Vaastu Shastra : A culture-wide superstition or India'a vernacular architecture?

Vaastu Shastra A culture-wide superstition or India’s vernacular architecture?

Shreyaa Dada University of Bath

‘When we look at human society across history and around the planet, the sacred is perhaps the most important realm of all, for it expresses the invisible passions that move us.’

Charles Correa, 2010

We live in a world of manifest phenomena yet, since the beginning of time, man has intuitively pursued the existence of the intangible.1 Many men have set on the path of spirituality to engage with the ‘other side’, gain wisdom, mindfulness and finally, nirvana, a transcendent sense where one experiences no desire or suffering. There exist numerable explanations, or imagery of what the non-manifest world could be, based on which religion, philosophy, poetry, music, or art is one studying. But, in essence, they offer, what man desires during his life in this world, peace. To understand Indian traditions, one must acknowledge that there exist more than what humans can perceive; the extraordinary, in some form, co-exists with the ordinary. Architecture too, created by mythic beliefs, offers spiritual revelation that makes its inhabitants lives in the tangible world, more profound.

Human spirituality has taken the form of pilgrimage, chanting and meditation, amongst others. Each of these practices helps us temporarily lift our consciousness from physical reality and engage with one’s surrounding energies. Every object, animate or inanimate has either positive or negative energy. The Vedic scriptures introduced three concepts, yoga, Ayurveda and Vaastu Shilpa, diligent practice of which helped one control the energy fields and yield spiritual satisfaction. Whilst the former two dealt with harmonising the seven chakras, energy centres in the human body to sync the body, mind, and breath.

Vaastu Shilpa Shastra were technical construction guidelines that helped synchronise the built form with its surrounding nature.

This essay explores the original Vaastu Shastra scriptures and attempts to unveil, whether it is a culture-wide superstition or the long-lost science of design and construction that is vernacular to India. Over the years, my family has sought the advice of various Vaastu experts during times of turmoil. A student of architecture, I always wondered if Earth’s energy field could be manipulated to redeem its benefits or was Vaastu a big moneymaking ploy. Through the research conducted in this essay, I aimed to equip myself with a better understanding of the scriptures, their use in the olden days and how they can benefit Indian architecture in the 21st century.

It is believed that the physical environment is an expression of the cosmic spirit.2 According to the scriptures, the cosmos is made of five elements – fire, earth, air, water, and space (Fig.1). Hence, a building must balance these elements with man and life. Vaastu helps us utilise the beneficial energy each element offers, establish a perfect equilibrium amongst them and harness positive vibrations. These scriptures were written by sages who were extremely sensitive to the climate. They keenly observed India’s geographic condition, studied the movement of the sun, and the effect of other natural sources like wind, water and the gravitational pull of Earth, sun, and moon. The scriptures prescribe spending ample time on site, roughly up to a year, to observe how its context effect it.3

Fig.1 The five elements, illustrated by me

Traditionally, the knowledge of the scriptures was held by the Vishwakarma community, which comprised of the Manus, responsible for warfare design, Mayas, stone sculptors, Twasthas, metal sculptors, Shilpis, carpenters and vessel-makers and Vishwadnyas, jewellery designers. They were a complete gamut of creators, responsible for the design and construction environment of the country. It was the British intervention in the colonial era and their encouragement of formal Western education that side-lined the traditional Indian vernacular. Originally, there were sixty-four scriptures that were orally delivered for centuries. Because of the European influence, the scriptures lost their use and value. Only thirty-two remain.4 Famous modern architects in the sub-continent, like Charles Correa and Geoffrey Bawa appreciated these scriptures and through their work, have helped to revive them. They did not observe ‘tradition’ as obsolete. Their designs are unique because they honour the sacred and mythic beliefs deeply rooted in the country’s rich culture.

The scriptures outline three essential functions that all designs must achieve: Bhogadyam, meaning utility. Vaastu identifies duty towards function as a preliminary prerequisite for a building to be successful. Sukhadarsham, meaning aesthetics. Ornamentation, colour, and furniture is just one aspect, proportions, rhythm of projections and setbacks, the building form, and the play of light and shadow play a critical role in creating visually delightful buildings. Lastly, Ramyam, which refers to the spiritual response to the manifested form.

The scriptures urge that all designed products must evoke a feeling of contentment and well-being. The occupant or user must gain spiritual satisfaction from work.6

Vaastu explores the energy field of the manifest world through a mandala, a geometric configuration of symbols, called the Vaastu Purusha Mandala (Fig.2). The mythology suggests that there was once an enormous demon, who cast a permanent eclipse on Earth with his body. Troubled by the repercussions, God Brahma, the creator of the universe called the Astha Disapalakas, Gods of the eight ordinal and cardinal directions to help him.

They successfully overpowered him and pinned him to the ground. Because he too was a creation of God Brahma, the Lord sympathised with him and declared him the God of Land, one that everyone must worship before commencing any form of construction. It is said that whilst he lays with his head facing downwards, he is asleep, and his energy is not manifested. The prayers and offerings engage with all eight Gods that are laying on his back, urging him to awaken, turn over and bless the land.4

Fig.2 Vaastu Purusha Mandala, illustrated by me God Brahma, Creator of the Universe, Epitome of the natural element space abodes in the centre The ordinal directions and the centre host the five elements of nature.

The North-East (Water) must have the water tank, waterbodies, washrooms etc. (It should be noted that washrooms were traditionally built as a separate structure as it was unholy to place the washroom and prayer room under the same roof.) The South-East (Fire) can have the kitchen or the Yagashala, a temporary pergola built for hawans, fire worship. The North-West (Air) can have guest room, as air is symbolic of flow and movement. The South-West (earth), known for stability, must be used for productive activity. Lastly, the centre of the house, Brahmasthan (Space) is an ideal location for courtyards.3

Though the mandala assists design and planning, it is not a plan; it is a representation of the Earth’s energy field. The sages suggested a layout of the house and corresponding functions of each room based on the movement of the sun throughout the day, and its relationship with the activities of the inhabitants. They hoped to harmonise the movement of the sun with the daily human cycle (Fig.3). These are also in sync with the energy field analysis hence, balancing the five elements and successfully harnessing positive vibrations in the dwelling.

Time

Referred as

Sun’s direction NorthEast

Associated deity Isana, God of Water

3am to 6am

Brahma Muhurta

6am to 9am

Activity of the hour Yoga, meditation, and prayer The UV rays that the sun omits in this hour have innumerable benefits

Surya Udayam

East

Surya, God of Sun

9am to 12pm

Surya Bhagawan

SouthEast

Agni, God of Fire

Formal start of the day, with the first meal

12pm to 3pm

Vishranti

South

Rest

3pm to 6pm

Dharma

Productivity

Study or library

6pm to 9pm

Vidya Shala

SouthWest West

Yama, God of Death Pitru, God of earth Varun, God of Oceans

There must be wide opening, windows, verandas etc, low lying fence and the least amount of obstruction to allow the positive energy to bless the house Kitchen, Yagashala, a temporary pergola built for hawans, fire worship Bedroom

Living and dining room

9pm to 12am

Samudaay

NorthWest

Vayu, God of Air

Socialise and contribute to the community Tend to cows and other animals

12am to 3am

Nidra

North

Kubera, God of Wells

Sleep, associated with secrecy and darkness

Function on plan Prayer room

Traditionally a cow shed or stable, but a good place for a secondary or guest bedroom Valuables, treasures

Fig.3 Table explaining the planning fundamentals of Vaastu3, curated by me

Brahmasthan, abode of God Brahma, is located at the centre of the mandala and epitomises the natural element of space. It was suggested to keep the core of the house de-cluttered with ample amount of free space, preferably as an aangan, courtyard.5 In Indian architecture, courtyards are not design elements, they reflect the society’s way of life. They are the heart of the dwelling, and the key space for all social, occupational, or personal activities and ritual practices, like festival celebrations, marriages etc. They are also a mechanism to provide better lighting, ventilation, and thermal comfort, in a country that cannot afford to squander its energy resources. They were traditionally constructed open to the sky and served as a prime visual connect with the Almighty and the common interpretation of heaven. The sky has a profound sacred meaning, for man views it as the abode of the supernatural and the desired destination in the afterlife.5

The nature and sophistication of courtyards might have evolved, but they continue to be an integral part of Indian architecture. This can be witnessed in the works of Geoffrey Bawa and Charles Correa, both of whom have extensively maximised the benefits of courtyards and other Vaastu Shastra guidelines in their projects.

Whilst the scriptures continue to be relevant in various aspects, we cannot use them in their original form any longer. There is a need for a ‘new Vaastu’, a developed style that is vernacular to India traditions, culture, and society today, and accommodates modern technology, and the climate changes.

‘Perhaps because of its pluralistic construct, Hinduism has always had an astonishing ability to absorb diverse myths – to reinvent them, so to speak, so that they gain new currency.’

Charles Correa, 2010

The plan configuration, as suggested by the ancient priests, attempted to harmonise the routine of the community with the movement of the sun, so they could benefit from its light, heat, positive vibrations, and solar energy. They reached this conclusion by detail study of the cosmos, and analytic observation of the habits and routines of the human beings around them. Said habits and routines are obsolete now. It is futile designing houses based on the routines of Indians in 3000 BC. However, one must understand what the guidelines deliver in essence. The following case studies have exemplary interpretation and modification of the scriptures, to suit our times and community better.

Belapur Incremental Housing, Navi Mumbai, India by Charles Correa, 1983

Charles Correa realised the need to re-invent the meaning of ‘modernism’ to suit Indian society and its vernacular architecture. He weaves a relation between tradition and modernism, with respect to local conditions and materials, the social and economic background of the inhabitants and the sacred beauty of the country.

His scheme stems from an observation of traditional settlements, which encourages the use of spatial hierarchy between the private and the public.8 This high-density, low-rise project works, by creating clusters of dwellings, with share semi-communal and communal spaces. One enters a cluster through the open-to-sky communal courtyard that is looked after by its surrounding community. The courtyards would generally have communal wells.

Then, one moves into the open space of each private dwelling before finally finding oneself indoors. Each cluster combines with 3-7 clusters and creates a bigger community, multiple communities constitute the overall masterplan, which hosts public facilities like a school, playing field etc.

Fig.4 Belapur housing – site plan a

Fig.5 Belapur housing – typical cluster with shared courtyard a

The project is a testament of successfully executed ‘Urban Equity’, as one’s status and/or income controls the amount of urban space they might occupy. It is not influenced with the number of inhabitants. However, the variation is slight, the maximum and minimum size of plots being, 70m2 and 45m2.9

Fig.6 Belapur housing – entrance to cluster a

Fig.7 Belapur housing – shared courtyard a

Though Correa has not employed literal guidelines of the Vaastu scriptures, he has successfully extracted what they hoped to achieve. Such must be their validity and execution in the 21st century. Much like the ancient sages, he studied the site and its shortcomings and acquainted himself with the needs of his clientele. His project promises a quality of life, that hopes to bring its inhabitants closer to nature whilst forming a sense of community. The analytic process of site and community research resonates strongly with the scripture. Constructed in Mumbai, a city that does not converse with the nature, Correa has attempted to emphasise each of the five elements and tried to establish a natural equilibrium. The courtyard typology contributes heavily to this aim.

The project is built from local material by local people. It streamlines the essence of life in the village, in the setting of a developed city. The sense of camaraderie, privilege of the open-to-sky courtyards, independence to personalise one’s property built in a mass development are results of Correa’s genius.

He compares the process of developing this project to one of building a bird’s nest. He had to begin somewhere but needs to provide flexibility to the future inhabitants to personalise, modify, renovate, and expand. Each house is an independent structure, and the scheme has seen multiple developments in the last 30 years.9

33rd Lane House, Colombo, Sri Lanka by Geoffrey Bawa, 1998

Whilst Correa extracted the essence of Vaastu Shastra and re-invented its use; Bawa’s work resonates closely to the original guidelines. Bawa’s life experiences play a key role in his understanding of architecture. He was born and raised in Ceylon (present day Sri Lanka) and gained formal architectural education from the Architectural Association, London.

The creator of the ‘Tropical Modernism’ movement, his genius lay in his ‘sensitivity for local context combined with the form-making principles of modernism.’10 His movement led to the formation of a new style that re-defined the vernacular for Sri Lanka.

His own home, 33rd Lane House is pieced together on four properties that he purchased over time. Although, at each stage of expansion the plan must have arbitrarily developed to accommodate for the spaces added or removed, the complete product revealed an accidental picturesque quality11, that satisfied the design’s duty towards Sukhadarsham.

Fig.8 – 33rd Lane House – internal courtyard b

Fig.9 – 33rd Lane House – external courtyard b

‘A building can only be understood by moving around … and by experiencing the modulation and feeling the spaces as one moves from the outside into the veranda, then rooms, passages, courtyards. Architecture cannot be totally explained, it must be experienced.’

Geoffrey Bawa

The building is an introspective labyrinth of courtyards, corridors, light wells, terraces, and rooms that encourage an indoor-outdoor living. Its conversation with the climate, landscape and culture of Sri Lanka evokes a sense of spiritual delight, Ramyam to those who visit the building. Each room pockets a surprising courtyard, or water feature that brings pools of light and fresh air into the space. It was this project that helped Bawa develop interest in architectural bricolage that is, the salvation of elements from old buildings and their artful incorporation in the developing composition. This was common practice in South India and Sri Lanka.11 His home is a celebration of the local art and local materials that Colombo offered. Lastly, the scheme might not have started off as a planning exemplar but, each renovation, wove itself with the existing scheme and served the function, Bhogadyam that it was desired for.

Fig.10 – 33rd Lane House – Ground Floor Plan b, illustrated by me

The property achieves all principles that the practice of Vaastu Shilpa Shastra advocates, Bhogadyam, Sukhadarsham and Ramyam.

At this point, one must wonder, if the scriptures are legitimate and have not worn out their purpose with time, why does it not continue to define the basis of all architecture in the sub-continent?

It transpires that these traditions have isolated themselves from the community and are wrongly affiliated to impractical and mystical practices.6 In the 90s, it became fashionable for local fortune-tellers, who have not studied the Vaastu scriptures, to acclaim their proficiency in the field and call themselves ‘Vaastu Consultants.’ This growing community saw monetary opportunity and created misconceptions to support their exploitation of the common man. Contrary to popular belief, Vaastu Shastra is not one’s ‘religious duty’, defiance of which will cause death, disease, financial loss or disruption of relationships.

The consultants mostly victimise middle-class God-fearing people who are willing to place their blind faiths and money under promises of wealth, prosperity, health, and peace.

An example of such exploitation could be the misinterpretation of the suggestions that the scriptures make about the plan, in relation to the movement of the sun. As explained before (Fig.3), it is expected to have wide openings in the East, so if one constructs their house with the entrance door on the West or South-West, the consultants will scare them and claim that they are in grave danger. As a result, they would convince their clients, that their house needs to be renovated to correct its orientation. Similarly, if one places a waterbody, in any direction except the North-East they are prone to falling ill, or if they store their valuables in a direction besides North, they can incur financial losses. One must pay no heed to such baseless allegations.

Vaastu Shastra is a technical compilation of application-based suggestions involving the study of the soil, site analysis, ventilation, shading and heating strategies, and structural and detail guidelines. Its superstitious and fearmongering manipulation is a tool of exploitation.7 The original texts do not mention consequences for the defiance of its suggestions, their aim is far from what is expounded in today’s date. This the unfortunate reality of the scriptures, their misuse has created great mistrust in the minds of its victims.

In my opinion, the Indian society has travelled far from the lifestyle of people in the era that the scriptures were written in. As a result, one must understand the intent, and what the scriptures desire to achieve. Blind compliance will fail to yield the desired results. They did not grow with technology or accommodate for the cultural and lifestyle changes that the country has witnessed. Acknowledging the principles at its core, I believe there is need to develop a ‘new Vaastu’. Vaastu Shastra were originally written keeping nature and people in mind, both of which are incredibly volatile and dynamic variants. As helpful as they were in defining the potential of India’s vernacular architecture, they must be treated as a work in progress and not a final testament.

Conclusion

The scriptures are vast, one might spend a decade of study, research, and experimentation to equip themselves with all that they offered. They were application-based guidelines that were extremely ahead of their times. An advanced mechanism that combined the intangible energy fields with tangible natural elements and hoped to deliver a sense of spirituality and well-being. At its core, the scriptures desired to help us remain close to nature and gain from all its gifts, even though we are building walls and roofs that separated us. Vaastu promotes a sustainable lifestyle, encouraging the use of local materials, and low-energy strategies and leading a community-centred life.

It is extremely important to educate oneself on the topic before investing in it. There is abundant misinformation and misinterpretation of the texts that one must be wary of. The scriptures have great value but must be evaluated based on the existing time and one’s needs. Though they were prescribed in the Vedas, they are not one’s ‘religious duty’, they are merely construction and design guidelines.

I would like to end the essay with the shloka, prayer that was traditionally chanted to awaken the Vaastu Purusha so he could bless the land that was supposed to be built upon.

ओम वसुंधराय िव�हे भूत अवधराय धीमिह त�ो भूिम प्र�ोदयेत्

which means,

May we know the Goddess of Earth May we meditate upon the protector of the earth element May the Goddess of Earth inspire us

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