied to the underground museum include squares, cubes, equilateral triangles, rectangles, and trapezoids, as well as rectangular elevations of long, narrow hallways and elevations that are close to a parallelogram due to slanted walls.

The primary path of travel from the access ramp's beginning to the cafe terrace's location, which faces the sea, is intended to run continuously from southwest to northeast. By connecting them with the shortest straight line, you can avoid paths that could become monotonous or simple. Even if the path is a little longer and farther away, you can still turn the axis in different directions at the proper distance apart and bend each node in a zigzag pattern.

(4) EXPOSED CONCRETEAND LIGHT:

Using exposed concrete and light as building materials consistently allows architectural space to convey a range of moods and expressions. Apart from its structural capabilities, exposed concrete can also serve as a finishing material for a building's exterior while retaining its natural qualities. This allows the building to adapt freely to changes in light and colour without compromising its inherent qualities. To put it another way, the manner in which an architecture interacts with light reveals its true nature; a room made of inorganic concrete can become soft and transparent as soon as light hits a wall.

Of all the elements of nature, light is the most certain phenomenon. It enlarges architectural space, intensifies the feeling and value of building materials, and produces shadows to draw attention to shapes that contrast with one another. He contends that receiving light is the main reason for creating space in architecture.

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(5) Phenomenological architectural experience: Experience surpasses concept when it comes to architecture, which is best understood as human existence itself. It puts a strong emphasis on phenomenological experiences that generate constantly shifting feelings and architectural experiences.

When viewed within a single space, Tadao Ando's architecture, both inside and out, creates a minimalist feel through simplified forms and materials. On the other hand, the linear experience of space that takes place from arriving at the location to using the entire space and leaving is a reversal of minimalism, constantly exposing oneself to novel and unexpected spaces and ultimately providing new shock, amazement, and delight. You find yourself in a dramatic, intense space, almost like the end of a movie. Like a poem or drama, Tadao Ando's buildings have a sequence of developments, a flow, and a story. It consists of ancillary spaces that serve as supporting characters and subtly guide the way to the main space, and a dramatic space where the protagonist is the main character. These are all important spatial elements that are necessary to bring the story to a close.

Architecture is an object of appreciation that is experienced and perceived in three dimensions by all of our senses and perceptions, unlike a piece of art that we simply gaze at in two dimensions. Rather than focusing on the architecture itself, he seeks to create phenomenological architecture that is only complete when the experiences of those who live and experience it are added. This is known as the perceptual subject.

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LAYOUT PLAN OF UNDERGROUND ART MUSEUM

The underground art museum is largely comprised of the ticket center, underground garden, and main exhibition hall of the underground art museum.

At the chichu Art Museum's entrance, there is a ticket centre housed in a separate building where you can buy tickets and get information about the museum, as well as a lounge where you can buy postcards and light refreshments, relax and meet up with others, or wait for a shuttle. There is also parking available for cars or vehicles. It's scheduled.

There is an underground garden that replicates the Giverny garden that can be found in Claude Monet's paintings on the route to the UndergroundArt Museum's main exhibition hall.As you stroll by a pond and a path bordered by trees and flowers, you can take in the breathtaking scenery.

The UndergroundArt Museum opened its doors on July 18, 2004, and is situated in Naoshima-cho, Kagawa-gun, Kagawa Prefecture, an island in Japan's Seto Inland Sea. Over a 9,990 m 2 plot of land, the museum houses underground galleries that are exclusively dedicated to the permanent exhibitions of the works of three artists: Walter de Maria, James Turrell, and Claude Monet.

Finally, you come to the ramp leading to the underground museum after going through the underground garden. Viewers who follow the slope all the way to the top will find themselves at the entrance of an underground art museum, where they can begin their architectural journey to appreciate the works between the first and third basement floors. In order to keep the flow of staff and services apart from that of art museum visitors, a separate path leading to the staff office, parking area, and secondary entrance was installed at about the halfway point of the ramp leading up to the museum. Because the underground cafe is positioned where the visual axis faces the sea, it fosters a strong sense of connection with the natural world in an entirely open area.

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2) FLOOR PLAN

CONFIGURATION AND CIRCULATION

CONNECTIVITY FOR EACH FLOOR

In order to determine how each floor is connected to the others, it’s important to understand the floor plans individually for the first, second, and third basement floors.

1) PLANE CONFIGURATION BY FUNCTION

The underground art museum's floor plan can be categorized into the following areas based on how they are used: the lobby, sales facilities, courtyard, corridors and stairs, private staff-only space, and the art museum exhibition room. Upon closer inspection, the museum's exhibition room houses spaces for three artists in total: Walter de Maria occupies the third basement floor, while James Turrell and Claude Monet occupy the second basement floor. The courtyard is a space associated with vertical movement and features both a square and a triangular courtyard. Retail establishments consist of a cafe and a souvenir shop. Rest areas, restrooms, and an elevator hall are located in the lobby. There is also a common area with a ramp and staircase serving as vertical movement spaces and a hallway serving as a horizontal movement space. By separating the employee office area from the visitor flow and creating a courtyard next to it, natural light can enter and safeguard a private area.

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Astandard schedule would include returning to the basement level, retracing your steps, relaxing in the lobby and restrooms, and making purchases and perusing the gift shop. Each floor is identified in the following diagram, and the sections of movement between floors are coloured to make it easier to see which floors are connected at the start and finish. In addition, it depicts the movement that unites areas.

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We examine the design of two distinct areas within an art museum: one designed for fast movement with extended stays, and the other for slower movement with extended stays. The courtyard, hallways, ramps, stairs, service halls, restrooms, etc. are examples of mobile spaces. They are also common and ancillary spaces that are connected to the main spaces by circulation. The main, private area that houses the cafe, gift shop, and exhibition space is where you stay. It is determined that the moving space is positioned between the main spaces in a way that allows for easy movement, and that its axis and shape are formed in a way that modifies the perception of space in a way that is appropriate.

Service support facilities, including machine rooms and warehouses, are typically concealed and positioned beneath lamps, in the empty irregularities formed when crowds converge, and along the upper and side walls of the exhibition space. It is next to the main area and offers effective support while making good use of the available space to keep it hidden from view.

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CROSS-SECTIONAL

PLAN

OF THE UNDERGROUND ART MUSEUM

In order to improve the exhibition effect, the cross-sectional plan of the three exhibition rooms was carefully considered

WALTER DE MARIA EXHIBITION ROOM

It is distinguished by a cross-sectional layout that modifies the overall ceiling height to provide a sense of depth and perspective, and stairs that span the length of the space in the direction and line of sight from the entrance. The exhibition room's entrance stands at 8,000mm, while the waiting room is 2,400mm high. This creates a striking visual contrast with the rest of the space, where the ceiling is 4,000mm at the top of the stairs and 6,000mm at the landing.

Glass skylights are arranged on four sides, along the exhibition hall's centre and outer corners, to bring in natural light. A 3,000 mm gap separates the room's basic ceiling height from the skylight's height. The deep central well ceiling directs light toward the ancient object directly below, adjusting its intensity and angle during its descent. The light is filtered into a much softer and more subdued light on the wall because it enters the room through a deep crack.

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JAMES TRELL EXHIBITION ROOM

The floor section of the open field was designed to slope inward toward the interior of the space, giving the impression that the ceiling is higher and deeper. With a slope of 3200 mm at the entrance and 3,900 mm inside the room, there is a total height difference of 700 mm.

The Open Sky Exhibition Hall features an 8,000 mm ceiling and a square aperture in the middle that is fully exposed to the sky. The front room was 4,500 mm high before entering the open sky, and the 3,500 mm height difference from the main exhibition room was meant to create a dramatic impression of depth and light contrast between the two spaces.

Rainwater enters through the opening in the cross-sectional plan to the sky when it rains, so the floor was designed to slope in all directions and drain the water into a trench beneath the bench.

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CLAUDE MONET EXHIBITION ROOM

The Claude Monet exhibition hall has a ceiling height of 3,600mm throughout, but the outer portion of the space, which includes the ceiling right after entering the main exhibition room, has a ceiling height of 7,200mm, which is twice the height difference and applies the same reversal and contrast effects. This skylight's cross-sectional plan is typical, and to create the illusion of indirect lighting, a ceiling plate was placed in the middle of the space at a height of 6,000 mm. As a result, 1,200 mm of height difference was planned to allow light to gently descend down the room's exterior wall. Furthermore, the central high pyramid-shaped skylight has an empty upper space with a height difference of approximately 6,400 mm between the top of the skylight above the ground and the ceiling plate. A glass pyramid rising to a height of approximately 3,200 mm can be seen from above, resembling a ground-level artwork.

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RELATIONSHIP BETWEEN ARCHITECTURAL SPACE AND NATURE

PHENOMENOLOGICALARCHITECTURAL EXPERIENCE BASED ON LIGHTAND MOVEMENT

COMBINATION OF MODERNAND TRADITIONALARCHITECTURE

ANALYSIS OF THE ARCHITECTURAL VOCABULARY CHICHU ART MUSEUM

GEOMETRY MORPHOLOGICAL MEANINGAND AXIS

RELATIONSHIP BETWEEN ARCHITECTURAL SPACE AND WORKS OF ART

DESIGN LANGUAGEAPPLIED TO THE CHICHUART MUSEUM

DESIGN LANGUAGE

ORGANIC CONNECTION AND HARMONY BETWEEN NATURE & ARCHITECTURE

GEOMETRIC FORM & AXIS

HARMONY BETWEEN WESTERN MODERN ARCHITECTURE & EASTERN TRADITIONAL ARCHITECTURE

PHENOMENOLOGICAL EXPERIENCE IN ARCHITECTURAL SPACES

ORGANIC RELATIONSHIP BETWEEN ARCHITECTURE & ART WORKS

DESCRIPTION

• PLACING ALL SPACES IN THE UNDERGROUND & BLENDING INTO THE EARTH: NOT TO CONFLICT WITH SURROUNDING ENVIRONMENT

• THE CHICHU GARDEN: POND, TREE, FLOWERS

• COURTYARDS: OPEN TO SKY & AIR, NATURAL SUN LIGHT, GREEN MATERIAL & GRAVELS INSIDE COURTYARDS

• EXHIBITION HALLS: NATURAL SKYLIGHT

• CAFE TERRACE: OPEN VIEW TO THE OCEAN

• SQUARE COURTYARD, TRIANGULAR COURTYARD, RECTANGULAR EXHIBITION HALLS, SQUARE EXHIBITION HALLS, NARROW AND LONG CORRIDORS

• AXIS: CHANGING AXIS IN EACH TRANSFER SPACE

• COMPOSITION OF SPACES: INTERSECTING WITH ROTATED ANGLE

• INVITATION NATURAL SOURCES SUCH AS STONE AND PLANTS INTO SPACE OF COURTYARDS

• FRAMING VIEW TO NATURE WITH WALL OPENING

• THE LONG WAY ROUND TO MOVE ONE SPACE TO ANOTHER SPACE

• DRAMATIC SCENES WITH CONTRAST OF NATURAL LIGHT IN THE UNDERGROUND SPACES INCLUDING COURTYARDS AND EXHIBITION HALLS.

• CREATIVE MOMENT & SEQUENCE ACCORDING TO MOVEMENT

• A KIND OF CINEMA STORY WITH ARCHITECTURAL EXPERIENCES FROM BEGINNING TO THE END

• SPECIAL DESIGN FOR THE OPTIMIZED SPACES OF EXHIBITION HALLS FOR ART WORKS

RELATION OF EMPTINESS WITH THE DESIGNS OFTADAOADO EXPLAINED THROUGH THE EXAMPLE

OF CHICHUART GALLERY

Therefore, based on this research study as well as earlier studies, we can conclude that Tadao Ando's architectural design for the ChichuArt Museum is distinguished by elements that inspire a sense of emptiness and contemplation. The spare and tastefully designed spaces throughout the museum add to the overall feeling of peace and quiet. round.

Here are specific architectural elements that emphasize emptiness within the ChichuArt Museum:

1. Subterranean Design:

• Description: Plenty of the museum is underground, with parts of it set into the hillside.

• Significance: By minimizing the visual impact on the surrounding natural landscape, this design decision makes a subtle and unobtrusive presence. The descent into the subterranean areas creates a contemplative atmosphere by introducing a sense of discovery and solitude.

2. Void Spaces:

• Description: Tadao Ando incorporates purposeful empty spaces into the architecture of the museum. Whether it takes the shape of narrow spaces, long hallways, generous volumes, or even empty spaces.

• Significance: These spaces are areas for reflection that highlight the emptiness within the architectural framework. They heighten the overall feeling of stillness by enabling guests to take a moment to pause and reflect.

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3. Limited Natural Light:

• Description: controlled access to natural light through well-placed skylights and apertures.

• Significance: The intentional manipulation of light produces a display of illumination and shadow.Amuted and focused atmosphere is created by the limited natural light, which highlights the significance of the artworks on display while allowing for brief periods of emptiness in the spaces.

4. Minimalist Materials:

• Description: Use of minimalist materials, such as concrete and glass.

• Significance: The selection of materials is a reflection of Tadao Ando's dedication to minimalism and the removal of extraneous details. Concrete surfaces produce a simple, uncluttered background that draws attention to the important details while heightening the sense of emptiness.

5. SpatialArrangement:

• Description: Careful spatial arrangements and proportions within galleries.

• Significance: The walls and columns of the museum are arranged with precision to create a rhythmic composition. This spatial harmony offers visitors unhindered views and expansive vistas while also adding to a sense of balance and emptiness.

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• Description:Attention to acoustics and sound within the museum spaces.

• Significance: The awareness of sound creates a serene, reflective environment.Accepting the silence as sound improves the whole experience and lets guests interact with the art in a calm setting.

7. Silent Spaces:

• Description: Dedicated silent and contemplative areas.

• Significance: These places in the museum offer quiet moments where guests can focus on the contemplation of the artwork. The building's layout promotes a private, quiet relationship with the artwork on display.

8. Harmony with Nature:

• Description: Integration of the museum with its natural surroundings.

• Significance: The smooth transition to nature heightens the sense of emptiness and fosters an atmosphere in which the lines separating the natural and built environments are blurred. The relationship between art, architecture, and the surrounding landscape is highlighted by this integration.

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ASADELIBARATE DESIGN

EMPTINESS

SENSORY ENGAGEMENT

HARMONIZING NATUREANDARCHITECTURE

POETIC PROGRESSION

SILENT CONTEMPLATION

HUMAN- NATURE-ART INTERACTION

TRANSCENDING PHYSICAL STRUCTURES

1- Emptiness as Deliberate Design: TadaoAndo uses emptiness as an essential component of the architectural design to create purposeful voids and open spaces in the ChichuArt Museum.

2- Sensory Engagement: Rather than being a blank space, emptiness invites sensory interaction. Ando employs the manipulation of natural light, shadows, and spatial elements to elicit contemplation and emotional reactions.

3- Harmonizing Nature andArchitecture: The museum blends in with the surrounding environment. Connecting visitors with nature, open courtyards, skylights, and unroofed passages blur the lines between indoor and outdoor spaces.

4- Poetic Progression: The museum's architectural journey takes visitors from small, enclosed spaces to large, open areas that resemble brushstrokes on a canvas, giving them the opportunity to experience a story about space.

5- Silent Contemplation: Silent contemplation can be facilitated by emptiness. Because of the museum's simple layout, visitors are encouraged to take some time for introspection as they enjoy the artwork.

6- Human-Nature-Art Interaction: Interaction between people, environment, and art is encouraged by the design. Visitors interact with the surroundings and artwork, creating a strong emotional bond with the place.

7- Transcending Physical Structures: The ChichuArt Museum is more than just an attractive sight. It invites people to experience the profound beauty that exists in silence and emptiness with its subtle design and thoughtful spatial arrangement.

89-

Under the direction of architect Yu Ting, Wutopia Lab has become wellknown for investigating architectural concepts that center on interpersonal relationships, spatial perceptions, and the interaction of emptiness in constructed environments. Wutopia Lab's architectural approach to the concept of emptiness entails a deeper investigation of psychological, emotional, and experiential aspects within spaces, going beyond simple physical voids.

Here are some aspects of Wutopia Lab's approach to architecture that relate to the concept of emptiness:

Emotive Spaces:

• Creating environments that inspire reflection and feelings is something that Wutopia Lab frequently stresses. They investigate the ways in which emptiness can elicit feelings in people and encourage them to engage with and consider the constructed environment.

Sensory Experiences:

• The company is renowned for incorporating sensory elements into their designs and for playing with materials, light, and spatial arrangements to evoke a range of sensory experiences. In this context, emptiness is an intentional orchestration of sensory experiences rather than just voids.

Spatial Narratives:

• They employ voids and empty spaces in architecture as a storytelling device, whereby they add to the space's story. With the help of this method, users can interact with the architectural context and create their own interpretations and connections.

Harmonizing Contrast:

• Emptiness and occupied spaces are frequently contrasted in utopia lab, producing a pleasing contrast. They emphasize the value of absence in a structured setting by utilizing the interaction between filled and void spaces.

Exploration of Perception:

• Their architectural designs occasionally defy accepted notions of space by manipulating perceptions of emptiness. This can entail adjusting voids, scale, and proportion in order to produce captivating spatial experiences or illusions.

Overall, Wutopia Lab explores emptiness in architecture by designing spaces that go beyond actual voids and concentrating on the narrative potential, emotional resonance, and sensory experiences of architectural elements. Their work frequently seeks to elicit thought, evoke strong feelings in viewers, and encourage a range of interpretations by contrasting form and emptiness in constructed environments.

ABOUT –

In Seatopia, in Beidaihe, Qinhuangdao, "dedicated to an infinite minority of people who want to be free from worldly distractions," this museum was commissioned by the Sino-Ocean Group. From above, its mostly organic, simple architecture is seen as a curved, soft triangle, disrupting the park. Wutopia Lab shares this information. From art galleries to dance studios, the 1,300 square meter Swan White Museum's spatial program presents a gentle façade while hiding a sharp goal: making time for deliberate thought and creative rejuvenation in one's own company. The architects claim that its name grants authority to the one voice our own that we have to believe in and take seriously.

PROJECT LOCATION: QINHUANGDAO, CHINA

AREA: 1272 SQ.M YEAR-2022

CONCEPT

CREATING ATRANQUIL INTROVERTED SPACE FORALLOWING ONE TO BEALONE IN ANARTISTIC WAYAND TO BE IN DIFFERENT SPACE TIMEAS BEING MULTIFUNCTIONED

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The 3,600 square meter MonologueArt Museum is home to three distinct monolith volumes that, when combined and scattered with walls, winding hallways, and other vague areas, appear to lyrically float upon a dramatic water courtyard. The museum's architecture encourages visitors to take some time to reflect on themselves and supports the idea that spending time with oneself is more than necessary for our creative spirits, our wellbeing, and the quality of our relationships with others. It includes a theater, yoga room, dance studio, atelier, art gallery, tea room, reception area, and other transitional and service areas.

Wutopia Lab's Yu Ting believes that "the line," which is made up of different brushstrokes that produce different lines on paper (some flexible, some light, some wet), all have a continuous form but are unique in their qualities, is the essence of Chinese painting. Using white instead of black to represent various spaces the oval theater as the starting point, the yoga room as a point, the flower wall that resembles a dried brushstroke, and the art gallery as a connecting stroke he compares the Monologue's architectural boundary to this shifting ink line. The pattern unfolds like a brushstroke, reflecting the movement of a pen in a painting as it moves from enclosed to open areas.

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The contemplative museum fosters a purely artistic, contemplative, almost monastic atmosphere by enabling individuals to be in multiple places at once and still be alone with themselves. Wutopia Lab claims that the museum's structural design is not earthquake resistant and that its plan is complex and irregular. "When the museum is divided, though, the oval theater, circular yoga studio, and rectangular dance studio are all symmetrical and regular with excellent seismic performance, with the exception of the art gallery," the website states.

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The foyer was designed as a "closed space" to divert visitors' attention from the dramatic, central water scenery that is unfolding outside and instead play the role of a small semi-circular theater with stepped seating. This small, oval theater, which is separate from the main steel structure, unfolds as a continuous closure of wall panel structures made of reinforced concrete, resembling an elliptical column resting on the water feature. The Shanghai-based architects state, "The outside is quiet, but the inside is noisy."

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Ting Yu, the chief architect and founder of Wutopia Lab, gives us a quick tour of the facility and says, "The Monologue Museum is a slowly unfolding hand scroll." Beginning at the tiny theater entrance, where light leaks in around the corners to enter the art gallery, the serene water courtyard gradually comes into view as you walk down the wide, naturally occurring hallway with changing lighting, past the vibrant yoga studio and into the vibrant art gallery (which houses the exhibition and painting rooms). Then the path narrows and the light fades, almost making you miss the tea room tucked behind the wall. There's a dance studio at the end.After leaving the building, you walk along the flower wall and into the shaded area where the water is wading. The building's centre is penetrated by water, which seems to flow towards the sea. Six trees were by the water, whispering and shaking their heads in the breeze when I came across the small theatre again. The entire environment, including the sounds and thoughts, gradually came to life as (tangible, visual) paintings.

Fig.176

Structure

Main steel structure

• The small theater is shaped by a continuous closure of the reinforced wall panel structure.

• An elliptical column standing on the pool.

• To reduce self-weight of the structure and the elements, the roof is made of a whole cast layer of 40mm fine stone concrete with ribbed patterned steel plates on to ensure thermal insulation and waterproof performance.

• Independent column overhanging beam steel structure unit is used in the enlarged art museum space. Maximum overhanging is 4.6 meters- allowing no vertical elements blocking the view of water courtyard

• For the glass fortress used four hanging pillars suspended from the main frame beam and hidden in the closet to lift the second-floor slab. The staircase was also suspended from the floor slab lightly.

• To keep the 5m high flower wall safe it was necessary to add structural columns every 3.4m behind the flower wall is a grc brick made of 3% steel fiber content using the premixed method.

Fig.178

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Fig.182

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Fig.194

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Fig.195

EMPTINESS

EMOTIONALLY EVOCATIVE SPACES

SENSORY ENGAGEMENT

ARTISTIC INTERPRETATION

NARATIVEARCHITECTURE

TRANSCENDING PHYSICALITY

HUMAN-ENVIRONMENT CONNECTION

1- Emotionally Evocative Spaces: Wutopia Lab creates environments that arouse feelings in its visitors by employing emptiness not as a sign of absence, but as a tool for creating contemplative spaces that emotionally connect with them.

2- Sensory Engagement: With purposeful influence of light, voids, and spatial elements, emptiness is used to create sensory experiences that arouse emotions and encourage contemplation.

3- Artistic Interpretation: Yu Ting's comparison of shifting ink lines in Chinese paintings to architectural spaces exemplifies Wutopia Lab's creative interpretation. Their designs mirror brushstrokes in every space, taking visitors on an emotional journey. clarifying the architect's decision to prioritize the white spaces over the black strokes in order to have a greater effect on the user's experience.

4- NarrativeArchitecture: Through the use of architectural elements and a purposeful progression in spaces similar to a narrative, their designs narrate stories and take users on an emotional journey. Hence proving that narrative architecture is nothing but architecture of emptiness ( in research)

5- Transcending Physicality: With an aim to create environments that look deeply into human emotions and provide immersive experiences through the art of emptiness, Wutopia Lab's architecture surpasses physical structures.

6- Human-Environment Connection: By creating links between people and their surroundings, the architectural designs hope to encourage emotional involvement, introspection, and a feeling of place.

4.3- THE NATIONAL CENTER FOR CIVIL AND HUMAN RIGHTS /-PHILIP FREELON IN PARTNERSHIP WITH HOK ( NOW PERKINS+ WILL) ( PROGRAM BASED )

The National Centre for Civil and Human Rights is a firm believer in the ability of individuals to bring about justice and dignity for all. They engage and educate/train visitors as well as other audiences through immersive exhibitions, lively events and dialogues, and participation. The National Centre for Civil and Human Rights is anAtlanta-based human rights organization and museum that encourages individuals to utilize their own power to improve the world. It opened for business in 2014.

After a global design competition, Phil Freelon was selected. The objective of developing the winning design was then to turn The Centre’s vision into a tangible object. The centre’s curving walls encircle the supporting areas and internal exhibitions in a way that seems like holding hands. Tones are colours that resemble flesh tones and signify various nations. Moreover, this potent gesture suggests that individuals from diverse backgrounds may cooperate to achieve a shared objective.

Text description provided by the architects. The design of the National Centre for Civil and Human Rights is driven by the concept of creating a Space for Action. The design is inspired by great urban spaces from around the world that are synonymous with historic civil and human rights events: the National Mall in Washington, Tiananmen Square in Beijing and Tahrir Square in Cairo.

Fig.197

Fig.198

Inspired by architecture and spaces associated with historic civil and human rights movements and events, The National Center for Civil and Human Rights creates a space for action. Conceived by award-winning architect Philip Freelon in partnership with HOK (now Perkins+Will), The Center’s unique structure is designed to enhance the experience of visitors and inspire them to learn about and take action for the civil and human rights movements worldwide.

Creating a concrete embodiment of the centre’s vision was his aim for the structure. The dignity of every human being is something that the centre’s curving walls reflect, two cupped hands guarding something holy. The outside façade is multi-coloured and a mosaic of several nations, symbolizing the concept that individuals from diverse backgrounds may coexist peacefully.

Two loud, curved walls establish the centre’s signature shape. These striking walls define and establish the Space forAction, where the centre’s numerous programs and interactive displays serve to both raise awareness of contemporary global human rights challenges and serve as a reminder of civil rights accomplishments. The connections that enable people and organizations with apparently disparate interests to come together and find common ground served as inspiration for the Center's architecture.

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Fig.200

The Centre's expansive plazas, which are open to walkers from all directions, are situated next to the GeorgiaAquarium and the World of Coca-Cola in downtownAtlanta. The design offers at-grade entrances on two building levels with a difference in elevation of over thirty feet. The exquisite glass and steel water sculpture honouring civil and human rights is situated in the spacious plaza along IvanAllen Jr. Boulevard, which is accessible through the lower-level entrance.

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Fig.205

Total area – more than 42,000 square feet

1. EXHIBIT

2. SHARED GALLERY

3. BROADCAST CENTER

4. ADMINISTRATION

5. SHARED ACCOMPLISHMENTS GALLERY

4. EXHIBIT

5. LANDSCAPE STAIR

6. OEMBERTON PLACE

1. LOBBY

2. GIFT SHOP

3. MIK STAIR

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Fig.207

The upper-level plaza overlooks Pemberton Place, a pedestrian park with an ellipse shape that connects The Centre to other important cultural sites inAtlanta. Connecting the top and lower plazas, a magnificent external stair encircles the east side of the structure. The landscape with terraces and a stairway looks out over a native grass and native shade tree planting.

The centre’s building program has been set up within the curved exterior walls to link visitors with one another, with historical accounts of the US Civil Rights Movement, and with contemporary global human rights concerns. With galleries and event spaces on each floor, the 42,000 square foot building program is set up over three floors. Rockwell Group of New York is the exhibit designer.

8. IVAN ALLEN PLAZA

Fig.208 Fig.210

Fig.209

Pemberton Place, which is located on the middle floor of the three-story building, is where visitors enter the main building and lobby. One can enter the galleries and Civil Rights exhibit from this lobby.Awide balcony with views of the lobby, Centennial Olympic Park, and downtownAtlanta beyond is accessed via a stairway. On the upper level, a gallery of shared successes that opens to the balcony and lounge represents the culmination of both the Human Rights and Civil Rights displays.

Architectural panels of different sizes and earth tones adorn the two curved walls that define the building's design, symbolizing the diversity of people.An enormous planting system on a green roof contributes to the sustainable architecture. By acknowledging our common past and the part we all play in promoting civil and human rights, The centre’s architecture and displays come together to create a genuine Space forAction that inspires every visitor.

Fig.211

PROGRAM

In order to promote awareness, communication, and activism on civil and human rights issues, the National Centre for Civil and Human Rights (NCCHR) has developed an extensive program. A description of their programming methodology is provided here:

Education and Outreach:

• School Programs: The NCCHR offers educational programs that are intended for students of all levels and includes resources and challenges to promote dialogue on the background of civil and human rights as well as current concerns.

• Teacher Workshops: Teachers can integrate civil rights and human rights issues into their educational programs by attending workshops that are designed to teach them effective teaching strategies.

Public Engagement:

• Interactive Exhibitions: Through multimedia presentations, artifacts, and interactive displays, the centre’s permanent and rotating exhibitions educate visitors and promote personal connections to historical events and global human rights concerns.

• Speaker Series and Events: Public involvement and conversation are fostered via regularly scheduled talks, seminars, and community events that bring together activists, academics, and thought leaders to address relevant civil and human rights issues.

Community Partnerships:

• Collaborative Initiatives: In order to collaboratively host events, seminars, and cooperative initiatives addressing social justice, equality, and advocacy, the NCCHR works with neighbourhood associations, educational institutions, and community groups.

• Outreach Programs: In order to make the centre’s materials and messaging inclusive and accessible, targeted outreach initiatives aim to involve a variety of populations.

Digital Resources:

• Online Educational Resources: The centre renders civil and human rights education accessible regardless of whether visitors are not physically present at the museum via digital resources including lesson plans, instructional videos, and virtual exhibitions.

• Digital Engagement:Aconsistent exchange of ideas with a larger audience can be facilitated by an active presence on digital and social media platforms.

Advocacy andAction:

• Empowerment Initiatives: In order to enable people to become agents of change in their communities, the NCCHR sponsors programs that encourage activism, civic participation, and social justice advocacy.

• Policy Discussions: The centre promotes policy reform conversations through conferences and seminars with the goal of positively influencing changes to civil and human rights laws and practices.

CONCLUSION:

The complete programming strategy of the NCCHR includes digital resources, advocacy campaigns, community collaborations, education, and public involvement. The centre works to promote civil and human rights and build a more just and equitable society by increasing understanding, enabling action, and stimulating conversation

Fig.213

4.4-TAKEAWAY –CHICHUART MUSEUMAND MONOLOGUEART MUSEUM

• Using natural light and simplicity to create a meditative atmosphere, the ChichuArt Gallery's design embodies emptiness, which denotes openness and harmony with nature.

• Chichu's approach to displaying art within emptiness encourages a dialogue between the art, space, and viewers, fostering deep contemplation

• Emptiness is integrated by Wutopia lab as a design philosophy, with a focus on emotional resonance, calm, and spatial experiences in their architectural designs.

• Emptiness, when applied in architecture and art, aims not for absence but for evoking emotions, fostering introspection, and creating a sense of openness and connection with the environment.

• Both ChichuArt Gallery and Wutopia Lab demonstrate how embracing emptiness influences human perception, encouraging engagement, contemplation, and emotional connectivity within designed spaces.

EMOTIONALRESPONSE

HYPOTHESIS

Emptiness in architectural spaces serves to, enhance sensory perception, evoke profound emotional responses, and ignite imaginative engagement in end user.

THE NATIONAL CENTER FOR CIVIL AND HUMAN RIGHTS

The National Center for Civil and Human Rights has pioneered a powerful model for engaging audiences in critical issues through education, empathy-building, and advocacy.

Drawing insights from their program, I aim to develop a museum dedicated to Silence and Social Justice, where silence isn't absence but a platform for reflection, dialogue, and action. Here are takeaways from the National Center's approach, combined with my additional elements:

• Silence as Contemplative Space: Consider silence not as emptiness but as a place to reflect. Establish spaces at the museum that promote thought, contemplation, and individual interpretation of social justice concerns. Ensure that that there ar quiet areas for guests to take in information and work through feelings.

• Interactive Exhibits Encouraging Reflection: Create interactive displays that prompt viewers to consider how they might contribute to the cause of social justice. Utilize narrative tactics, art displays, and multimedia to encourage reflection on the influence of individual acts as well as structural injustices.

• Innovative Dialogue Initiatives: Incorporation of virtual or digital venues for continuing discussions on social justice to build on dialogue projects. Establishing discussion boards where visitors may share their thoughts, experiences, and politely debate topics both in person and virtually.

• Storytelling Through Diverse Narratives: Presenting a range of accounts from excluded groups and silenced voices in the struggle for social justice. Make sure that the tales we include come from a variety of backgrounds, ethnicities, and marginalized groups.

• AFocus on Intersectionality: Examine what linked issues related to social justice are in order to address crossover. Examine the ways that different oppressions interact and impact people in different ways according to their sexual orientation, gender, colour, class, and other factors.

• Active Engagement andAdvocacy: By providing tools, information, and chances to become involved, you may inspire people to take up social justice issues. Provide opportunities to engage in community activities, advocacy group support, and volunteer work.

• Artistic Expression for Social Change: Collaboration together with artists to produce provocative installations that stir feelings, upend assumptions, and motivate action. Use art as a potent medium for spreading ideas about social justice and the necessity of speaking up.

• Cultivating Empathy and Solidarity: Create initiatives that encourage visitors' empathy, comprehension, and camaraderie. Provide participants with opportunities to experience the reality faced by disadvantaged populations through seminars, role-playing exercises, or simulations. By integrating these elements into the museum's design and programs, the Museum for Silence and Social Justice aims to create a space where visitors not only learn about social justice issues but are encouraged to contemplate, discuss, and actively contribute to positive societal change.

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LIST OF FIGURES

FIGURE 001 - Moment of nothingness.

FIGURE 002 - Semantics Of Nothingness – Emptiness in physics.

FIGURE 003- The fullness of emptiness- Lisa Munlley.

FIGURE 004 - Everything is empty –Azen story by Sadhguru.

FIGURE 005 - The empty vase- aAesop fable(illustrations).

FIGURE 006 - Emptiness in physics and cosmology.

FIGURE 007 - Emptiness in zen gardens.

FIGURE 008 - Emptiness in zen gardens.

FIGURE 009 - Portrait of Kenya hara.

FIGURE 010 - Illustration on Kenya hara’s philosophy.

FIGURE 011 - Illustration of Kenya hara’s design approach.

FIGURE 012 - Book- “White”- written by Kenya hara.

FIGURE 013 - Portrait of Kitaro Nishida.

FIGURE 014 - Book- “Intelligibility and the philosophy of nothingness”-by Kitaro Nishida.

FIGURE 015 - Portrait of John Pawson

FIGURE 016 - Book- “Minimum”- written by John Pawson.

FIGURE 017 - Enso philosophy.

FIGURE 018 - Enso meaning (diagram).

FIGURE 019 - Kanso scripture.

FIGURE 020 - Book- “The Heart of Sutra”.

FIGURE 021 - Kanso symbol.

FIGURE 022 - Shiva.

FIGURE 023 - Shiva.

FIGURE 024 - Shoonya– the power of nothingness

FIGURE 025 - Shoonya– the power of nothingness- symbol.

FIGURE 026 - Buddha -Infographic.

FIGURE 027 – Buddha.

FIGURE 028 - Portrait of Nagarjuna.

FIGURE 029 - Book- “Nagarjuna’s Madhyamaka.”

FIGURE 030 - Taoism- Infographic.

FIGURE 031 - Taoism- symbol.

FIGURE 032 - Yin-Yang Symbol.

FIGURE 033 - Zen Buddhism- scripture.

FIGURE 034 - Zen Buddhism- Portrait.

FIGURE 035 – Zen Buddhism – sculptor.

FIGURE 036 – Emptiness through architecture illustration.

FIGURE 037 – Emptiness through architecture illustration.

FIGURE 038 – Emptiness through architecture illustration.

FIGURE 039 – Constructive emptiness example.

FIGURE 040 – Constructive emptiness example.

FIGURE 041 – Minimalist emptiness example.

FIGURE 042 – Minimalist emptiness example.

FIGURE 043 – Formal emptiness example.

FIGURE 044 – Formal emptiness example.

FIGURE 045 – Organic emptiness example.

FIGURE 046 – Organic emptiness example.

FIGURE 047 – Emptiness illustration.

FIGURE 048 – Principle of Idealization- example.

FIGURE 049 – Principle ofAuthenticity- example.

FIGURE 050 – Principle of Slowness- example.

FIGURE 051 – Principle of Plasticity- example.

FIGURE 052 – Principle of Silence- example.

FIGURE 053 – Poetics of emptiness- Sunyata- (creation of emptiness).

FIGURE 054 – Garbhagriha of Hindu temples.

FIGURE 055 – Garbhagriha of Hindu temples.

FIGURE 056 – Mandapa of Hindu temples.

FIGURE 057 – Mandapa of Hindu temples.

FIGURE 058 – Courtyards and water bodies of Hindu temples.

FIGURE 059 – Courtyards and water bodies of Hindu temples.

FIGURE 060 – Open-air temple – Khajuraho temple.

FIGURE 061 – Open-air temple – Khajuraho temple.

FIGURE 062 – Mountainside temple – Kedarnath temple.

FIGURE 063 –Agoras of ancient Greece.

FIGURE 064 –Agoras of ancient Greece.

FIGURE 065 – Peristyle courtyards of ancient Greece.

FIGURE 066 – Peristyle courtyards of ancient Greece.

FIGURE 067 – Stoas of ancient Greece.

FIGURE 068 – Stoas of ancient Greece.

FIGURE 069 –Ancient agora ofAthens.

FIGURE 070 – Courtyards of Islamic architecture.

FIGURE 071 – Courtyards of Islamic architecture.

FIGURE 072 – Prayer halls of Islamic architecture.

FIGURE 073 – Prayer halls of Islamic architecture.

FIGURE 074 – Examples of Islamic architecture.

FIGURE 075 – The great mosque of cordoba in Spain.

FIGURE 076 – The great mosque of cordoba in Spain.

FIGURE 077 – The great mosque of cordoba in Spain.

FIGURE 078 – Villa Farnese in capriole Italy.

FIGURE 079 – Villa Farnese in capriole Italy.

FIGURE 080 – Villa Farnese in capriole Italy.

FIGURE 081 – Barcelona pavilion isometric diagram.

FIGURE 082 – Barcelona pavilion views.

FIGURE 083 – Barcelona pavilion views.

FIGURE 084 – Barcelona pavilion views.

FIGURE 085 – Barcelona pavilion plan.

FIGURE 086 – Naoshima contemporary art museum.

FIGURE 087 – Naoshima contemporary art museum.

FIGURE 088 – Naoshima contemporary art museum.

FIGURE 089 – The Seattle central library plan.

FIGURE 090 – The Seattle central library – illustration showing emptiness.

FIGURE 091 – The Seattle central library – view showing emptiness between program and skin.

FIGURE 092 – The Seattle central library – view showing emptiness through verticality.

FIGURE 093 – The Seattle central library view.

FIGURE 094 – The Seattle central library model view.

FIGURE 095 – The Seattle central library view.

FIGURE 096 – The Seattle central library view.

FIGURE 097 – The louvreAbu Dhabi – view.

FIGURE 098 – The louvreAbu Dhabi – view.

FIGURE 099 – The louvreAbu Dhabi – view.

FIGURE 100 – The louvreAbu Dhabi – view.

FIGURE 101 – The louvreAbu Dhabi – view.

FIGURE 102 – The louvreAbu Dhabi – view.

FIGURE 103 – The louvreAbu Dhabi – view.

FIGURE 104 – The Salk institute – view.

FIGURE 105 – The Salk institute – view.

FIGURE 106 – The Salk institute – view.

FIGURE 107 – The Salk institute – view.

FIGURE 108 – The Salk institute – view.

FIGURE 109 – The Salk institute – view.

FIGURE 110 – Portrait of Nagarjuna.

FIGURE 111 – Portrait of Dalai lama.

FIGURE 112 – Portrait of Jean- Paul Sartre.

FIGURE 113 – Portrait of Viktor Frankl

FIGURE 114 – Portrait of Rollo May.

FIGURE 115 – Portrait of TadaoAndo.

FIGURE 116 – Portrait of Rem Koolhaas

FIGURE 117 – Portrait of TadaoAndo.

FIGURE 118 – Museum of TadaoAndo- view.

FIGURE 119 – Museum of TadaoAndo- view.

FIGURE 120 – Museum of TadaoAndo- view.

FIGURE 121 – Chi-chu art gallery – birds eye view.

FIGURE 122 – Chi-chu art gallery – entrance view.

FIGURE 123 – Chi-chu art gallery – view.

FIGURE 124 – Chi-chu art gallery – view.

FIGURE 125 – Chi-chu art gallery – view.

FIGURE 126 – Chi-chu art gallery – view.

FIGURE 127 – Chi-chu art gallery – birds eye view.

FIGURE 128 – Chi-chu art gallery – site plan.

FIGURE 129 – Chi-chu art gallery – site plan.

FIGURE 130 – Chi-chu art gallery – plan level indicating zoning through images.

FIGURE 131 – Chi-chu art gallery – plan level indicating zoning through images.

FIGURE 132 – Chi-chu art gallery – view plan showing zoning.

FIGURE 133 – Chi-chu art gallery – plan level indicating zoning through images.

FIGURE 134 – Chi-chu art gallery – section.

FIGURE 135 – Chi-chu art gallery – view.

FIGURE 136 – Chi-chu art gallery – view.

FIGURE 137 – Chi-chu art gallery – axonometric view- showing zoning.

FIGURE 138 – Chi-chu art gallery – plan showing various levels.

FIGURE 139 – Chi-chu art gallery – axonometric view- showing circulation

FIGURE 140 – Chi-chu art gallery – section showing voids.

FIGURE 141 – Chi-chu art gallery –plan showing movement of circulation (fast and slow).

FIGURE 142 – Chi-chu art gallery – plan showing zoning of services.

FIGURE 143 – Chi-chu art gallery – light analysis.

FIGURE 144 – Chi-chu art gallery – plan showing light distribution (intensity of light).

FIGURE 145 – Chi-chu art gallery – plan showing the locations of skylights and open to sky areas.

FIGURE 146 – Chi-chu art gallery – section of the Walter de maria exhibition room.

FIGURE 147 – Chi-chu art gallery – view of the Walter de maria exhibition room.

FIGURE 148 – Chi-chu art gallery – view of the Walter de maria exhibition room

FIGURE 149 – Chi-chu art gallery – section of the James Trell exhibition room

FIGURE 150 – Chi-chu art gallery – view of the James Trell exhibition room

FIGURE 151 – Chi-chu art gallery – view of the James Trell exhibition room

FIGURE 152 – Chi-chu art gallery – section of the Claude Monet exhibition room

FIGURE 153 – Chi-chu art gallery – view of the Claude Monet exhibition room

FIGURE 154 – Chi-chu art gallery – view of the Claude Monet exhibition room

FIGURE 155 – Chi-chu art gallery –view – showing emptiness through subterranean design.

FIGURE 156 – Chi-chu art gallery –site plan – showing emptiness through subterranean design.

FIGURE 157 – Chi-chu art gallery –axonometric view – showing emptiness through void spaces.

FIGURE 158 – Chi-chu art gallery –view – showing emptiness through inculcated natural light.

FIGURE 159 – Chi-chu art gallery –view – showing emptiness through inculcated natural light.

FIGURE 160 – Chi-chu art gallery –section – showing emptiness through spatial arrangement.

FIGURE 161 – Chi-chu art gallery –view – Walter de maria exhibition room.

FIGURE 162 – Chi-chu art gallery –view – James Trell exhibition room.

FIGURE 163 – Chi-chu art gallery –view – Claude Monet exhibition room.

FIGURE 164 – Chi-chu art gallery –view – showing emptiness through harmony with nature.

FIGURE 165 – Chi-chu art gallery –view – showing emptiness through harmony with nature.

FIGURE 166 – Monologue art museum –view.

FIGURE 167 – Monologue art museum –view.

FIGURE 168 – Monologue art museum –view.

FIGURE 169 – Monologue art museum –view.

FIGURE 170 – Monologue art museum –view- indicating massing.

FIGURE 171 – Monologue art museum – sketches/ symbols showing massing.

FIGURE 172 – Monologue art museum –interior view of yoga room.

FIGURE 173 – Monologue art museum –interior view of yoga room.

FIGURE 174 – Monologue art museum –interior view of yoga room.

FIGURE 175 – Monologue art museum –axonometric view.

FIGURE 076 – Monologue art museum – plan showing zoning.

FIGURE 077 – Monologue art museum – plan showing circulation.

FIGURE 178 – Monologue art museum – section.

FIGURE 179 – Monologue art museum – flower wall detail.

FIGURE 180 – Monologue art museum – view- indicating material used.

FIGURE 181 – Monologue art museum – view- indicating material used.

FIGURE 182 – Monologue art museum – view- indicating material used.

FIGURE 183 – Monologue art museum – view- indicating material used.

FIGURE 184 – Monologue art museum – view- indicating material used.

FIGURE 185 – Monologue art museum – view- indicating material used.

FIGURE 186 – Monologue art museum – view- indicating material used.

FIGURE 187 – Monologue art museum – view- indicating experiences of spaces through light.

FIGURE 188 – Monologue art museum – view- indicating experiences of spaces through light.

FIGURE 189 – Monologue art museum – view- indicating experiences of spaces through light.

FIGURE 190 – Monologue art museum – view- indicating experiences of spaces through light.

FIGURE 191 – Monologue art museum – view- indicating experiences of spaces through light.

FIGURE 192 – Monologue art museum – view- indicating experiences of spaces through light.

FIGURE 193 – Monologue art museum – section- indicating landscaping features.

FIGURE 194 – Monologue art museum – view- indicating landscaping features.

FIGURE 195 – Monologue art museum – elevation- indicating landscaping features.

FIGURE 196 – Monologue art museum – section- indicating landscaping features.

FIGURE 197 – The national centre for civil and human rights- view

FIGURE 198 – The national centre for civil and human rights- views showing the concept of design

FIGURE 199 – The national centre for civil and human rights- view

FIGURE 200 – The national centre for civil and human rights- section.

FIGURE 201 – The national centre for civil and human rights- view of site surroundings.

FIGURE 202 – The national centre for civil and human rights- view of site.

FIGURE 203 – The national centre for civil and human rights- site plan.

FIGURE 204 – The national centre for civil and human rights- view

FIGURE 205 – The national centre for civil and human rights- view

FIGURE 206 – The national centre for civil and human rights- basement floor plan.

FIGURE 207 – The national centre for civil and human rights- ground floor plan.

FIGURE 208 – The national centre for civil and human rights- first floor plan.

FIGURE 209 – The national centre for civil and human rights- view.

FIGURE 210 – The national centre for civil and human rights- view.

FIGURE 211 – The national centre for civil and human rights- view.

FIGURE 212 – The national centre for civil and human rights- view.

FIGURE 213 – The national centre for civil and human rights- roadmap.

FIGURE 214 – The national centre for civil and human rights- program.

FIGURE 215 – The national centre for civil and human rights- view.

EMPTINESS IN ARCHITECTURE – “a mode of perception”

Aim – to correlate the integration of emptiness in architecture with emphasis on sensory experience for contemplation and introspection.

Hypothesis – “emptiness in architectural spaces serves to, enhance sensory perception, evoke profound emotional responses, and ignite imaginative engagement in end user.”

After extensive research and analysis, I have concluded that I am inclined to establish a "MUSEUM OF SOCIAL JUSTICE AND SILENCE."

Therefore, the choice of case studies is solely made for program development, as they do not align with the concept of emptiness in architecture. However, all analyses, whether qualitative or quantitative, thoroughly consider the pros and cons associated with these selected case studies.

• The thesis focuses on constructing a "Museum of Social Justice and Silence" within the context of "Emptiness in Architecture - A Mode of Perception."

• The juxtaposition of social justice and silence within the museum's theme offers a conceptual depth that allows for a nuanced exploration of societal issues through architectural design.

• This choice symbolically represents the gaps, inequalities, and silenced narratives within society, making the museum a powerful platform for narrative exploration.

• The museum design becomes an educational tool, providing an immersive experience for visitors to reflect on social justice issues through architectural elements that evoke a sense of emptiness.

• Community connection is emphasized, turning the museum into a space for dialogue, community involvement, and shared experiences around social justice concerns.

• The thesis showcases originality by choosing a unique and multidimensional theme, contributing to the discourse on how architecture can respond to and communicate social justice issues through the lens of emptiness.

• The interdisciplinary approach integrates sociological, cultural, and architectural perspectives, while the global implications of the themes ensure the thesis has broader relevance and impact on a global scale.

CASE STUDY 1- JAYAPRAKASH NARAYAN INTERNATIONAL CONVENTION CENTRE

JAYAPRAKASH NARAYAN INTERNATIONAL

CONVENTION CENTER

Purpose of studying this case study

1. Learning from Successes and Challenges from the case study

2. Understanding Design and Functionality from the case study

3. Learn about new Technology and Innovation from the case study

4. Understanding Operational Efficiency from the case study

5. Understanding how innovative design is important.

6. User Experience and Feedback from the case study

7. Understanding how Contextual Relevance is important.

8. Programme development.

ABOUT

The Jaya Prakash Narayan Interpretation Centre/ Museum of Socialism in Lucknow is built on the idea of creating public architecture, whose design vocabulary endows a contemporary value to past events, but stands its ground with its ‘new-found’ institutional identity reflecting the polarised views of civic authorities, curators, historians and the general public. The contemporary nature of the Museum’s architecture takes responsibility for creating what will be tomorrow’s history while narrating the current one.

TO COMMEMORATE MEMORY OF JPN , THROUGH HIS MOVEMENTS AND STORY LIFE.

JAYA PRAKASH NARAYAN INTERPRETATION CENTER/ MUSEUM OF SOCIALISM

CREATING PUBLIC ARCHITECTURE

DESIGN VOCABULARY ENDOWS A CONTEMPORARY VALUE TO PAST EVENTS

STANDS ITS GROUND WITH ITS “NEW FOUND” INSTITUIONAL IDENTITY REFLECTING VIEWS OF CIVIC AUTHORITIES, CURATORS, HISTORIANS AND PUBLIC.

Although it celebrates and shares the ideology of socialism in retrospect, it also reflects the times we live in – both in its experience and space-making. The building- the parts and the whole do their best to communicate the essence of the Interpretation Centre which is about the idea of socialism and about the visionary –Jayaprakash Narayan (JP). Archohm Consults, a multidisciplinary architecture studio, in line with Shri Akhilesh Yadav’s (Chief Minister- Uttar Pradesh) vision, has been responsible for the design of this museum.

The monolithic and bold form of the building takes a stance, and exudes empowerment, saying that, be it a building or man, one must be undaunted while envisioning and realising a dream. It is much like what we understand of JP’s life. Despite, the scale and the unconventional shape, the building with its clean and clear lines is deceptively simple. Just like the man it represents; the profound depth and complexity is revealed on the inside and it only reinforces the notion of simplicity being rooted in deep-thought and reflection.

The architecture of the building blurs the boundaries of the role of architecture in space making. The conception of the institution was a journey that evolved with the project. The architecture sits in conversation and merges seamlessly with museum and exhibition planning, experience design and landscape. The centre serves as a gateway to the Jaya Prakash Narayan Interpretation Centre and together, they ensure that an international flavour is imparted to the complex which in turn validates the recognition of the institution as an attempt to be an ambassador of the city of Lucknow.

SITE CONTEXT

Along with the adjoining International Convention Centre, the Interpretation Centre is inserted as an anchor point on one of the principal nodes of the city so that it takes on the onus of becoming a contemporary landmark and hopes to inspire the development of the urban fabric around it. The design of the building also strives to achieve fitting, sensitive and gallant negotiations with the contrasting and oft conflicting contexts of urbanity and nature. The terracotta cladding responds to the integrity of a historical cityscape.

The complex stands as a conceptual counter argument to the park across and ensures a climatic response by maximizing the green cover of the complex. One of the facades merges with the abutting greenery; the adjoining forest is literally and metaphorically swept off its feet and lifted audaciously up to the fifth floor elucidating the value of greens in the context. The centre therefore serves as a ‘respiratory apparatus’ in the form of breathing spaces that also double up as phenomenal community centres engaging the inhabitants and the built environment of the city, with a view to entertain and educate. Incidentally, this institution dedicated to JP could not have found a better neighbour than the adjoining green realm-the Ram Manohar Lohia Park; for JP and Lohia were not only politically bound brethren, but close friends.

JAYA PRAKASH NARAYAN INTERNATIONAL CENTER/MUSEUM

INSPIRING DEVELOPMENT OF

LANDMARKS AROUND THE JAYA PRAKASH INTERNATIONAL CENTER/ MUSEUM

1. DR. BALASAHEB AMBEDKAR MEMORIAL PARK

2. GOMTI RIVER

3. GOMTI RIVERFRONT PARK

4. TAJ MAHAL LUCKNOW

5. HOTEL TAJ PARK

6. AMBEDKAR PARK PARKING LOT

7. UTTAR PRADESH RAIL COPERATION

8. DR RAM MANOHAL LOHIA PARK

DR RAM MANOHAL LOHIA PARK

CONNECTIVITY TO THE JAYA PRAKASH NARAYAN INTERNATIONAL CENTER/MUSEUM

• The museum is located in Gomti Nagar, in the Vipin Khand area of Lucknow.

• The nearest bus station is Ambedkar Smarak Park.

• The museum is located at a distance of 9.3 km from the Charbagh Railway Station.

• Local transport such as taxi and autorickshaw can be hired to reach the museum.

GATEWAY TO JPN INTERNATIONAL CENTRE

The Jayaprakash Narayan International Convention Centre has been conceived as a place that offers the citizens of Lucknow, multiple choices of leisure, business, recreation and sports. It is a place where people from all walks of life-from the local to the overseas visitor can have a meaningful and memorable interaction and experience. The JPN Interpretation Centre is a gateway framing the International Centre. It is placed as a wedged-shaped monument with a massive arch carved out of the mass; its nine-metre height and twenty metre ambitious span clearly attempt to push the limits of structural design and construction.

Mass and void are like the two sides of a coin, positive and negative, built and unbuilt, the metaphoric strengths and weaknesses; together incarnate architecture. The wedge-shaped museum is actually a slice of the same shape and size carved out from the mass of the international centre building - leaving in its place, a void that opens up the centre. It then takes a seat on the site in a way that is majestically juxtaposed with the International Centre, thus creating its own identity even while owing allegiance to it.

PROJECT DETAILS

JAYAPRAKASH NARAYAN INTERNATIONAL CENTER, LUCKNOW, UTTAR PRADESH

ARCHITECT; Studio ARCHOHM DESIGN TEAM; Sourabh Gupta, Amit Sharma, Sanjay Rawat, Dipankar Dutta, Bhoomika

Singhal, Ram Sagar, Neha Agarwal, Shahzad Ahmad EXPERIENCE DESIGN; Design Factory India. Structural Consultants Roark Consulting. LANDSCAPE CONSULTANTS; Shaheer Associates SJA, Consultants. ELECTRICAL CONSULTANTS; ARCHOHM Consultants. MECHANICAL ENGINEERING, HVAC PLUMBING; Sunil Nayar Consultants PVT.LTD.

PRODUCT SPECIFICATIONS

TERRACOTA CLADDING TERREAL CONCRETE TILES: IVANKA

AREAS

MUSEUM - 3269 m² INTERNATIONAL CENTER

ZONING

INTERNATIONAL CENTRE

The international centre is still under construction and comprises of a sports centre, multipurpose hall (pre- function area), auditorium, guest rooms (dormitory), cafe/ restaurant.

The international centre is been made for the public to enjoy and utilise , the sports centre is available for all the general public, while the guest rooms are for the government officials.

ZONING – as per section

THE JPN MUSEUM

The JPN Museum is a gateway Framing the centre placed as a wedged- shaped monument with a massive arch carved out of the mass; its nine-meter height and twentymeter ambitious span are clearly attempts to push the limits of structural design and construction. Its stepped roof terminates in a pavilion that gifts a panoramic view of the R.M Lohia Park and the convention centre. The museum within is an experience in space design with the depiction of Jayaprakash Narayan as a chronological narrative of a linear journey. It is divided into two zones; the zone of absorption and the zone of reflection. As the names suggest, contemplation which then is expected to lead to reflection and assimilation. Thus, of a past but breeds them and ensures that they percolate into current reality, and lay the foundation for the future. Thus, while the various exhibits and narratives remain centre stage, the building offers surfaces volume and elements as tactile backdrops.

The museum within is an experience in space design divided into four zones; absorption, internalisation, reflection and congregation. These enable absorption of information triggering curiosity and contemplation which then is expected to lead to reflection and assimilation in that sequence. The linear and chronologically oriented journey of experiencing JP is real; a parallel and simultaneous surreal journey is made interesting, complex and layered by the use of the third dimension. The play of levels inside is made perceptible for visitors; elements of vertical circulation as ramps and a variety of stairs and steps help physically navigate and merge the interlocking volumes. The rhythm of climbing steps is matched by the visual rhythm of panels and displays used as metaphoric connectors to JP’s life.

The triangular shape of the facade is derived from the wedge carved out of JPN International Centre. It diagrammatically represents the triad of tenets of JP’s socialism; freedom, equality and brotherhood, celebrated and etched in multiple languages on the terracotta panels spelling the power of the unitary even as a part of the whole.

The ‘skin’ is an outer covering of custom designed terracotta tiles-its perforations allow for air flow and ventilation. The dry-cladding with an air-gap between the true wall filled with rock wool keeps insides cool and comfortable and helps in cutting down the city cacophony and enables the immersive museum experience to be smooth and undisputed by noise.

The museum is not a receptacle for storing frozen moments of the past but an environment where creativity and imagination breed the constant renewal of culture as a force for evoking collective consciousness.

PLANS - MASTER PLAN

GROUND FLOOR PLAN

BASEMENT FLOOR

SECOND FLOOR

FRONT ELEVATION

HEIGHT- 30M

BACK ELEVATION

HEIGHT – 30M

SECTION

HEIGHT – 30M

1. Entrance lobby

2. Ticket counter

3. Toilets- (men and women)

4. Exhibition spaces-

• Story octagons

• National struggle wall

• Exit gallery

• Picture gallery

• Archive area

• Prison diary

5. Documentary auditorium

6. Small sit down- library

7. Office (with storage and w/c)

8. Sculptures –

• Kinetic sculpture

• Socialism sculpture

9. 3-D hologram theatre

10. Elemental design features

• Steps (OAT)

• Water body

• Sound sculpture

• Thali bajo sculpture

FOOT-FALL

As the Jayaprakash Narayan centre is in the centre of the city it is accessed by many be it the local public, school children or tourists.

Hence making the location of the museum very apt and the building reaches its whole potential

On an average the crowd is seen more during vacations and public holidays and majority of the tourist’s are spotted during the vacation months may, June and sometimes December.

HENCE TOTAL FOOTFALL IS ABOUT 10,000 – 20,000 ANUALLY.

PLAY OF LEVELS

At first, the journey of experiencing JP is a linear one- in chronological fashion and divided into zones of specific themes, which are also interconnected and become components of a parallel and far less tangible journey on their own. However, the experience is made interesting, complex and layered by the use of the third dimension that involves not a play of voluminous spaces, but also of levels. A deceptive singular platonic outer shape belies the complexity of the play of levels inside; made perceptible for visitors through elements of vertical circulation as ramps and a variety of stairs and steps.

These helps physically navigate and take up the challenge of merging the interlocking volumes. The rhythm of climbing steps- one by one is matched by the visual rhythm of panels and displays appropriately placed on the gently curved spiral staircase, the abrupt ‘emergency’ staircase and the broad and open to sky steps. Similarly, the inclined ramp is inclined to be not just a literal connector of floors, but also metaphoric connector to JP’s life demonstrated through exhibits along the path. A ramp is a gradual ascent and offers a totally different experience from a stair.

VOLUMETRIC COMPOSITION

Large voluminous spaces enable the creation of bespoke backdrops for the thematically designed experiences, while providing the necessary curatorial flexibility needed by a typology of this nature. Platonic volumes try to induce clarity into the visceral experience of space; this clarity also echoes JP’s character. Additionally, their three-dimensional property supports a multi-dimensional and more meaningful experience; even adding a dose of surrealism to it.

The entrance is a triple-height volume that immediately initiates a perception of the scale of the institution and the stature of the persona. In the basement, the volume equivalent to two floors with water-bodies on both sides is a play of illusion in which the building seems to float. The photo gallery on the first floor extends to an upper level and the volume of this area is defined by the soft splash of diffused natural light from the roof skylights, washing the display of walls. Volumes are inserted within volumes to add layers of complexity and as surprises to the experience of space-making. Internally, volumes are made to interlock smoothly as not only is the sense of a collective a reverberating concept in the institution, but also since the program has also been so designed.

THE ELEMENTS - WATER, LIGHT AND AIR

Natural light is designed to express that it is not easy to come by; but at the same time, allowed to exercise leverage and make its presence felt, understood and valued. With an introverted character required of the institution, the facades have been designed as blank walls on the exterior. However, once inside, light is sent on a wild goose chase so that when it returns, it is controlled and its tonality is most appropriate for the visual spread and to enlighten the minds absorbing it. The tonality matches the mood of the space.

Therefore, while informative spaces are dimly lit, contemplative spaces are washed in muted light to create an ethereal ‘lightness of being.’ Modulated light also empowers continuously inhabited spaces to ‘be cool by nature’ and incidentally to climatically sort themselves out. Sunken courtyards usher in light in the lowest level, but only after reining in its harshness. Similarly light wells all along the steps of congregation bring in diffused light- light that has been stripped of its intensity and harshness, to the provide relief to the spaces beneath. Also, contrary to the expansive blank walls implying a sense of constricting ventilation, large slits along the entire stretch of the steps of congregation bring in the required light and ventilation to the volumes beneath it and across floors.

The pavilion sits in a body of water in the sunken courtyards. Consequently, it seems to float and gifts itself a surreal character, a lightness that makes light of the massiveness. Water is used as a medium of reflection; reflection of the building reiterating its mission and of oneself in an introspective mood. However, water has been used as a landscape element from an ecological point of view as well; it is a simple and passive means of cooling air; the air cooled as a result of contact with water rises and ventilates the spaces environment without much ado.

MATERIALS

The austere expression of materials sub-consciously echoes the honest and unpretentious character of JP. Pitted against this is the grandeur of the form, which makes a bold architectural impression that is absolutely imperative and intentional - meant to push people towards questioning fundamentals and towards brave expressions in the pursuit of change. Since the building is itself sculptural in nature, it seemed best to construct in concrete. With strength being its middle name, it makes the larger-than-life dimensions easily realisable, but also moulds itself to permit flexibility to the schema housed within.

The institution commands a contemporary reading of its presence. However, its terracotta cladding throws light on its desire to cohabitit’s warm, earthy and deep texture is very indigenous. Granite also reiterates the grounded and strong personality. It is employed as a pattern of inflamed and honed textures on the steps of contemplation for visual appeal. The material choice conveys a certain timelessness and ease of maintenance, both elements much needed for a public space of this nature.

FACADE

The triangular shape of the facade which is clearly visible even from a distance is derived from the wedge that was carved out of JPN International Centre as much as from the fact that it best diagrammatically represents the triad of objectives of socialism as conceived by JP- freedom, equality and brotherhood. Three of these words are celebrated and etched in multiple languages on the terracotta panels.

It is truly a non-facade for it is not an afterthought- a dressing of the building - but a conscious participant in the program and reflective of the spirit inhabiting it. This formal asceticism in the use of stark and simple material strives to imbue richness and nobility by the genuine treatment of materials; for materials when used honourably by men speak honourably for them.

SKIN

The presence of a ‘skin’ as opposed to a facade means that the building sports a layered outer covering. The custom designed terracotta tiles are dry-clad with an air-gap between this layer and the true wall. This space filled with rock wool offers a measurable degree of thermal and sound insulation. While the former keeps the much-visited place cool and comfortable, the latter helps in cutting down the city cacophony, along with a host of other measures and enables the immersive museum experience to be smooth and undisrupted by noise. Further, the terracotta tiles being perforated allow for air flow and ventilation

LANDSCAPE

The landscape is a key element of the projectit features a smooth sinuous drive into the complex, an ‘introductory walk’ into the entrance foyer and is used extensively as inserts, pauses and even termination nodes to compliment the built environment of the Interpretation Centre before being literally and metaphorically swept off its feet into the skies in the Convention Centre. That the institution is parked in a perceptibly vast green realm- an urban forest itself is an indicator of the homage paid to nature. Landscaped open spaces provide respite from the otherwise deeply immersive experience of the museum, offering spaces for leisurely contemplation and realisation.

The open-air theatre with its set of vast steps and expanse of shared space is meant to bring out the common aspects of people; Shared experiences lead to a feeling of community and to a collective national identity. The essence of socialism and democracy is thus understood. The amphitheatre also is a place where creativity also becomes a protagonist, engaging with people from all spheres of society, with processes and ideologies, with JP’s spirit holding them all together. This act of inclusion and of merging into the landscape is what makes the amphitheatre an effective, entertaining and learning space. The role of theatre in shaping democracy was revealed to the world by the ancient Greeks in the times that they built the amphitheatres. That they were easily accessible from many places and open is what endowed the democratic character to them, apart from the fact that freedom of speech was best expressed in them.

SPATIAL DISTRIBUTION

Spaces are distributed in the horizontal and vertical plan in cohesion so that the journey although in parts and in sync with the prescribed zones of experience, seems like a singular one; just as, even though we live life in phases and time zones, it is really one life at the end of it. The program brief includes a ticketing place and the introductory atrium on the entrance floor, a library attached to which is a children’s chill-out zone, exhibition galleries and two cafeterias named ‘Namak’ and ‘Chawal’ after the items consumed by the Hazaribagh jail breakers on the run. A shop called ‘Char Anna’- the amount the

fugitives lived on, sells memorabilia as takeaways from the museum. Spatial distribution is thematic in nature. The transition from one space to another is ironically seamless yet punctuated from floor to floor by stairs and ramps. The visitors meander in and out into the sunken courtyards at the lowest level before leaving for the first floor through the ‘zig-zag’ ramp. The first level, the place where realisation is conceptualised, is inward looking and so is the floor above-the place of reflection. The building terminates in the steps of congregation, the open-air theatre as collective public space.

SPACES – UNDERSTANFING THROUGH PICTURES

The main OAT with the two entries at different levels (first and second floor) leading to the JPN hologram and the sides been adorned with skylight.

Can point out the basement exit and understand the dynamics of the structure

ANALYSIS

• Visual experiences in the building rely on occlusion created by elements that define the space.

• When entering, the isovist area is shaped, guiding the user's movement based on their field of vision.

• For architect, visual experiences integrate occlusivity, spatial organization, and various elements within the space.

• Non-architects' visual experiences are primarily influenced by their cone of vision and the isovist area.

• On the ground floor, movement is directed by visual cues, such as pausing within voids and observing different directions.

• Visibility graphs update as movement occurs, influencing the overall visual experiences.

• The cone of vision is crucial for noticing elements and engaging with the quality of space.

• Movement from the ground floor to the basement results in varying isovist graphs, providing different directions to users.

• Entry/exit points are marked by isovists, contributing to optimistic spatial and visual experiences for users.

In the Jay Prakash Narayan Museum in Lucknow, there was a gap in how events were narrated through architectural elements. For people who aren't architects, their experiences are more about what things remind them of, like artifacts and displays, rather than the architectural aspects. Architects, on the other hand, engage with the spatial events and the quality of the space itself.

The entrance lobby serves as a compact resting area, featuring flooring made entirely of granite.

Adequate space has been designated for ticketing services, and a total of two counters are available at the ticket counter.

The restroom facilities are insufficient for the number of people, and they are not available on every level, resulting in discomfort and inconvenience.

utilized for janitorial services

The octagonal structures narrate the story and history of JPN, facilitating sequential storytelling and creating designated points for pausing and resuming within the exhibition spaces.

These exhibition areas are strategically positioned on opposite side walls, serving to create a sequential circulation and storytelling experience within the space.

This exhibition space features a semienclosed design with a small area of double height, enabling natural light to permeate through and contributing to the creation of dynamic spatial experiences.

granite flooring and accent walls adorned with an orange color scheme.

The archive exhibition space is a circular insertion characterized by orange walls and accent details.

This exhibition space features a glass installation, creating an intense atmosphere with its specialized design focusing on light and sound experiences.

The documentary auditorium is equipped with acoustics and is adorned in a deep shade of orange.

The library is situated in a dynamic and compact yet comfortable area.

This sculpture features a double height and is enhanced with sound effects.

The sound sculpture is open to the sky, and its effects are amplified by the surrounding natural conditions.

The "Thali Bajao" sculpture is located in an enclosed area and is enhanced with light and sound effects to intensify the overall experience.

The 3-D hologram theatre is an

space with a dynamic seating arrangement.

Experience centre

Thali Bajao sculpture

Documentary

Small sit - out library

Kinetic sculpture

Exhibition space and the sculpture of socialism

Prison diary- exhibition space

The play of levels is a crucial part in the designing of the structure with a well thought of landscape, created to enhance the experience of every visitor.

Archive area

3D- Hologram theatre

A museum signage in front of the ticket counter

TAKEAWAYS FROM THE CASE STUDY JAYAPRAKASH NARAYAN INTERNATIONAL CENTRE AND MUSEUM

1. Contemporary design reflecting diverse views on socialism and JP's legacy.

2. Bold and monolithic architecture exuding empowerment and simplicity.

3. Integration with landscape and thematic spatial distribution for a cohesive experience.

4. Terracotta facade representing socialism's tenets, and a skin promoting insulation and sustainability.

5. Careful modulation of natural light and water use for reflection and ecological cooling.

6. Austere expression of materials, including concrete, terracotta, and granite, echoing JP's character.

7. Landscape as a key element, contributing to leisure, contemplation, and community engagement.

8. Thematic spatial distribution emphasizing a linear and chronological journey through the museum.

9. Visual experiences analysed in terms of occlusion, spatial organization, and isovists.

10. Open-air theatre promoting shared experiences and a sense of community.

JANGE- AZADI MUSEUM

PURPOSE OF STUDYING THIS CASE STUDY

1. Understanding the programme for programme development

2. Analysing how storytelling in architecture elevates the experience of the visitor. ABOUT THE PROJECT

The project is conceptualized as Punjab’s Freedom Movement Memorial. The unparalleled sacrifices of Indians for the independence of India, aimed to be translated in this memorial complex on the 25 acres of land of Kartarpur.

The project was conceived by the Government of Punjab and the foundation stone was laid by the then Chief Minister of Punjab, Parkash Singh Badal who also inaugurated its first phase on November 6, 2016. The second phase of the project was inaugurated by the present Chief Minister of Punjab, Captain Amarinder Singh on March 6, 2018.

WORDS BY RAJ REWAL – ARCHTECT OF JANG-E-AZADI

“ Jang -e- azadi is a project for struggle against colonial rule.my aim was to translate into forms that happened during the last two.”

“we have just finished one of the most important project that I have ever done, the jang-e- azadi memorial to commemorate freedom fighters who laid down their lives for independence and struggles for freedom in punjab. It is a memorial and a museum. It is almost becoming a place of pilgrimage. This is a very large project there is an amphitheater, a minar and the domes on top are designed to look like flowers. The flowers are a homage to people who were martyred.”

The circular form standing tall upto 140ft in height, is composed of four petals, inspired by punjabs famous phulkari textile pattern symbolising a gesture of honouring by flowers for eternity and the valour of freedom fighters.

Raj Rewal further adds, "When I was asked to do the minar I was a bit reluctant as minars in modern architecture are very rare. Here it is supposed to be a symbol of victory, so we have also added a flame. Many people come and pay their respects. Young couples come to seek blessings for a strong and courageous baby."

CONCEPT

The fundamental concept behind the design of the Jang-e-Azadi Memorial and Museum revolves around a circular enclosure that serves as the central focal point of the memorial. This circular structure is intricately connected to a well-coordinated arrangement of galleries, creating a harmonious ensemble that amplifies the narrative of struggle and sacrifice for freedom. The entire design is carefully integrated around a ceremonial path.

The primary inspiration driving the project is the metaphor of a flower. The circular design, reminiscent of a flower, pays homage to the individuals who sacrificed their lives during the struggle for independence. This symbolic representation of flowers not only serves as a tribute but also adds a layer of poignant beauty to the memorial.

Raj Rewal, the architect behind the project, drew conceptual inspirations from textile and dance. The aim was to develop a design vocabulary that resonates with the general public and reflects the values ingrained in regional culture. The utilization of textile and dance elements adds a cultural richness to the memorial.

Additionally, the design draws inspiration from the rich cultural heritage of Punjab, particularly emphasizing the sense of exquisite beauty and rhythm prevalent in the region. This aesthetic is exemplified in the intricate web-like patterns found in the woven designs of Phulkari textiles. These patterns, rooted in the natural world with motifs of flowers and

plants, showcase Punjab's distinctive sense of design and contribute to the overall visual and symbolic language of the Jang-e-Azadi Memorial.

Azadi Memorial and Museum is influenced by the dynamic and energetic rhythm of Bhangra dance, reflected in the sweeping curves and turns of the entire complex. The museum is centered around a circular enclosure, serving as the focal point of the memorial. This circular structure is intricately connected to a cohesive arrangement of galleries, creating a harmonious composition that emphasizes the narrative of struggle and sacrifice for freedom. The entirety of the design is organized around a ceremonial path, enhancing the overall experience for visitors.

DESIGN STRATERGIES

• The architectural form, resembling a flower, serves as a tribute, symbolically honoring all those who participated in Punjab's struggle for freedom.

• Drawing from historical influences, the design is a manifestation of inspiration taken from the Golden Temple and traditional Sikh architectural principles, seamlessly incorporated into the built form and layout.

• Cultural emphasis is skillfully achieved through the thoughtful utilization of structural elements within the design.

• The intentional design of the memorial as an iconic structure aims to underscore the significance of the historical events it commemorates.

• Natural light is integrated into the building through a combination of strategic structural design and aesthetic considerations, enhancing the overall ambiance.

• Every wall within the structure serves a navigational purpose, strategically positioned to guide visitors through the memorial for a cohesive experience.

• The incorporation of Phulkari patterns, drawing inspiration from this traditional textile art, is evident in the replication of these designs on both walls and floors, further enriching the cultural narrative woven into the memorial's aesthetics.

ABOUT THE PROJECT

Architect- Raj Rewal

Location- Kartarpur, Punjab, India

Type – Museum / memorial

Site area – 25 acres (1,01,171 sq.mts)

Built up area – 31,204 sq. meters

Project cost- 200 Cr.

Footfall- 8000-10000 annually

Topography – flat land

SITE CONTEXT AND SITE ANALYSIS

• Positioned 65 kilometers from Amritsar and 18 kilometers from Jalandhar, the site's proximity to these significant cities enhances its accessibility and cultural significance.

• Jalandhar, a city that was once the capital of Punjab, and its proximity to Chandigarh, further solidify its prominence, making the site a fitting choice for the construction of the memorial.

• Situated in the central area of Kartarpur, Punjab, the Jang-eAzadi Memorial enjoys a prime location in the heart of the city.

• Various modes of transportation, including local trains, buses, autos, and taxis, provide convenient access to the memorial for visitors.

• Private vehicles can be arranged for a more personalized and comfortable commute, offering the added advantage of exploring nearby attractions with ease.

• The memorial is conveniently located just 5.9 kilometers from the nearest railway station,which is the Kartarpur railway station ensuring ease of travel for those arriving by train.

• The closest airport, Adampur, is approximately 22 kilometers away, providing an accessible air travel option for visitors.

• With frequent and readily available means of transportation, visitors have convenient options for commuting between different locations in the vicinity of the memorial.

Kartarpur railway station

Adampur airport

Private vehicles, taxis Auto- rickshaws

5.9kms 12mins 22kms 40mins

• The primary entrance for pedestrians is strategically located internally, resulting in the formation of a linear axis.

• The design ensures a picturesque journey for individuals entering the complex, offering a visually pleasing vista during the walk.

• The complex features a two-way pedestrian and vehicular entry and exit system, providing flexibility for visitors and enhancing the flow of people through the space. (on the west)

• Additionally, a special VIP entry has been incorporated, specifically designed to lead towards the iconic memorial, catering to the needs and protocols associated with VIP visitors. (on the west)

PARKING

• A designated area of 5 acres has been allocated for the open parking of fourwheelers.

• Two-wheeler parking facilities are situated on the opposite side of the highway.

• The parking infrastructure accommodates up to 600 cars and 6-7 buses.

• To ensure proper segregation and enhance aesthetics, trees have been strategically planted between the car parking spaces.

• The implementation of a grid arrangement for parking contributes to efficient space utilization, enabling the accommodation of a larger number of cars.

PLANNING

MAIN PEDISTRIAN AND VEHICULAR ROAD

• When conceptualizing the design for the memorial and entrance hall, the architect drew inspiration from Indian precedents, notably the Sanchi Stupa. This influence is reflected in the incorporation of a circulatory movement that parallels the life of Buddha, adding a meaningful dimension to the structure.

• The galleries, spanning two levels, are strategically arranged in a circular formation surrounding the memorial. Notably, these galleries can be independently accessed through a secondary entrance.

• The space between the galleries and the memorial is of particular significance, serving as a vital area for the exhibition of large displays that commemorate historic events, including but not limited to the Jallianwala Bagh tragedy.

• The galleries are strategically arranged, forming a circular path that encourages visitors to traverse the entire space from east to west.

• The entrance foyer is seamlessly connected to the memorial icon, establishing a direct linkage along the central axis.

• Two horizontal pathways traverse the courtyard, creating essential connections between key areas.

• Additionally, a smaller parikrama path is designed around the memorial icon, offering visitors an intimate and reflective space.

• Illuminated corridors feature flooring adorned with a Phulkari pattern, providing a vibrant atmosphere. On the exterior side, the jali wall showcases an intricate four-petal design.

• The bridge serves as a vital connection, facilitating movement between the east and west sections of the building. Beneath it, the pathway is equipped with benches, offering a comfortable vantage point for observing the surrounding landscape.

CENTERAL SPACE

• The expansive central space is designed to facilitate ample lighting and ventilation, ensuring a well-lit and airy environment.

• Within this central space, key features include a centralized amphitheater for daily cultural programs, a prominent minar, two connecting bridges linking the east and west blocks, and a welldesigned ramp and staircase.

• A pathway seamlessly traverses through the courtyard, establishing a connection between the memorial icon and the entrance foyer.

RAMP, STAIRCASE AND BRIDGE

• Pink sandstone cladding adorns the ramp, staircase, and bridge components.

• The staircase facilitates connectivity between the ground, first, and second floors.

• Serving as display features, both the staircase and ramp contribute to the overall enhancement of the space.

• The strategic inclusion of significant elements like the amphitheater and minar promotes user engagement, thereby increasing footfall.

• The courtyard is intelligently divided into three segments, with each segment hosting a distinctive feature: the minar in the first segment, the amphitheater in the second, and the ramps in the third.

• Abundant greenery, including trees and landscaping, fills the courtyard, adding to its aesthetic appeal and overall beauty.

AMPHITHEATER

• The amphitheater, positioned in the second courtyard of the complex, has a seating capacity for 1000 individuals.

• Clad with red sandstone on its exterior and featuring a granite flooring, the amphitheater stands as a significant element within the Jang-e-Azadi complex.

• Serving as a symbolic representation of the people's voice, the amphitheater plays a pivotal role in the overall design.

• This public forum is envisioned to offer a vital space for diverse gatherings, including festivals, state occasions, musical events, and Bhangra dance performances, fostering increased public participation and infusing vibrancy into the Jang-e-Azadi complex.

SHAHID E MINAR

• The structure stands at a height of 146 feet and boasts a diameter of 31 feet.

• Its construction serves as a solemn tribute to the courageous soldiers who valiantly fought for India's freedom.

• The central feature of the complex is the imposing Minar, designed to house the eternal flame as a homage to the brave sons of India who made the ultimate sacrifice in the struggle against colonial rule.

• The Minar is a robust concrete structure, externally adorned, and supported by structural cross bracing.

MEMORIAL ICON

• The height if the structure is 140ft and the diamenter of the structure is 93ft

• The main iconic memorial of the memorial is in the shape of foliage of a flower.

• The four leaves coming up in a cluster is cladded using kota marble.

• Main iconic structure of the site material used are kota, marble and sandtsone.

• It will houses the statue of 10 martyers, having a huge atrium with spacious gallery equipped with light.

• Iconic structure may be simply sensational unless they have something deeper to convey.public building may symbolixes certain values which may have multiple resonances. People come to the minar at the jang-e-azadi with folded hands.

• The memorial icon places greater emphasis on experiential elements, incoporating 3D sculptures, sound effects, light effects, light effects and vibrations.

• The beams intricately depict a floral pattern, encapsulating traditional cultural elements. This structural design, reminiscent of a flower, stands as a symbolic tribute to pay homage to Indian freedom fighters.

The interior of the memorial icon is designed to offer an immersive experience, combining abundant light and music to vividly express and depict the poignant struggle of the Punjab freedom movement.

MOVIE THEATRE

• The structure stands at a height of 60 feet with a diameter of 53 feet.

• The movie theatre within has a seating capacity of 150.

• The movie theatre is enveloped in soundproofing materials, utilizing foam insulation for acoustic control.

• The ceiling design intricately mimics a simple Phulkari pattern, resembling a fourleaf clover.

AUDITORIUM

• The auditorium boasts a ceiling height of 20 feet, a generous diameter of 90 feet, and has the capacity to accommodate 300 individuals.

• For acoustic control, the auditorium is enveloped in soundproofing materials.

• The ceiling design intricately mimics a simple Phulkari pattern, featuring a four-clover leaf motif.

GALLERIES

The Zang-e-Azadi Memorial comprises number of well-equipped galleries to portray various movements of the freedom struggle.

GALLERY 1 – INTRODUCTION HALL

MAHARAJA

RANJIT SINGH AND 3-D IMMERSIVE DESIGN

This Gallery educates you about the important milestones & incidents in life span of Maharaja Ranjit Singh and also presents the immersive dome experience film depicting Punjab’s contribution in the freedom struggle. Get inspired by the sacrifices and quotes of the heroes of our freedom. The gallery also gives you a glimpse of the making of the museum and the personalities involved.

GALLERY 2

YEARS OF STRUGGLE FOR FREEDOM

This Gallery is a snapshot of the history of the role of Punjab in freedom struggle.

GALLERY 3

ANNEXATION OF PUNJAB INTO THE BRITISH EMPIRE AND THE MOVEMENTS OF RESISTANCE.

The gallery engages you to reveal how the British established their foothold in Punjab after the death of Maharaja Ranjit Singh. After years of suffering British domination, the people of Punjab make their voices heard with the Kuka movement and the Ghadar movement. The revolutionaries gave great momentum to the anti-British sentiment.

GALLERY 4

INDIA HOUSE AND THE NON-COOPERATION MOVEMENT

In this India House in UK became a hub for Indian students and revolutionaries alike. How the British atrocities of the Jallianwala Bagh Massacre propelled the nation into the NonCooperation Movement. Our Heroes and martyrs like Bhagat Singh, Udham Singh and others relentlessly challenged the British.

GALLERY 5

GURDWARA REFORM MOVEMENT

In this shows the Sikhs set out in ‘Jathas’ questioning the legitimacy of the Mahant’s control over their shrines and the British Policy of protecting the latter. After much struggle the Gurdwaras were brought under the control of the Sikhs. This is known as the Akali Movement. It also influenced the seats of knowledge like the Khalsa college to be made free of British interference and influences.

THE AKALI MORCHAS AND THE BABBAR AKALI MOVEMENT

In this interact with the exhibits to know about the key Akali morchas and some of the prominent leaders of the Akali movement. Learn how Babbar Akalis planned covert operations to eliminate British officers and their stooges.

CAFETERIA

ENTRANCE FOYER

LASER SHOW

QUALITATIVE ANALYSIS

The Elements

• The design draws influence from the strong and vibrant rhythm of regional dance, specifically Bhangra, contributing to the dynamic form of the complex.

• The museum encompasses 9 main galleries and 5 outdoor exhibition spaces, providing comprehensive coverage of historical narratives.

• Buffer spaces between the Memorial and galleries serve as poignant storytelling areas, narrating heart-rending tales of heroes involved in events such as the Jallian Wala Bagh Massacre and other pivotal moments in the freedom struggle.

• The galleries guide visitors through key moments in Indian history, presenting various scenarios that promote a profound understanding of the struggle. This immersive experience also highlights the rich cultural heritage of Punjabis.

PUNJAB

A BUILDING’S SPIRIT

• The Jang-e-Azadi memorial and museum serve as a comprehensive showcase of Punjab's integral role in India's freedom struggle.

• Beyond a mere representation, the museum stands as a vivid portrayal of the triumphant victory over the British regime, paying tribute to the unsung heroes and the resilient "sons of the soil."

• The establishment also reflects Rewal's architectural principle that "every building has a spirit," embodying a deeper meaning and purpose beyond its physical structure.

PUNJABS ROLE IN INDIAS FREEDOM STRUGGLE

THE EXPRESSION

VICTORY OVER THE BRITISH CREATING THE BUILDING’S SPIRIT

• The essence of the freedom movement is conveyed not just through design but also by employing locally sourced materials.

• The significance of using white marble for the Martyrs' Memorial is paramount, as it holds a profound association with sacred temples in Punjab

CULTURAL EMOTION

THE LIGHT

• The interplay of scale and form within the memorial complex guides individuals through a narrative of courtyards and striking structures.

• This thoughtful design not only diffuses harsh sunlight but also fosters an environment conducive to social gatherings.

• The utilization of light within the complex serves as a guiding factor, influencing the overall atmosphere and experience for visitors.

THE MOTION

• The circulation plan of the complex is conceived with a pilgrimage centre in mind, drawing inspiration from the Golden Temple without directly mimicking its forms. Dynamic open spaces are strategically integrated to accommodate the diverse requirements of the complex.

• From the entrance hall, visitors are led through a sequence of open courtyards, featuring an amphitheatre, a towering Minar, expansive greenery, and connecting railings linking various galleries and buildings. The circulation design takes inspiration from Indian precedents like the Sanchi Stupa, where a circulatory movement related to the life of Buddha plays a crucial role.

• The decision to design galleries at two levels is driven by the objective of achieving circular motion, and the provision of a second entrance allows independent access.

The parking facility is strategically divided into three sections: twowheeler parking is situated on the opposite side of the road, while four-wheeler parking and bus parking are located within the site towards the south-east. Additionally, VIP parking is designated towards the north-west.

amount of space, and positioned in a convenient area.

The entrance hall features a double height, adorned with red granite flooring accented by grey granite lining. Additionally, it incorporates a false ceiling made of POP material.

The offices are embellished with red granite flooring complemented by grey granite lining. These single-story structures feature hidden beams for a seamless and unobtrusive design.

The research cells are also embellished with red granite flooring complemented by grey granite lining. These single-story structures feature hidden beams for a seamless and unobtrusive design.

The introduction hall boasts marble flooring, illuminated by a dome skylight, and is adorned with sculptures displayed on the walls.

Certain galleries within the complex are equipped with artificial lighting and ventilation, lacking any openings for natural light and airflow. The flooring across all galleries is consistent, featuring marble tiles. The galleries vary in size, offering diverse exhibition spaces. Distinctions in gallery height are evident, with some featuring a double height configuration, while others maintain a single height structure.

The library is adorned with marble tiles for its flooring and boasts a substantial dome skylight. This skylight includes an inner circular dome, contributing to a unique spatial experience within the library space.

The movie theatre is designed with acoustic elements incorporated into the walls, and it features a wooden flooring for a distinctive aesthetic and sound experience.

The cafeteria is characterized by sandstone-clad walls and marble tile flooring, creating a distinctive and visually appealing environment.

The auditorium is equipped with acoustic elements on the walls, complemented by a wooden flooring. Additionally, the ceiling is adorned with a Phulkari pattern, adding a touch

of traditional aesthetic to the space.

The open-air theatre is constructed using granite, providing a durable and visually appealing foundation for the outdoor performance space.

The seminar halls are designed as single-story structures and feature marble flooring for a refined and elegant appearance.

The food court is situated in a sunken area, making it not easily accessible.

The memorial icon is conceived as an experiential space, incorporating light, sound, and visual elements. The flooring within this space is adorned with marble, contributing to its aesthetic appeal.

The atrium is designed with granite flooring arranged in a radial pattern, enhancing the visual cohesion of the structure.

The walls and flooring throughout the area exhibit a uniform use of granite. The urinal partitions are also constructed from granite material. Ceiling-mounted exhaust fans are installed for

ventilation purposes within the space.

The Minar serves as a repository for an eternal flame, paying homage to all the soldiers who participated in the Punjab freedom movement. The flooring within the Minar is composed of marble.

The amphitheatre is adorned with marble flooring.

The staircase is cladded with pink sandstone.

The ramp is cladded with pink sandstone.

The courtyard is adorned with a captivating landscape design that seamlessly incorporates pink sandstone elements, enhancing the overall aesthetics of the outdoor space.

TAKE-AWAY FROM THE JANG-E-AZADI MEMORIAL / MUSEUM

1. Qualitative Analysis:

• Design influenced by Bhangra dance and comprehensive historical coverage.

• Museum showcases Punjab's role in India's freedom struggle.

• Locally sourced materials, especially white marble.

• Thoughtful use of light and circulation design.

2. Overall Expression:

• Memorial reflects deeper meaning beyond physical structure.

• Pays tribute to unsung heroes.

• Reflects Raj Rewal's architectural principle.

3. Motion:

• Circulation plan inspired by pilgrimage centers.

• Galleries at two levels for circular motion.

• Second entrance for independent access.

Permanent elements are resulting in various enclosures during movement.

Association to a social reformer, not much footfall.

Spatio-visual and at some spaces, experiential spaces, with impact of natural lighting and natural surroundings.

Permanent elements are resulting in a more sequential movement.

Association to a historical event, with emotional connect to every Indian, though not much footfall.

Spatio-visual and at some spaces, experiential spaces, with impact of natural lighting and natural surroundings.

Providing a unique identity to spaces More monotonous scheme of colours.

Artificial light and natural light both providing varying spatial quality.

proper directionality throughout movement. The

between spaces is only

Streetscapes

definitive and straight forward and sequential way of movement and circulation.

Streetscapes have been considered at intervals during movement.

Dominant forms but are similar in

PROGRAMME FORMULATION

DIFFERENCE BETWEEN PROGRAMME OF

JANG-E-AZADI

AND JPN MUSEUM

1. Scale:

• Jang-e-Azadi Museum is a large-scale project, suggesting a substantial physical footprint.

• JPN Museum appears to differ in scale, possibly indicating a more compact size.

2. Gallery Spaces:

• Jang-e-Azadi Museum features expansive, thematic galleries for a comprehensive exploration of historical narratives.

• JPN Museum may have specialized galleries tailored to specific themes or periods.

3. Museum Classification:

• Jang-e-Azadi Museum may be classified based on its emphasis on historical events, reflecting a specific war or struggle.

• JPN Museum might be categorized differently, indicating a focus on diverse subjects like art, science, or technology.

4. Location:

• Jang-e-Azadi Museum's location influences the overall experience, whether in a region with historical significance or a purpose-built complex.

• JPN Museum's location may vary based on considerations for accessibility, local culture, and the intended audience.

5. Concept:

• Jang-e-Azadi Museum is rooted in a specific historical or cultural context, portraying the struggles and triumphs of a community or nation.

• JPN Museum's concept may be driven by innovation, education, or a multifaceted exploration of various disciplines.

6. Audience Focus:

• Jang-e-Azadi Museum may cater to audiences interested in historical narratives and significant events.

• JPN Museum might target a diverse audience, appealing to those interested humanities, social interest and also historical relevance.

7. Design Philosophy:

• Jang-e-Azadi Museum's design emphasizes historical storytelling and contextual representation.

• JPN Museum's design may prioritize a modern and innovative approach to presenting information and exhibits.

8. Educational Approach:

• Jang-e-Azadi Museum may focus on educating visitors about specific historical periods and events.

• JPN Museum may adopt a broader educational approach, covering a range of disciplines and subjects.

9. Architectural Elements:

• Jang-e-Azadi Museum's architecture may reflect the gravity of historical events through its design.

• JPN Museum's architecture might showcase modern and versatile elements for a dynamic visitor experience.

10. Overall Experience:

• Jang-e-Azadi Museum and JPN Museum offer contrasting experiences, providing visitors with unique perspectives on history, culture, and innovation.

COMPREHENSIVE UNIFORM BUILDING CODE / BUILDING BY-LAWS

APPLICABLE TO THE STATE OF MAHARASTRA

CONCEPT 1