The Spiritual Transcendence of Sacred Architecture_Design Dissertation_2021-22 by aoa_confluence_2022

THE SPIRITUAL TRANSCENDENCE OF SACRED ARCHITECTURE By AISHWARYA SHYAM RUPA BALSEKAR GUIDED BY Ar. AKBAR BIVJI

A Dissertation submitted in partial fulfillment Of the requirements for SEM-IX The Degree

BACHELOR OF ARCHITECTURE MUMBAI UNIVERSITY

MUMBAI, MAHARASHTRA.

5TH YEAR, SEM-IX, BARD 911, OCT’ 2021

Conducted at: RACHANA SANSAD’S ACADEMY OF ARCHITECTURE, UN-AIDED COURSE RACHANA SANSAD, 278, SHANKAR GHANEKAR MARG, PRABHADEVI, MUMBAI 400025.

APPROVAL

CERTIFICATE

The following Under-Grad Design Dissertation Study is hereby approved as satisfactory work on the approved subject carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a prerequisite and partial fulfillment of requirement to the 5th Year Sem IX of Bachelor Of Architecture Degree for which it has been submitted. This is to certify that this student (Aishwarya Shyam Rupa Balsekar) is a bonafide Final Year student of our institute and has completed this Design Dissertation under the guidance of the Guide as undersigned, adhering to the norms of the Mumbai University & our Institute Thesis Committee. It is understood that by this approval and certification the Institute and the Thesis Guide do not necessarily endorse or approve any statement made, opinion expressed or conclusions drawn therein; but approves the study only for the purpose for which it has been submitted and satisfied the requirements laid down by our Thesis Committee. Name of the Student: Aishwarya Shyam Rupa Balsekar Date: Tuesday 26th Oct’ 2021

Approved By

Principal Ar. Prof. Rohit Shinkre

College Seal

Certified By

Thesis Guide Ar. Prof. Akbar Bivji

Certified Seal

Examined By

(

External Examiner-1 )

External Examiner-2 ( )

DECLARATION I hereby declare that this written submission entitled “THE SPIRITUAL TRANSCENDENCE OF SACRED ARCHITECTURE” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the sources cited are identified in the dissertation references. No material other than that cited and listed has been used. I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying. I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission. This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student Name of the Student: Aishwarya Shyam Rupa Balsekar Exam Roll No: Date: 26th October’ 2021

Place: Mumbai

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include: · The verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; · The close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; · Unacknowledged quotation of phrases from another’s work; · The deliberate and detailed presentation of another’s concept as one’s own. · “Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

ACKNOWLEDGEMENT I would like to start by expressing my sincere gratitude to my Thesis Guide, Prof. Ar. Akbar Bivji, without whom this thesis would not be possible. His constant motivation and guidance not only served as great support during this time but his immense knowledge has aided me to explore the scopes of my topic and find answers to questions I never thought to ask. Additionally, I would also like to thank all my faculty in college who have played a vital role in shaping me as the architect I aspire to be. Over the last four years all their guidance and help has allowed me to find my belonging in this field and for this I will be forever grateful. Above all I would like to thank my family who have been the reason for everything I stand for and being my source for happiness. To my grandfathers Ajoba and Aaju, thank you for always supporting my dreams no matter how big or small. To my grandmothers Ammanna and Ammamma, thank you for showing me the value of Family and helping me find Spirituality. To my brother Advait, thank you for being my confidant and having the patience to go through this journey with me. Most importantly to my parents Amma and Anna, thank you for all that you’ve ever done for me, it is your constant help, support and love that shaped me into the person I am today. To my dogs Buddy and Simba, thank you for being my spirit animals through all your love and sleepless nights spent while I worked on my submissions. Thank you to my family for all your love and being the roots of my Spirituality. Lastly, I would like to thank all my friends and classmates who have supported me on this journey. This journey would not have been possible without Harshvardhan whose constant help, support and motivation over the past 4 years has allowed me to get to where I am. Thank you for always being there. I would also like to thank Zeenia, Kimaya, Jash J, Jash R, Radhika and all my friends for being there for me and allowing me to enjoy the world outside architecture. A special thank you to all the Balsekars, Balwallys, Sid, Gaur, Nia, Rhea, Paddy, Jayesh and Shruti for being a part of my journey. Thank you all. Written in the Memory of Ravi and Rekha Balwally.

TABLE OF CONTENTS:

1.0 1.1 1.2

| ABSTRACT | Keywords | Research Questions

02 04 06

2.0 3.0 4.0 5.0 6.0

08 10 10 12 14

16 18 20 24 28 32 34 36

8.0 | HOW ARCHITECTURE IMPACTS THE HUMAN MIND 8.1 | The human Mind and the creation of Memories 8.2 | Architecture and the Human Mind

38 39 42

9.0 | NATURE FACILITATED BY ARCHITECTURE

50 52 68 78 80 86 88 90

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PART3: REFLECTION AND CONCLUSIONS 14.0 | DESIGN IMPLICATIONS 14.1 | Design Brief 14.2 | Design Programme 15.0 15.1 15.2 15.3 15.4

16.0 | ENDNOTE 17.0 | BIBLIOGRAPHY 18.0 | APPENDIX

94 96 98 101 114 115 118 133 136 140 144 148

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1.0 | ABSTRACT “At its highest, Architecture has the ability to turn geometric proportions into shivers, stone into tears, rituals into revelations, light into grace, space into contemplation and time into divine presence.” - Julio Bermudez | Transcending Architecture Sacred Architecture has the ability to help its users transcend physicality. But what is this character of Sacred Architecture that Transcends the sense of Physicality and immerses itself in the realm of the intangible? To better understand this, it is imperative to understand the idea of spirituality and transcendence. Spirituality is often not about the divine, it is about perceiving the process of life at its fullest prosperity. It is not about the physicality or the mentality of the process but rather for seeing it for what it truly is. It is like realisation. To realise is not to find something new but rather to finally see what has always been present. Spirituality is to see something for exactly what it is and not a version envisioned in your mind. Realisation empowers you and the same applies for Spirituality. Transcendence is the ability to go beyond the range of limits of a field (of act or conceptual sphere). The ability to transcend is to elevate yourself beyond the physicality of this realm. Now to combine these two thoughts. Sacred Architecture allows you to feel this Spirituality and hence allows you to Transcend the physical Realm. The true character of Transcending Architecture is its ability to change your emotion to that of a pleasant one. This mood or emotion you feel is what allows you to imbibe your surroundings, allowing you to perceive what truly exists and hence facilitates the notion of Spirituality and Transcendence. Today, we have made a shift from Sacred architecture being about the character that defines a space into the aesthetics that can only be seen rather than felt (i.e. the idea of an Art Gallery). To reverse this process means to go back and understand how Sacred Architecture was truly created and how it is perceived in the eyes of the New Age. This form of Architecture is the tangible means to see, feel and experience Sacredness and Transcendence.

‘Architecture does not teach us what the sacred is, but it may touch it and draw others to it’ -Ayla Lepine-

1.1 | KEYWORDS Specific words and their interpretation in this study.

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word: SACRED SPACE meaning: (noun) Sacred Spaces are structures or spaces designed and built with the function of worship or to have a sacred intention. Sacred architecture refers to any structure or space that facilitates spirituality. This can be with reference to any religion or belief and allows its users to find an area of worship and to introspect. Additionally these spaces also act as centres for SocioCultural activities.

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word: TRANSCENDENCE meaning: (noun) Existence or experience beyond the normal or physical level. (verb) The ability to go beyond the range of limits of a field (of act or conceptual sphere). Sacred Architecture allows and facilitates Transcendence. In the context of this thesis Transcendence is the emotion that is felt by the users of the space. It is this emotion that allows the user to evolve from the physical to the metaphysical. It allows the user to feel and connect to the power and energy that surrounds them.

---------------------------------------------------------------word: TANGIBLE DURABILITY meaning: (tangible) That can be clearly seen to exist. (durability) the ability to withstand wear, pressure, or damage.

With reference to this study, Tangible Durability refers to the survival of the structure with respect to its physicality. The sacred structures of the world have survived the tests of time, be it natural or man made destruction. This refers to the survival of the built form over time.

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word: INTANGIBLE DURABILITY meaning: (intangible) A feeling, concept or object that is difficult to describe, understand or measure. (durability) the ability to withstand wear, pressure, or damage. With reference to this study, Intangible Durability refers to the survival of the structure through the minds of the people and their memories. It is the memory of the space continuing to live on in the minds of its users and visitors. Hence, survival of the space in the intangible.

1.2 | RESEARCH QUESTIONS Can spirituality be the medium to achieve transcendence through sacred architecture? What does sacred architecture mean in the world today and how does it influence and impact the minds of people ? How does the intangibility of transcendence translate through to the tangibility of architecture? How can architecture cater to everyone, devoid of their spiritual and religious belief? What response do such spaces derive from its users?

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2.0 | INTRODUCTION What is Sacred Architecture? Sacred Architecture, also called Sacral or Religious Architecture is that which is built and designed for worship, or with the intention of being sacred. These spaces allow for their users to connect to their respective beliefs and in doing so the spaces facilitate something uncommon. Sacred Architecture is one of the few structures that allows for a sense of Transcendence for its users. The goal is to create a space that facilitates Introspection and Contemplation, using these elements and characters of a Transcending space, allowing the user to be present in their surroundings void of any distractions and feel what the space intends for them to feel. The space is defined by its character of design and integration of ideologies and not driven by aesthetics. By the use of nature facilitated by architecture, the goal is to create a structure that stands the tests of time and uses traditional techniques from Indian Sacred architecture in its construction. In the process teaching the current generations of what the marvels of the yesteryears bore- Bridging the gap between the past and the future. This is Tangible Durability. The human mind is hugely impacted by its surroundings and environment. The objective is to use the space to trigger an emotion allowing you to imbibe the surroundings in a peaceful and blissful manner. Allowing you to feel your definition of spirituality. The structure will stimulate an emotion which then triggers a memory or vice versa. In the future when you feel this emotion you will be transported back to this space mentally even if you aren’t there physically. This is Intangible durability. The structure uses the senses, emotions, choice of materials and the elements to stimulate the mind and allow for the holistic growth of the users by means of empathetic design strategies. These spaces are what allow for the human body to reset and prepare for Daily life. With the goal of introducing nature in the design, it is vital to see how these elements impact the human perception and add to this notion. The Sun, Moon and the Stars are few elements used to draw power and energy and are common in several religions. The use of Archeoastronomy in the design allows for the energy to be drawn into the space allowing it to respond to these heavenly bodies allowing for a better aura. This additionally grounds the structure in its surrounding environment. The structure will not hamper the existing landscape but rather add to it, allowing the space to grow with the natural surroundings to merge into one. The use of seasons and understanding the topography of the site will also allow for the structure to better respect the existing nature and the wildlife. The goal of the project is to have a structure that creates the notion of transcendence on the human mind, allowing it to evolve from the physical to the metaphysical and find what they are looking for. The structure will fuse with nature to add to its beauty instead of taking away from it with the intention of a cohesive structure for both man and nature.

A space that Transcends Man, Time and the Physical realm.

Architecture is the thoughtful making of Space. -LouisKahn-

3.0 | HYPOTHESIS Architecture can allow in the decoding the Transcendence of Spiritual Architecture through the aperture of the Human Psyche and Senses. Using architecture as a medium to achieve Transcendence and better understanding how spaces impact the human mind and emotions. Architecture that serves its users irrespective of their religious and spiritual belief.

4.0 | (a) AIM The aim is to understand how and what about a space can trigger transcendence by decoding existing structures and beliefs, to finally create a structure that allows for a person to experience transcendence and spirituality.

4.0 | (b) OBJECTIVE The objective is to facilitate one’s search for transcendence and spirituality. A Structure that fuses with nature allowing for the survival of both. The Design will cater to the human mindset and psyche and create a pleasant mindset. A Space that allows for Growth and Evolution of both architecture and mankind.

5.0 | METHODOLOGY The study grows from the primary concern to understand how architecture can be the source and facilitator for Transcendence. Sacred architecture is often confused to be a religious interpretation of the design, however through this thesis the aim is to decode and reinterpret the ideas of sacred and transcending architecture. The approach began with understanding sacred architecture and seeing it across different religious and non religious perspectives. This then led to the study of the mind and how it is impacted by the architectural built form and how the spaces impact the overall experience in a space. To understand these led to nature’s value in this design and find how it caters to the people and the structure. The secondary research was supported by conducting primary research surveys and also creating an index which allows for a user to find their degree of transcendence in a space using a formula. The exploration is divided into 3 parts: - Research and Findings -Learning and Inference -Reflections and Conclusions

1. Research and Findings

research inferences

2. Learning and Inference

design inferences

3.Reflections and Conclusions

6.0 | SCOPE AND LIMITATIONS The concern is primarily related to sacred spaces and spirituality through a wider lens, and not only from a singular religion or point of view, Thus, the study delves into finding methods of understanding and evoking spirituality and transcendence through secular pathways, inferencing religious viewpoints to better understand the same. The understanding throughout the study are a reflection of the author’s observations, field studies, formal and informal discussion and secondary sources of literary information as applied. The direction of the studies and inferences offer a direction towards spiritual transcendence using sacred architecture but it isn’t the only direction that can be taken towards the subject. The inferred principles may be looked upon as an example for creating spiritual transcendence through sacred architecture. Due to accessibility, majority of the case points and subsequent analysis presented are centric to the city of Mumbai and others in close proximity.

PART 1: RESEARCH AND FINDINGS

7.0 | SACRED ARCHITECTURE

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7.1 | WHAT IS SACRED ARCHITECTURE? Sacred Architecture can be categorised as those spaces which create a sense of numinosity in the minds of the users. Sacred Spaces or Sacral Spaces have the ability to allow the users to feel the presence of god or feel the presence of a strong energy that surrounds them and connects them to the wholeness of life. These spaces can either be centres for worship which define them as religious spaces or centres for meditation and introspection where there need not be a dominant religion. “Architecture on its own is not Sacred” How the architect treats the built form defines and governs how the space creates spirituality. Architecture when designed keeping in mind the proportions, the experience among others facilitates sacredness. The closer a space goes to perfection the closer it is to creating sacredness. Le Corbusier said, ‘I am the inventor of the phrase “ineffable space”, which is a reality that I discovered as I went on. When a work reaches a maximum of intensity, when it has the best proportions and has been made with the best quality of execution, when it has reached perfection … when this happens these places start to radiate.’ To Radiate, how does a space radiate, what is it to radiate? When you say someone is radiating one does not speak of the external beauty or external physicality, you are referring to the internal beauty you can see on the outside, you are radiating from the inside out. Similarly with Sacred Architecture, what one experiences is the radiating beauty and the true character of the space, and that creates the difference between a space that is simply Aesthetically pure and a space that radiates Sacredness. Such spaces often contradict their own existence. Through Sacred spaces the goal is to create a tangible confined space that allows its users to feel the intangible and dissolve the limits of the space and transform into the boundless. To create a space that at its very core is sacred means to design a space with the intention of being sacred. It cannot be a facade that can be added as an afterthought. The structure when broken down must possess the idea of sacred. There are several ways to achieve this through the design process by including enhancers that govern this.

---------------------------------------------------------------TYPES OF SACRED ARCHITECTURE:

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What began through the congregation of like minded people meeting to intake in activities to deal with religious worship. But over time these spaces evolved from gathering grounds to spaces for people to escape the existence of others and dwell in solitude. These new spaces became the grounds for introspection and meditation. Irrespective of the function and the timeline, these two spaces on the opposite ends of the spectrum and all those that fall in between can be defined as Sacred Spaces.

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Sacred architecture can be broadly divided into two types: -Religious Sacred Spaces: These spaces are designed with the purpose of worship to a particular god or deity, with the aim of feeling spirituality through religion. With each religion the rituals and the requirements from a space change, subsequently this results in the creation of an architectural language that is unique to the religion and born from the practices, the beliefs and the narrations present in the religion. This allows for each religion to have their own identity and character in architecture. -Transcendental Sacred Spaces (Non-Religious Architecture): These spaces are those which are not built dedicated to a particular god or a particular religion. But more so designed to allow people to feel a sense of numinosity without catering to one religion or the other. These spaces draw all its inspiration through nature and allow for it to shine through and influence the structure. While religious architecture also has a close connection to nature it does so while influenced by religion, that is not the case in Transcendental spaces. Additionally transcendental sacred spaces are often the architect’s interpretation of their outlook on Spirituality and transcendence and how they can trigger this in the minds of the users. This architectural language changes from space to space and architect to architect but what stays common is the emotion felt with the variation in the intensity of the emotion. These spaces not only cater to a person of a single belief but has the ability to emote transcendence and spirituality in the minds all regardless of their religious or spiritual belief.

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7.2 | RELIGIOUS SACRED ARCHITECTURE Religious architecture can refer to the origins of sacred architecture. It’s these spaces that have changed and evolved over time in terms of their function and representation but serve as centres for worship even today. As mentioned before every religion has its own identity that is reflected in their architectural language. The architectural language, the tangible representation of culture and beliefs. The influence can be noticed from geometry, to construction, to planning, even to something as small as ornamentation.The style of architecture draws its references from the scripts, myths and the deity itself. This not only impacts the internal orientation and design of the space but also impacts the overall form and external facade and how it’s perceived from the outside. There are several architectural elements that can be identified through the different religions. These are drawn from the inspiration provided by the religious scriptures, rituals, beliefs and ideologies. These are often backed with scientific reasoning while some elements tend to be symbolic and representational. This research will look at 8 religions that are prominent in India today and how they influence the architectural language for their form. The 8 Religions are:

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-Hinduism: Indian Temple architecture can be divided into 3 typologies, Nagara(Northern style), Dravidian(Southern style) and Vesara(Mixed style). Each of these styles has their own identity but draws inspiration from the same principles and hence can all be visually categorized as Hindu Sacred Architecture.These structures progressed from rock cut temples into monolithic rathas to structural temples. Architectural Language/ Elements: This style of architecture is identified by the Shikhar/Vimaan present on most hindu temples; they are believed to be the physical representation of Mt. Meru(a place of importance in the hindu religion). Other important elements are iconography, Indian columns, garbhagriha, antrala, mandap, Kalash, Jagati, Vahaan, Amalaka and jaalis.

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-Islam: Islam is a religion whos style changes based on the country in question. Indian islamic architecture is different from Turkish islamic architecture. The general guiding principles remain the same but the choice of representation and choice of materials change as their country of origin changes. This has to do with passive responses to the immediate context and drawing from the culture of the country itself. Architectural Language/ Elements: This form changes based on location and country, these elements include- domes, arches, muqarnas, minarets, mihrab, Arabesque art, hypostyle hall, courtyards, gardens and iwans.

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-Christianity: Catholic architecture of churches can be divided into several categories born from the prevalent styles and trends of the time. However the planning can broadly be divided into two types Romanesque and Gothic. Architectural Language/ Elements: Direction, Shape, The narthex or porch, Nave, The crossing, The transepts, The chancel, The sanctuary, The altar, Flying buttresses, Spire, Aisle and ornate iconography.

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-Jainism: Jain temples are similar to hindu temples in certain divisions of spaces and allow for the users to follow their rituals which impact the architecture of the space. The style also evolved from rock cut cave temples to the structural temples we see today. Architectural Language/ Elements: there are three main divisions to spaces in Jain temples, Garbhagriha, Mandap hall and porch.

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-Buddhism: The three major types of Buddhist stupas were the Saririka Stupa, Paribhogika Stupa, and Uddeshika Stupa. The Buddha’s buried corporeal remains were kept in the Sariraka Stupa, while his buried goods were kept in the Paribhogika Stupa. The Uddeshika Stupa was built to serve as a memorial. Architectural Language/ Elements: Wood was used to construct early Chaityas and Viharas, and stone was used to construct later Chaityas and Viharas. The function of a Chaitya was to pray. It was a rectangular prayer hall with a stupa in the centre. The Chaitya was divided into three parts and had an apsidal ending, i.e. a semicircular back end. The central part of the hall (also known as the nave) was separated from the two aisles by two rows of pillars. Chaityas also had polished interior walls, semicircular roofs, and Chaitya windows, which were horse-shoe shaped windows. The monks’ homes were called viharas.

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-Sikhism: Architectural Language/ Elements: Sikh architecture is distinguished by progressive values, beautiful intricacy, austere beauty, and logical flowing lines. It is always changing into numerous new developing branches with fresh contemporary trends due to its progressive approach.

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-Zorastrian: The Zoroastrians did not try to make the deity’s shrine ostentatious by erecting spectacular structures. They described their desire for Ahura Mazda’s patronage in all of the inscriptions they’ve left. Variations in the sacred fire’s continuation emerged as a result of the spatial constraints. Architectural Language/ Elements: Open air altars: they were on a high platform and under a dome so that people could view them from afar. People would congregate in front of it and make votive offerings, Only in terms of an altar’s attribute or the foundation’s suggestion, Covered fire temples that were brought within a building, a place of priestly prayers, or a general place of worship accessible to the public

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-Jews: Architectural Language/ Elements: Wooden synagogues were a unique kind of Jewish art and architecture. The pitched roof is separate from the internal domed ceiling design, which is a distinguishing characteristic. Interiors were ornately carved, painted, domed, balconied, and vaulted.

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7.3 | TRANSCENDENTAL SACRED ARCHITECTURE Transcendental Architecture is that architecture which has the innate ability to promote and facilitate experiencing sacredness and spirituality, devoid of any religion. These spaces do not cater to a particular sect of people but allows everyone regardless of their age, religious belief, spiritual awakening or acceptance to feel some level of transcendence. These qualities can often be seen in some religious architecture but for the sake of categorising it the division has been made to simplify the understanding between the two, religious and transcendental architecture. Transcendental Architecture came into existence with the evolution of Religious architecture over the years. These spaces like religious architecture began as centres of worship and evolved into spaces that represent energy and nature. Spaces that facilitate introspection, meditation and contemplation. Hence one can say Transcendental sacred spaces are hence born from religious spaces. This means they draw several characteristic inferences from these spaces and reinterpret them into how one addresses sacredness devoid of religion. However, in saying so, Transcendental Sacred Architecture has its own identity and draws on similarities from several spaces. Transcendental Sacred architecture looks at drawing inspiration and inferences from the following:

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-Religious Architecture: With Religious Architecture being the mother of the new style, several elements have been drawn from the same to help assist Spirituality. These elements are characteristic elements that can be modified without religious influence and still have their own value. These elements include the play of light, the inclusion of nature, the stimulation of the senses, form and response to location to name a few. This criteria hence serves as the basis for any evolution that took place in the creation of the Transcendental sacred architecture.

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-Light: Following the significance of Religious architecture the next important factor is that of light. Light itself can be broken down into several categories:- Light and Shadow, Sacred Light, Play of Light, Experience of Light, Filtered Light,Contemplative Light and the Play of Light and Time. These are different interpretations of how light interacts with your structure to create different experiences.

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-Form: This refers to the external structure and how it influences the volume of the space. This is a factor that impacts both the external and internal perception of the structure and also facilitates other elements like the quality of sound in the space and how the person responds to the volume.

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-Stimulation of the Senses: This form of Sacred architecture emphasizes the play and the stimulation of the senses fostering new and unique experiences that allow for the users to connect in a way that creates new sensations and hence facilitates spirituality through the overall activation of the mind, body and soul.

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-Inclusion of Nature: The truest and purest source for spirituality is drawn from nature while present in nature. Hence the architecture you build with the aim of facilitating spirituality must include nature to its highest degree. When referring to nature in this situation one must keep in mind that nature need not only refer to the green trees and environment around us. It can also refer to the elements of Land, Water, Fire, Wind and Space. It is with how the design harnesses these elements of the outside context that a space truly helps translate into spirituality.

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-User Interaction: This is a crucial factor simply because it is a culmination of all the other factors and how it influences the minds of the users. The more the user interacts with the space, the more their senses are triggered and stimulated. This allows for the users to create experiences in the space that facilitate sacredness and spirituality.

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-The connection between the Tangible and Intangible: The most unique ability of the Transcendental Sacred Architecture is its ability to connect the tangible user to the intangible space beyond the expanse and bounds of the builtform. These spaces allow the user to feel the power of the cosmos, the energy that drives life in every living being in the universe. Allowing for the realisation of the truths of life and above all allow the user to feel once again the benefits of such spaces on their minds, bodies and souls.

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The culmination of these factors are the reason why Transcendental Architecture is not one of simple aesthetics but rather spaces that are created to foster interactions that allow the user to truly experience the space.

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7.4 | WHAT IS THE NEED AND THE IMPACT OF SACRED ARCHITECTURE? Sacred architecture can be spaces that are natural, manmade or imaginary. However they all serve the same common purpose which is to be able to help your mind stay activated and stimulated while also activating your body and your soul. Such spaces need to be incorporated into our daily lives to serve as an escape from reality and also ensure that the people are well aware of the realities of what surrounds them. Such spaces allow its users to dwell in the space that is- to take a pause from the fast pace lives we live today. These spaces allow one to focus on themselves and allow for their bodies to reset before reality takes over again.such spaces not only positively impact you while you inhabit the space, but also show a visible improvement in one’s daily functioning of life on the regular. Philip Daffara rightly put it, “ How we think affects how we Dwell”. This in turn governs how we design the spaces to cater to our needs. A Sacred Space is a necessity of Human Life….. Sacred spaces facilitate holiness and allow one to be aware of the cosmos that surrounds us. Daffara said we all live in a Flatland today, what is a Flat land? Flatland is a metaphor created by Daffara to explain how people live their lives today and how they find themselves constrained. We are constrained to the level we restrict ourselves to. Most of us today reside on the materials level, explained as the first level to a lavish 4 storey building. Imagine never leaving Level1. We might seldom venture onto the levels of bio-ecology(Level2) and social-cultural(Level3) to reap the benefits. But we tend to stay away from level4 the Metaphysical, which is key to experiencing Sacred spaces. Hence we live in a flatland that is constrained by the floor we choose to inhabit. However, this means we are unable to seek the wholeness of life and truly connect with ourselves and the cosmos that surrounds us. Hence we end up consuming space after space unable to dwell and truly experience the space, hence we stop feeling and stop understanding the true connection between our mind, body and soul.

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This brings us to what goes into the creation of a Sacred space. These are the four levels of Reality in the design of a Sacred space or the Holons of Being as defined by Philip Daffar. 1.Physiosphere(Matter): the basic levels of existence, the atoms, the smallest particle coming to create the matter. 2.Biosphere(Body): this is unable to exist without the existence of the physiosphere. This is where the body creates the physicality of life. 3.Noosphere(Mind): This is unable to survive without the existence of the biosphere. The mind is a subject of the body. 4.Theosphere(Soul): this refers to the ability of the mind to be aware of its soul and how it functions and exists. This sphere is unable to survive without the noosphere, because the mind is the source for the soul.

Together all these spheres coincide to create a sacred space and hence ensure the proper benefits of its users. 32

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7.5 | ENHANCERS OF SACREDNESS As mentioned earlier, Sacred Architecture is not an afterthought. It is incorporated at the very inception of the design of the structure or space. This includes the amalgamation of several design features that act as enhancers for sacredness. These are elements that are design based and are what the structure is born from. These help draw energies into the space and allow for spaces to further radiate their intrinsic qualities of sacredness. The following are few of the Enhancers for Sacredness: -Sacred Geometry: This is the analysis of shapes, numbers and patterns observed and found naturally in nature. These are seen at a cellular level or can be witnessed by the human eyes. These can range from the spiral in the snail’s shell, to the branching in trees, to the honeycomb constructed by the bees. Sacred geometry is not only seen on earth but can also be drawn from the celestial bodies in space and how the stars align to create their own pattern of sacred geometry. These can be analysed using different equations and logical bases. This study goes as far back as the Egyptian and Mesopotamian civilizations but were popularized by Plato and Pythogoras in the Greek civilization. Sacred geometry acts as the medium to reinforce the idea that everything is connected.

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-Archeoastronomy: This refers to the relation between the celestial bodies (Sun,Moon and Stars) and how they interact with the architecture. The process of understanding the movement of the celestial bodies and creating patterns or design interventions to support the same. This can be done through the creation of Hierophanies. These are the designing of architecture and the builtform to allow for an event to take place where there is an interaction between the two. It means to understand the emotions of the past and hence manifest the sacred. Archeoastronomy is the means to allow the structure to dwell in the energies exuded by these heavenly bodies and hence the structure passes this energy to its users. The whole process is done with the aim of connecting the structure to the heavens and changes based on the religious beliefs and interpretations of the skies in holy scriptures.

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-Orientation and Context: This plays a huge role in the experience of the space and allows its users to evolve beyond the spatial boundaries of the structure. This can be considered as an extension of Archeoastronomy, but is predominantly directed to its immediate context. This includes how the sunlight enters the space and light enters the structure or understanding the flow of wind or even the direction for the sake of rituals. This is then further facilitated by the context which looks into the geographical location, the immediate surroundings and the nature that surrounds it. This governs the creations of vistas and experiences and roots the structure to its location.

These elements are simply a few important ones from a long list of enhancers, the architect can also choose to create a new enhancer based on the ideologies they want to address and base their design on. 34

Fig 1.0

Fig 2.0

7.6 | LITERATURE REVIEW BOOK: TRANSCENDING ARCHITECTURE- JULIO BERMUDEZ

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Prof. Bermudez conducted several studies to understand how structures have an impact on how one feels and what about these spaces create these feelings. His studies confirmed that well planned environments can improve a person’s mental and physical state. The structures that triggered the most special reactions out of people are the oldest of the structures. These structures engage areas associated with the state of deep reflection and meditation. Most contemporary structures do not trigger this emotion as they often tend to deal with the ordinary life. Many of the buildings were designed in harmony with the movement of the stars, the sun and the earth. Because in the past there was no artificial light, the natural light was basic in the architects’ thinking, and so the play between light and darkness was done in a beautiful and powerful way. Many of these buildings, no matter which religion or state they belong to, also have frescoes through which you feel you have entered a sacred space, heights you need to reach, climb up or sometimes go down, an architectural choreography of space and time that we hardly do today. According to Prof. Bermudez while reflecting on Hagia Sofia said a person moving through the structure is given a sense of time and dimension unlike the outside. The feeling is created by the height of the ceiling, the silence that prevails, the echo created with each speech and movement and the decorations on the ceilings and walls taking us to a time unknown. People say churches were designed to be large to make people feel small in front of them and in front of god, but in reality, it allowed them to feel connected to something larger than themselves. In the ancient times the thought that prevailed was that humanity needed to understand the world to live in peace. These structures that were created were used to explain the working of the world. They were created in a manner that unified it with a sensation larger than itself.

8.0 | HOW ARCHITECTURE IMPACTS THE HUMAN MIND

8.1 | THE HUMAN MIND AND THE CREATION OF MEMORIES The mind is a collection of faculties that are responsible for mental events. Frequently, the phrase is used to refer to the phenomenon itself. Thought, imagination, memory, will, and feeling are among these faculties. They are in charge of a variety of mental processes, including perception, pain, belief, desire, intention, and emotion. There have been several overlapping taxonomies of mental phenomena proposed. Important distinctions separate them into sensory, propositional, deliberate, conscious, and occurrent categories.

---------------------------------------------------------------THE CREATION OF MEMORIES:

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Memories are like time capsules into the past, allowing people to relive a moment mentally while reliving the emotions and sensations of that event in spite of never being able to relive it physically. Memories are like windows into the past but they can not be the basis for relying as often memories change while we still believe them to be 100% accurate. Memories often warp over time, often they can change upto 50% while the general gist of the memory remains the same. However, one may forget the smaller details like where they were and who they were accompanied by. There are certain ways to improve one’s memory and recollection by improving the event in question: -Emotion: By triggering emotions in a space the human mind is likely to remember this sace better. The mind may lose the details of the broader image but it will remember the trigger and hence allow for that location to be imprinted in memory. -Place: That leads to place, the mind has place cells that are activated at a location and help us relay a journey with each place activating as it reaches its respective place in the recollection of the memory. Hence the triggering of emotions not only allows for the memory of triggers but allows the mind to string together a series of locations where emotions were felt and remember that as the path or the journey you embarked during the event. -Story: Lastly, comes stories, the human mind processes and stores more details when received in the form of a story. This allows the mind to naturally string together a series of events and create a narrative in their mind allowing for quick recollection of the events when needed with more attention given to the smaller details. The culmination of the three allows for a stronger grasp on an event and how it can be accessed through memory at the need of the person in question. Memory and Imagination are related in the brain. They both trigger the same areas of the brain. So the brain and mind can be compared to a time machine where it connects you in the present to the memories of the past while being able to use those memories and associations to imagine what the future might hold. It could simply be to use these memories as the means to imagine a space.

---------------------------------------------------------------HOW TO CREATE A NARRATIVE THROUGH ARCHITECTUE:

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A narrative is a story allowing for a sequence of events to be remembered using memory strategies. How do you incorporate this into architecture. The simple act of creating a narrative begins with the architect planning the user’s general movement through the structure with room for smaller decisions to be made which can be decided by the user allowing for an interactive response from the user. Once the movement is decided what comes next is the trigger. To design a trigger allows for a certain emotion and response to be drawn from the user, something that will constantly play in their minds as they go through the rest of the space. Then comes the trigger of emotions through smaller cues situated through the space. This allows for the users to feel a certain emotion that is aimed at being triggered and convey it to the memory of the original trigger. Allowing them to grasp the space better allows for them to remember a truer version for the years to come and hence solidifies the Intangible Durability of a space in the minds of the users.

Fig 1.0

Fig 2.0

8.2 | ARCHITECTURE AND THE HUMAN MIND There are several philosophical approaches to address architecture’s impact on the human mind. But it is inevitable and a repetitive loop, where spaces affect the human mind hence the design of spaces that impact the human mind and the process continues. The process drawn was to find theories used to create experiences and triggers and subsequently resulting in the implementation of the research done by scientists into the practical approach to the design. The following are the theories considered with the aim of implementation while designing the structure.

---------------------------------------------------------------THE FIVE SENSES THEORY- JINSOP LEE

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According to Jinsop Lee an activity is perceived better based on the degree the senses are stimulated to. To better understand this, he created the five senses graph. For years his colleagues, students and he himself plotted several activities on this graph to see how stimulating an activity is. But no activity ever achieved the full degree of sensorial stimulation. The only one according to him that came close was riding a motorcycle. Using this theory to develop a progressively higher degree of stimulation based on one’s journey through the structure. As one moves further into the structure their degree of sensorial stimulation heightens. The users are intrigued. The more the senses are stimulated the higher their chances of creating a memory that stays true. Through the creation of a narrative.

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ARCHITECTURE AND THE SCIENCE OF THE SENSES- STEFAN BEHLING

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Architects are tasked with the duty to create something that will be around for a while. With this comes a great deal of responsibility to ensure the creation of an environment that is beneficial to the users. Humans today have poor judgement when it comes to understanding what a good and bad environment is for us. Children under 10 years of age when shown several images of landscapes tend to choose that of the Savannah showing that what we truly like might actually be good for us. To counter this, take the example of a plain white room with white lights, the ideal temperature, designed for the ideal comfort. When placed in this room there is a lack of sensorial stimulation, a product of which is seen at the 24hour mark where the user starts to hallucinate. At the 48hour mark the user breaks down and collapses. This is due to Sensory Deprivation; the hallucinations were the brain’s way to create a degree of stimulation. This sensorial deprivation for the brain is similar to lack of stimulation in the muscles causing the brain to shrink if not provided with ample stimulation. Today 50% of the people in the world stay in cities. In the United States, a person spends 87%of their time indoors. This brings us to address the concept of Artificial Environments. People create artificial environments in order to allow for better work environments or the idea of a black box factory. But one fails to understand that in

Fig 3.0

doing so one is disrupting the natural balance in the human body. People are placed in air-conditioned rooms with huge glass windows unable to smell the air outside. These artificial environments are no different from that of a submarine. This often leads to other health issues including headaches and hallucination to mention a few. To nullify this idea of monotony and sensorial deprivation, gives birth to the idea of Alliesthesia. Alliesthesia is the constant oscillation of the senses, even the highest degree of sensorial stimulation if constant throughout the day is not good. The brain needs this forever changing sensorial stimulation to allow for the activation of the brain. A simple walk that is a change from routine can have a huge impact on a person’s mood, behaviour and productivity.

Alexander Goltlieb Baumgarten coined the term Aesthetics as the Science of Sensory Cognition. He considered it a science as important as any other to allow for the benefits of the human body. This is where the natural environment comes into question. How important is the idea of allowing the indoors to integrate with their surroundings? It starts bright and blue around lunch time and transitions into a golden hue in the evening. This golden hue releases the melatonin in the body which induces sleep. But for someone who works in a blue box office and is not exposed to the sunlight, the person finds it difficult to sleep as the melatonin has not been produced in the body. It’s small things like the exposure to natural light, or allowing natural ventilation from time to time that has a huge impact on the body’s internal balance. Even while working with scientists and mission control on the international space station, people complained about the lack of visual connection with the outside. On suggestion, smaller windows were inserted. But after a larger discussion a larger pod window was added which allowed the astronauts to have a 360-degree view around them. This instantly boosted the Morales and made the astronauts more comfortable in their surroundings. Stefan Behling believed it wasn’t about what the scientists believed to be absolutely necessary after a point providing a sufficient connection with the outside became a matter of humanity and not science.

9.0 | NATURE FACILITATED BY ARCHITECTURE

Fig 1.0

9.0 | NATURE FACILITATED BY ARCHITECTURE When designing more often than not the building takes precedence and the nature around it is brought in with the intention to facilitate and add value to the architecture. However in doing so the existing landscape is often lost and the natural existence is impacted. With this project the aim is to turn the tables on the relation between nature and architecture, and allow Nature to take its precedence. The site will respect the existing vegetation and land and design around it to allow for a closer and intimate relation between nature and the built. This will also be strengthened by the design techniques implemented in the design which allow for the structure to survive in nature without causing harm to it. This will be brought about through various means of passive architecture and will be a self-sufficient structure. The following are interventions that will be incorporated into the design to help nature facilitate architecture:

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-Use of Passive design systems: These look at systems that are incorporated at the design stage through the placement of windows, or openings allowing for internal living conditions like temperature, humidity and air circulation to be controlled by the design itself using the existing movement of the wind and sun. These allow for little to no energy consumption for ideal conditions. -Use of Renewable Energy: This is where the structure aims to beas self reliant as possible by means of harnessing the power of the sun and tapping into the rainfall present. There will be a backup connection to the grid incase of emergencies. The waste management on site will also be done with natural systems that are beneficial to the cultivation that will take place on the site. -Building Construction: The site will be built using ancient construction techniques retrofitted for the new age. The goal is to build a structure that will stand the tests of time, using materials available close to the site and reduce the carbon footprint. -Nature taking precedence: The structure looks at allowing nature to grow as it would in if the structure were not present, allowing the wildlife to flourish just as the users will flourish from the site. The aim is to allow nature to take over the site and incorporate the structure into it over time. A seamless relation where both nature and the structure are one, while still allowing for the spaces to be habitable and user friendly.

The aim is to implement all these techniques with the goal of the survival of the structure for years to come, a space that can always give back to its users and the society around it and it allows for the survival of the structure through means of self reliance and subsequently resulting in the Tangible Durability of the structure.

PART 2: LEARNING AND INFERENCE

10.0 | THE TRANSCENDENCE INDEX

Fig 1.0

10.0 | THE TRANSCENDENCE INDEX Transcending Architecture goes far beyond belief and construction. Two structures might be drastically different in their belief and style but their ability to facilitate Spirituality and Transcendence might remain the same. As mentioned earlier, the intrinsic quality of a space to facilitate Transcendence is its ability to change a person’s mood into that of a pleasant one. What about these spaces gives it this ability and character to change a person’s mood and allow them to advance into the intangible realm? To better understand this one must be able to decode these elements and see how they contribute to the structure and impact the perception of this space. The Transcendence Index is a list of qualities and characteristics that a structure may or may not impose but the culmination of these elements in any computation often leads to a certain degree of Transcendence and Spirituality. Higher the number of elements present in the structure, higher is the ability to encourage transcendence. What ‘elements’ of architecture create/ facilitate Transcendence?

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Listed below are the elements found to be common in most structures that facilitate the notion of Spirituality and Transcendence. Also mentioned are a few unique elements which add to this spatial character.

---------------------------------------------------------------These elements can broadly be divided into 2 categories:

Table 1.0

CHARACTERISTIC ELEMENTS:

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element: (decide) LOCATION meaning: The location refers to the site for the structure, its immediate surroundings. The location hugely impacts the experience of the structure. The location is the ‘site’ in question, it is the context of the structure and its surroundings. Where you choose to build the structure hugely impacts how the structure is perceived at first glance and how it impacts the structure through its experience. The location acts as a backdrop for the structure and adds a quality to the overall perception. Fig 2.0 Imagine a small temple placed in the middle of a busy crossroad, and how would 3.0 placed in the middle of the forest? Fig 4.0 The surrounding it respond differently if Fig it were crossroads and the sound of traffic creates a sense of chaos. Subsequently, the same temple in a forest adds a sense of mysticism and tranquillity with the silence of nature among the trees.

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element: (create) SETTING meaning: The setting refers to the atmosphere created by the structure and the location. The structure when placed in its location creates a setting. This is the interaction between the built and the unbuilt, or its surrounding context. The structure adds value to the location. This can further be enhanced by creating vistas and additional features around the main structure like the landscape, the pathways or how the structure fits into its environment. The planning of all these factors decides the identity of the structure and how it is perceived in its backdrop. Fig 5.0 Let’s take the example of the temple in a forest, the setting here will be the forest itself Figserve 7.0 as a backdrop Figfrom 6.0 the temple. the rolling hills may and the view that is seen for the structure. The experience drawn from the setting impacts how the structure responds to it.

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element: (invoke) RELIGION meaning: The structure and space looks at abstracting rituals and beliefs to represent the religion it is built for. Sacred Architecture is often a direct response to the religion or the belief it is designed for. Each religion has their own interpretation of style, traditions, techniques and above all- rituals. Hence the structure needs to be able to respond to this and as a result ensures that each religion has their own identity and form of architecture. The ideologies of the religion are often conveyed through the architecture of the space Taking Fig 8.0 the example of the Jaalis or Lattice patterns used in sacred architecture, even something this small is impacted by the religion in question. Islamic Jaali Patterns are Figreligion 10.0 one can see 9.0 Jaali Pattern. Even in the same vastly different from theFig Hindu several different variations in the design.

CHARACTERISTIC ELEMENTS:

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element: (decide) LOCATION meaning: The location refers to the site for the structure, its immediate surroundings. The location hugely impacts the experience of the structure. The location is the ‘site’ in question, it is the context of the structure and its surroundings. Where you choose to build the structure hugely impacts how the structure is perceived at first glance and how it impacts the structure through its experience. The location acts as a backdrop for the structure and adds a quality to the overall perception. Imagine a small temple placed in the middle of a busy crossroad, and how would it respond differently if it were placed in the middle of the forest? The surrounding crossroads and the sound of traffic creates a sense of chaos. Subsequently, the same temple in a forest adds a sense of mysticism and tranquillity with the silence of nature among the trees.

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element: (create) SETTING meaning: The setting refers to the atmosphere created by the structure and the location. The structure when placed in its location creates a setting. This is the interaction between the built and the unbuilt, or its surrounding context. The structure adds value to the location. This can further be enhanced by creating vistas and additional features around the main structure like the landscape, the pathways or how the structure fits into its environment. The planning of all these factors decides the identity of the structure and how it is perceived in its backdrop. Let’s take the example of the temple in a forest, the setting here will be the forest itself and the view that is seen from the temple. the rolling hills may serve as a backdrop for the structure. The experience drawn from the setting impacts how the structure responds to it.

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element: (invoke) RELIGION meaning: The structure and space looks at abstracting rituals and beliefs to represent the religion it is built for. Sacred Architecture is often a direct response to the religion or the belief it is designed for. Each religion has their own interpretation of style, traditions, techniques and above all- rituals. Hence the structure needs to be able to respond to this and as a result ensures that each religion has their own identity and form of architecture. The ideologies of the religion are often conveyed through the architecture of the space Taking the example of the Jaalis or Lattice patterns used in sacred architecture, even something this small is impacted by the religion in question. Islamic Jaali Patterns are vastly different from the Hindu Jaali Pattern. Even in the same religion one can see several different variations in the design.

element: (create) SYMBOLISM meaning: Symbolism refers to how a belief or a matter of religious significance can be translated into a physical structure. Symbolism refers to the abstraction of a thought, principle or belief. When a structure exudes this idea through its design, it allows for it to have a stronger hold on the connection between the built and the religion or belief the structure stands for. Symbolism may be as simple as the directions used to place the deity or as complicated as the form being an abstraction of a story or myth. Take the example of the Mahalaxmi Temple in Kolhapur. The temple layout has been Fig 11.0 planned keeping in mind the Mahalaxmi Yantra and how the gods are placed in this 13.0 12.0 setting. This is a form of Fig Symbolism. Additionally Angkor Wat inFig Cambodia also has a sense of Symbolism but here it is depicted through the form which is believed to be direct representation of Mt. Meru.

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element: (experience) SPIRITUALITY meaning: The experience of Spirituality is the sensation felt in a space regardless of its religious standpoint. Spirituality may not be directed at a particular religion but rather a sense of belief or connection. The ability to feel the power and energy that surrounds you and creates a strong sense of place in this universe. Spirituality is the awareness of this emotion in the aspects of time, space and existence. The Church of Light by Tadao Ando in Japan creates a sense of awareness or spirituality using several elements. The same awareness is felt in the Global Pagoda Fig 14.0 in Mumbai. Both structures are dedicated to two very different religions but the sense Figmore 15.0 or less the same. However, how Fig 16.0 of Spirituality felt remains people choose to perceive this energy is up to the individual’s interpretation.

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element: (create) SITE APPROACH meaning: The approach to the site is key at creating the first perception of the space and also decides how the rest of the narrative can be planned. The Site approach decides how the entire structure will be perceived, it helps command the emotions of the user before they arrive at the structure. The site approach acts like a prequel for what lies ahead. The site approach helps set the user in a mindset that governs how they perceive the rest of their experience. The Goa Gajah Temple in Bali is approached on foot using pathways weaving through Fig the 17.0 forest. This creates intrigue as one is unable to see the site until you reach the base, where a huge site with no disruptions guidesFig your view to the main Figexpanse 18.0 19..0 cave shrine.

element: (create) SYMBOLISM meaning: Symbolism refers to how a belief or a matter of religious significance can be translated into a physical structure. Symbolism refers to the abstraction of a thought, principle or belief. When a structure exudes this idea through its design, it allows for it to have a stronger hold on the connection between the built and the religion or belief the structure stands for. Symbolism may be as simple as the directions used to place the deity or as complicated as the form being an abstraction of a story or myth. Take the example of the Mahalaxmi Temple in Kolhapur. The temple layout has been planned keeping in mind the Mahalaxmi Yantra and how the gods are placed in this setting. This is a form of Symbolism. Additionally Angkor Wat in Cambodia also has a sense of Symbolism but here it is depicted through the form which is believed to be direct representation of Mt. Meru.

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element: (experience) SPIRITUALITY meaning: The experience of Spirituality is the sensation felt in a space regardless of its religious standpoint. Spirituality may not be directed at a particular religion but rather a sense of belief or connection. The ability to feel the power and energy that surrounds you and creates a strong sense of place in this universe. Spirituality is the awareness of this emotion in the aspects of time, space and existence. The Church of Light by Tadao Ando in Japan creates a sense of awareness or spirituality using several elements. The same awareness is felt in the Global Pagoda in Mumbai. Both structures are dedicated to two very different religions but the sense of Spirituality felt remains more or less the same. However, how people choose to perceive this energy is up to the individual’s interpretation.

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element: (create) SITE APPROACH meaning: The approach to the site is key at creating the first perception of the space and also decides how the rest of the narrative can be planned. The Site approach decides how the entire structure will be perceived, it helps command the emotions of the user before they arrive at the structure. The site approach acts like a prequel for what lies ahead. The site approach helps set the user in a mindset that governs how they perceive the rest of their experience. The Goa Gajah Temple in Bali is approached on foot using pathways weaving through the forest. This creates intrigue as one is unable to see the site until you reach the base, where a huge site expanse with no disruptions guides your view to the main cave shrine.

element: (enhance) CHANGE IN ATMOSPHERE meaning: This refers to the change in the environment when you enter, the difference between the inside and the outside. The location hugely impacts the experience of the structure. The location is the ‘site’ in question, it is the context of the structure and its surroundings. Where you choose to build the structure hugely impacts how the structure is perceived at first glance and Fig how20.0 it impacts the structure through its experience. The location acts as a backdrop for the structure and adds a quality to the overall perception and experience. When referring to a change in atmosphere one can take the example of Chapel Bruder Klaus designed by Peter Zumthor. The chapel is placed contrasting its surroundings of lucious and dense farms. The farms are surrounded by rolling hills. This creates a certain atmosphere prior to entry into the site. However, the user is pleasantly surprised on entry into the chapel as the atmosphere inside juxtaposes that outside the chapel. This creates a sense of shock and intrigue in the minds of the user. One can either choose to complement the two atmospheres or have them contradict one another, but they both influence a different reaction from their users. Fig 22.0 Fig 21.0

---------------------------------------------------------------DESIGN ELEMENTS:

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element: (plan) MOVEMENT meaning: The planning of movement refers to how a user will move through the spaces and structure. This establishes the narrative. The movement through space can be governed by several factors. It could be a physical factor or a visual factor, however, the movement when planned properly assists in the creation of a narrative and better strengthens the memory. Additionally if well planned the movement also ensures the space is more efficient and allows for the structure to function comprehensively. The Taj Mahal has a strong sense of movement through the complex and the structure. How you move creates a narrative in your mind- entering through the front stone gate Fig 23.0 and seeing the four gardens and water pool with the Taj in the centre right ahead, Fig 25.0 24.0 the garden leading to the raised walking down the stairs Fig through plinth, entering the structure, moving through the structure followed by the terraces outside. All these visuals created by the movement are the basis for a strong narrative.

element: (enhance) CHANGE IN ATMOSPHERE meaning: This refers to the change in the environment when you enter, the difference between the inside and the outside. The location hugely impacts the experience of the structure. The location is the ‘site’ in question, it is the context of the structure and its surroundings. Where you choose to build the structure hugely impacts how the structure is perceived at first glance and how it impacts the structure through its experience. The location acts as a backdrop for the structure and adds a quality to the overall perception and experience. When referring to a change in atmosphere one can take the example of Chapel Bruder Klaus designed by Peter Zumthor. The chapel is placed contrasting its surroundings of lucious and dense farms. The farms are surrounded by rolling hills. This creates a certain atmosphere prior to entry into the site. However, the user is pleasantly surprised on entry into the chapel as the atmosphere inside juxtaposes that outside the chapel. This creates a sense of shock and intrigue in the minds of the user. One can either choose to complement the two atmospheres or have them contradict one another, but they both influence a different reaction from their users.

---------------------------------------------------------------DESIGN ELEMENTS:

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element: (plan) MOVEMENT meaning: The planning of movement refers to how a user will move through the spaces and structure. This establishes the narrative. The movement through space can be governed by several factors. It could be a physical factor or a visual factor, however, the movement when planned properly assists in the creation of a narrative and better strengthens the memory. Additionally if well planned the movement also ensures the space is more efficient and allows for the structure to function comprehensively. The Taj Mahal has a strong sense of movement through the complex and the structure. How you move creates a narrative in your mind- entering through the front stone gate and seeing the four gardens and water pool with the Taj in the centre right ahead, walking down the stairs through the garden leading to the raised plinth, entering the structure, moving through the structure followed by the terraces outside. All these visuals created by the movement are the basis for a strong narrative.

element: (design) FORM meaning: The design of the form in tandem with the site approach creates the first impression the structure creates on the users. The form creates the identity and character for the building. How the form responds to the site is often vital to understand how the space responds internally. Additionally the form may or may not decide how the experience inside will be or may simply act as an external envelope. The form is the first impression created by the structure. The Lotus Temple in Delhi is a structure that highlights and focuses on the form. The Fig 26.0 form not only symbolises a lotus which is important in the Bahai Culture, but also ensures that the form impacts Fig form 28.0 is the first thing Fig 27.0the volumes inside the space. The you see on entering the complex and also the last thing you experience while inside the space.

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element: (experience) SENSORIAL STIMULATION meaning: The structure and space looks at moving beyond the ideals of religion for a holistic outlook. How and to what degree the senses are stimulated define how the experience of the user is. Higher the number of senses triggered better their experience and perception of the space and structure. This also helps create varying degrees of experiences and when Fig 29.0at its highest the culmination of all sensorial experiences results in a form of mental rejuvenation and revival both key to achieving spirituality and transcendence. This element is divided into five parts- touch, sight, sound, smell and taste. All five Senses are triggered to provide a memory that is stronger and longer lasting. The sense of sight is stimulated by the different materials and textures with the play of light both outside and inside the cave. The sense of smell is triggered by the flowing water, numerous flowers and trees and the smell of the incense sticks burning. One’s sense of sound is soothed by the sound of flowing water, wind rustling through the trees, bird chirping and the sound of monks chanting, even the silence in the cave creates the intrigue to enter. The sense of touch is heightened with the presence of different surfaces to walk Figon, 30.0and the use of different materials Figand 31.0 textures to feel throughout the structure. Lastly the sense of taste is satisfied by the presence of sma Fig 33.0 Fig 34.0 ll----------------------------------------------------------------

element: (create) PLAY OF LIGHT meaning: The play of light refers to the poetic relation between the structure, light and shadow.

Primarily light impacts how the structure is perceived but more so it affects the aura and ambience created in and around the space. There are two forms of interactions between light and the structure, on the exterior and in the interiors. The play of light on the exterior is governed by one of two things- one, the surrounding topography and Fig 32.0

element: (design) FORM meaning: The design of the form in tandem with the site approach creates the first impression the structure creates on the users. The form creates the identity and character for the building. How the form responds to the site is often vital to understand how the space responds internally. Additionally the form may or may not decide how the experience inside will be or may simply act as an external envelope. The form is the first impression created by the structure. The Lotus Temple in Delhi is a structure that highlights and focuses on the form. The form not only symbolises a lotus which is important in the Bahai Culture, but also ensures that the form impacts the volumes inside the space. The form is the first thing you see on entering the complex and also the last thing you experience while inside the space.

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element: (experience) SENSORIAL STIMULATION meaning: The structure and space looks at moving beyond the ideals of religion for a holistic outlook. How and to what degree the senses are stimulated define how the experience of the user is. Higher the number of senses triggered better their experience and perception of the space and structure. This also helps create varying degrees of experiences and when at its highest the culmination of all sensorial experiences results in a form of mental rejuvenation and revival both key to achieving spirituality and transcendence. This element is divided into five parts- touch, sight, sound, smell and taste. All five Senses are triggered to provide a memory that is stronger and longer lasting. The sense of sight is stimulated by the different materials and textures with the play of light both outside and inside the cave. The sense of smell is triggered by the flowing water, numerous flowers and trees and the smell of the incense sticks burning. One’s sense of sound is soothed by the sound of flowing water, wind rustling through the trees, bird chirping and the sound of monks chanting, even the silence in the cave creates the intrigue to enter. The sense of touch is heightened with the presence of different surfaces to walk on, and the use of different materials and textures to feel throughout the structure. Lastly the sense of taste is satisfied by the presence of small vendors scattered around selling local fruits and treats.

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element: (create) PLAY OF LIGHT meaning: The play of light refers to the poetic relation between the structure, light and shadow. Primarily light impacts how the structure is perceived but more so it affects the aura and ambience created in and around the space. There are two forms of interactions between light and the structure, on the exterior and in the interiors. The play of light on the exterior is governed by one of two things- one, the surrounding topography and

context and second, the form of the structure. How the light falls on the structure helps highlight the texture and details in construction. The play of light and shadows on the interiors is governed by the openings of the structure. It decides where the light will fall and how the space wants to be perceived. Peter Zumthor’s Chapel Bruder Klaus explains how the play of light can define a space internally. by creating the opening the textures on the walls are highlighted and the light enters the holes to create stars in bright daylight. The Bahai Temple of South America emphasizes façade as well as the Fig 35.0the play of light both on the external Fig 36.0 internal skin and how they are both perceived differently during different times of the day.

----------------------------------------------------------------

element: (design) OPENINGS meaning: The design of the openings enormously impacts how the light enters the space and affects its perception. The openings be it their size and shape all add to the overall identity of the structure. The shape and style of the opening can represent a culture and religion. How these openings Fig 37.0 are planned also impact the inflow of light into the space. This adds to the overall experience and impact the structure is trying to create. The choice of shape, material, size and design all create significant changes in how the space is enhanced and appears. This can further be divided into- openings for light to enter the space and openings designed to embrace the view. Imagine yourself in a tall church with arched windows detailed with larger openings on the outside and smaller openings on the inside. The light enters the structure in beams of light creating a contrast between dark and light. The light reflects off the white marble and alabaster to enhance the interiors. Now imagine yourself in a mosque with openings covered in an ornate stone lattice work. As the sun filters Fig 39.0 it falls. The areas through the lattice, it creates Fig 38.0 a lovely intricate shadow everywhere of light create patterns on the floor that often reflect various materials. Two windows resulting in two vastly different results.

----------------------------------------------------------------

element: (decide) ORNAMENTATION meaning: The absence or presence of ornamentation refers to the reliefs and carvings or aesthetic elements added left out in a spiritual space. The idea of ornamentation comes from creating carvings and intricate artwork to represent the stories and beliefs of a culture and religion. However, the degree of ornamentation tends to change with the era of construction speaking to its time and Fig 40.0 also the style of architecture. We often see structures adorned in ornamentation adding to the intricacies and beauty of the space. In contrast to this there are structures that are devoid of any ornamentation adding to its stoic nature creating its own identity. But what remains common is that both structures have their own journey to transcendence. This can be divided into categories- the presence and the absence Fig 41.0 of ornamentation.

context and second, the form of the structure. How the light falls on the structure helps highlight the texture and details in construction. The play of light and shadows on the interiors is governed by the openings of the structure. It decides where the light will fall and how the space wants to be perceived. Peter Zumthor’s Chapel Bruder Klaus explains how the play of light can define a space internally. by creating the opening the textures on the walls are highlighted and the light enters the holes to create stars in bright daylight. The Bahai Temple of South America emphasizes the play of light both on the external façade as well as the internal skin and how they are both perceived differently during different times of the day.

----------------------------------------------------------------

element: (design) OPENINGS meaning: The design of the openings enormously impacts how the light enters the space and affects its perception. The openings be it their size and shape all add to the overall identity of the structure. The shape and style of the opening can represent a culture and religion. How these openings are planned also impact the inflow of light into the space. This adds to the overall experience and impact the structure is trying to create. The choice of shape, material, size and design all create significant changes in how the space is enhanced and appears. This can further be divided into- openings for light to enter the space and openings designed to embrace the view. Imagine yourself in a tall church with arched windows detailed with larger openings on the outside and smaller openings on the inside. The light enters the structure in beams of light creating a contrast between dark and light. The light reflects off the white marble and alabaster to enhance the interiors. Now imagine yourself in a mosque with openings covered in an ornate stone lattice work. As the sun filters through the lattice, it creates a lovely intricate shadow everywhere it falls. The areas of light create patterns on the floor that often reflect various materials. Two windows resulting in two vastly different results.

----------------------------------------------------------------

element: (decide) ORNAMENTATION meaning: The absence or presence of ornamentation refers to the reliefs and carvings or aesthetic elements added left out in a spiritual space. The idea of ornamentation comes from creating carvings and intricate artwork to represent the stories and beliefs of a culture and religion. However, the degree of ornamentation tends to change with the era of construction speaking to its time and also the style of architecture. We often see structures adorned in ornamentation adding to the intricacies and beauty of the space. In contrast to this there are structures that are devoid of any ornamentation adding to its stoic nature creating its own identity. But what remains common is that both structures have their own journey to transcendence. This can be divided into categories- the presence and the absence of ornamentation.

The Church of Light Designed by Tadao Ando is devoid of any ornamentation but has its own sense of tranquillity and peace. To juxtapose this structure stands the NotreDame in Paris, a structure that truly represents the details and beauty of Gothic

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element: (create) INTERACTIONS BETWEEN STRUCTURE AND USERS meaning: The interaction between user and structure refers to the smaller instances created to enhance the user’s experience. The user’s experience in the structure is directly impacted by how their interactions with the structure were. By allowing for areas of informal interactions, the structure allows Fig 42.0the users to open up. It allows them to embrace the structure and respond positively to it. The more the ability to interact, the more drawn the users are to the structure and space. This can be broadly divided into four types of interactions- formal, informal, visual and physical. Taking the example of two structures, one allows for informal interactions and the other only has planned and formal interactions. The first one allows for users to be open and creates a sense of ease in their minds and subsequently they enjoy the structure more. But in contrast to the first structure, the second structure has planned interactions and as a result it makes the users feel stiff and creates a sense of unease. In this situation the users will enjoy the space less. Fig 43.0 Fig 44.0

---------------------------------------------------------------ELEMENTS

WEIGHTAGE IDEAL TOTAL (W out of10) (IT=W x 10)

CHARACTERISTIC ELEMENTS

USER RATING USER TOTAL ( UR out of 10) (UT=W x UR ) EXAMPLE (USER 1)

1. Location

2. Setting

3. Religion

4. Symbolism

5. Spirituality

6. Site Approach

8 7

80 70

9 5

72 35

7. Change in Atmosphere DESIGN ELEMENTS 8. Movement

100

11. Play of Light

12. Openings

13. Ornamentation

6 5

60 50

6 8

36 40

9. Form 10. Sensorial Stimulation

14. User Structure Interaction TOTAL

DEGREE OF TRANSCENDENCE

744

980

75.92%

Eg: Degree of Transcendence (table 1.0)= (744 x 100) / 980 = 75.92% Table 2.0

The Church of Light Designed by Tadao Ando is devoid of any ornamentation but has its own sense of tranquillity and peace. To juxtapose this structure stands the Notre-Dame in Paris, a structure that truly represents the details and beauty of Gothic Architecture, and still, it creates the notion of spirituality and mysticism.

----------------------------------------------------------------

element: (create) INTERACTIONS BETWEEN STRUCTURE AND USERS meaning: The interaction between user and structure refers to the smaller instances created to enhance the user’s experience. The user’s experience in the structure is directly impacted by how their interactions with the structure were. By allowing for areas of informal interactions, the structure allows the users to open up. It allows them to embrace the structure and respond positively to it. The more the ability to interact, the more drawn the users are to the structure and space. This can be broadly divided into four types of interactions- formal, informal, visual and physical. Taking the example of two structures, one allows for informal interactions and the other only has planned and formal interactions. The first one allows for users to be open and creates a sense of ease in their minds and subsequently they enjoy the structure more. But in contrast to the first structure, the second structure has planned interactions and as a result it makes the users feel stiff and creates a sense of unease. In this situation the users will enjoy the space less.

---------------------------------------------------------------CALCULATING THE DEGREE OF TRANSCENDENCE:

----------------------------------------------------------------

The culmination of the elements listed above gives one the ability to understand the transcendence and the overall spatial quality present in the space. To be able to quantify these qualitative elements means to understand how each element impacted the user. However, keeping in mind that transcendence is an emotion and experience that can be subjective, one must find a way to calculate their personal experience in different structures allowing the user to better grasp their degree of transcendence in a space. The Transcendence Index therefore allows a user to calculate their personal Degree of Transcendence in a space and compare it to that of other spaces. The degree of transcendence varies based on the qualities and elements present. - Each element has been given a different Weightage(W) based on its level of contribution to transcendence. - Ideal Total(IT) is Weightage(W) multiplied with 10 being the ideal situation for each element. The sum of all the values gives the Ideal Total. - The User Rating(UR) is a value (out of 10) given by the user for their experience pertaining to that element. - The User Total(UT) is [ WxUR] for each element and the sum of all these values gives you the User Total.

Degree of Transcendence= (User Total x 100) / Ideal Total 66

11.0 | INTERPRETATIONS OF SPIRITUALITY

11.0 | INTERPRETATIONS OF SPIRITUALITY The survey was conducted to understand how people interpret Spirituality and to observe what qualities of a space facilitate Spirituality for them. The goal was to document the relationship between the ideas of religion and spirituality in the minds of people and to see how spaces impact the minds of its users. The Survey was designed to get the users to think and question which factor is more important. Hence, the questions were asked in a multiple choice format that allowed users to conveniently fill the form, with a few questions left to provide their interpretations.

No. of people who were Surveyed: 300

---------------------------------------------------------------Q1. Age Range:

Q2. Are you a Religious Person?

Q3. What Religion do you follow?

Q4. Do you believe in Spirituality?

Q5. Does your immediate surroundings affect your mood and mindset?

Q6. What do you define as Spirituality? (Compilation of People’s Responses)

Q7. What does Spirituality mean to you? Choose any 2 factors.

Q8. Do you believe in Spirituality?

Q9. Do such spaces have a positive impact on your mind?

Q10. What about these spaces triggers Spirituality for you? Choose any 3 factors.

Q11. How often do you go to spaces that Positively impact your mind? These need not be spaces of Religion.

Q12. Why do you go to such places? Choose any 3 factors.

Q13. What kind of Emotions would you look for in spaces like this? Select any 5 emotions.

Q14. Would you like these spaces to be a part of your daily life?

Q15. How important do you think understanding the impact of your surroundings on your mind is?

---------------------------------------------------------------INFERENCES DRAWN FROM THE SURVEY:

----------------------------------------------------------------

- Spirituality and Religion are not one and the same, Non-religious people also feel Spirituality. - People’s immediate context impacts their mind and their mood. Architecture and the builtform can govern the emotions of its users. - Different spaces that facilitate spirituality and Transcendence have similar qualities that impact the user. Nature is a huge factor in facilitating Spirituality. - The quality of a space triggers emotions in the minds of people. The users may experience the space differently, but what they feel is a similar emotion. - The kinds of emotions felt in a Sacred space are similar no matter the religion, function and quality of the space. This helps one understand that there are particular emotions that help with the realisation of Spirituality and hence the transition into Transcendence. - People require such a space in their daily lives to allow them to realign their mind, body and soul. These spaces should be incorporated into the lives of the people, allowing them to access them at ease.

12.0 | CASE STUDIES

Fig 1.0

12.1 | CASE STUDY 1:

GOA GAJAH TEMPLE, BALI, INDONESIA

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The Goa Gajah Temple is situated in the enclave of Ubud in Bali. The temple is dedicated to the deity of Hindu elephant headed god Ganesh. The temple is also referred to as the Elephant Cave affectionately named after lord Ganesh. The temple was built in the 9th century and discovered by Dutch archaeologists in 1923 the entirety of the site was only discovered in 1954. The site is predominantly a Hindu temple but has smaller imagery referencing Buddhist beliefs. The complex consists of a cave with the deities which was once used for meditation. The surrounding complex is filled with a bath for worship and has pathways leading down into the forest where the river and architecture collide to create its own atmosphere.

---------------------------------------------------------------CHARACTERISTIC ELEMENTS:

----------------------------------------------------------------

-LOCATION: The site is located in the Ubud forests of Bali away from the city centre. The temple is nestled in the dense forest valley abutting small rivulets that surround it. -SETTING: The temple is set in a valley surrounded by dense trees and forests. The mountains act as a background for the cave and the complex. The main cave and its immediate area are in an area which is open to the sky and allows for more light to highlight the space. But the pathways leading into the forest are covered with tree tops that filter light creating the atmosphere for introspection and meditation. The setting provides the illusion of being in an oasis devoid of the outside world. -RELIGION: The structure is dedicated to Hinduism, however there are a few carvings representing Buddhist beliefs. The temple is surrounded with small inferences that create a strong relation to hinduism. No matter the religion the temple caters to, one is certain to feel a sense of transcendence and connection to the space regardless of their religious belief. -SYMBOLISM: The entry to the cave shows several menacing faces, these are placed to ward off evil. Additionally the religious bath also has carvings of seven women pouring water out of a pot. These represent the 7main rivers in India- Ganga, Yamuna, Saraswati, Narmada, Kaveri, Godavari and Sindhu. The sense of symbolism acts as grounding for the religion and adds strength to those who believe in this space. -SPIRITUALITY: The sense of spirituality is strong in the cave and along the pathways with the water flowing amongst the trees. This is strongly associated with the way the light enters the spaces and also how the spaces react to the other elements. The sense of spirituality is fostered by the combination of the built and unbuilt and how the experience impacts the users. -SENSORIAL STIMULATION: All five Senses are triggered to provide a memory that is stronger and longer lasting. The sense of SIGHT is stimulated by the different materials and textures with the play of light both outside and inside the cave. The sense of SMELL is triggered by the flowing water, numerous flowers and trees and the smell of the incense sticks burning. One’s sense of SOUND is soothed by the sound of flowing water, wind rustling through the trees, bird chirping and the sound of

monks chanting, even the silence in the cave creates its own identity. The sense of TOUCH is heightened with the presence of different surfaces to walk on, and the use of different materials and textures to feel throughout the structure. Lastly the sense of TASTE is satisfied by the presence of small vendors scattered around selling local fruits and treats. The higher the sensorial stimulation, the higher is the degree of a narration and the creation of a memory in the minds of a user. As more senses are stimulated the users’ positive perception also increases proportionally. -CHANGE IN ATMOSPHERE: The hustling city of Bali has the sound of scooters and vehicles bustling through. However, the pathway leading down from the already secluded road and the thick trees act as a barrier from the sound, allowing for nature to take over. This is an instant change in atmosphere and allows you to be aware of your surroundings. The entry to the cave is dark and narrow, but as you enter further in the space is lit with lights and the entry acts as a mystic light entering the cave. The change in atmosphere allows for different experiences throughout the space and allows the user to enjoy several different spaces.

---------------------------------------------------------------DESIGN ELEMENTS:

----------------------------------------------------------------

-APPROACH TO SITE: The approach begins with a series of winding pathways leading you down from the temple market to the temple complex. The pathways go through vast expanses of farmlands with stone pathways. Due to the tall dense trees, one does not see the temple grounds approaching until they reach the actual site. Hence the pathways create a sense of intrigue and curiosity leading to the temple grounds. The approach to site is a huge factor that impacts the first perception the users have of the space and this also governs how their experience will continue to be. -FORM: When considering the form for the temple, one must consider both the main cave temple and the smaller built shrines that create the temple complex. The oldest structures which include the cave temple and the sacred bath are built keeping in mind the topography and their locations. The new shrines which too are significantly old are built using traditional methods of architecture. The forms represent the style that stood as examples for the style of architecture we see today in Indonesian temples. The form of architecture and the style with the play of nature and materials provides for the users to experience life in the past and connect to something larger than themselves. -MATERIAL: In terms of the materials used one can see the development over time as the temple complex grew. The oldest structures are built using stone from nearby and show intricate carving and skill in construction. As time progressed materials like wood and polished stone were used. So the later additions to the complex were built using these materials and show intricate joineries and details. The paved stone pathway combined with several other elements tie the built to the existing natural scape seamlessly. The choice of materials are both grounding and stimulation both mentally and physically for the users and emits a sense of peace and hope.

-PLAY OF LIGHT: The smaller shrines and majority of the built area are open to the sky and have ample natural light entering the space. At night the temple is lit with small oil lamps and candles. However, there are two very important types of play of light in this temple complex where there is a use. The gateway that acts as an entry into the cave is the only source of natural light. The narrow entrance pathway which expands into the cave creates the illusion of a halo around those entering the temple and acts as the light guiding you through life as you exit the cave. The second form of light is the dappling of sunlight as it filters through the heavy foliage in the forested areas that cover the meditation ponds and pathways. The play of light in both forms adds to the element of mysticism and intrigue and positively impacts the minds of its users. -OPENINGS: The structure being an open structure does not have many openings, but the cave has the gateway that serves as an opening. The gateway acts as the primary source of light inside the cave. The cave opening creates a halo and allows light to enter the space by means of the shape of the opening allowing users to have different experiences based on the position of the sun and the quality of light outside. -ORNAMENTATION: The temple is covered with intricate carvings in stone and wood. This comprises the vast majority of the style used in the space. However, the interiors of the cave are cut in solid rock which made it difficult to carve and hence is void of any ornamentation this includes the very basic carving of the deity that has existed over the centuries. The combination and variation in ornamentation in the different spaces creates different atmospheres and adds to the identity of the space in the minds of the users. -INTERACTION BETWEEN USER AND SPACE: The site allows for the users be it locals, artisans, priests or tourists to come enjoy the space. This is facilitated by the presence of the different qualities of spaces that allow the user to enjoy and interact with the space by allowing for informal seating or pathways through the forest. The user is intrigued by these informal interactions and allows them to have a different experience every time they visit.

---------------------------------------------------------------SPECIAL FEATURES:

----------------------------------------------------------------The Forest Pathway -Correlation between the Built and the Unbuilt, Nature and Architecture -Play of the surroundings on the human senses

---------------------------------------------------------------THE TRANSCENDENCE IN GOA GAJAH:

----------------------------------------------------------------

Goa Gajah is a temple that is a quaint hideaway in the middle of a dense forest in Bali. All the unsuspecting visitors who visit the space are drawn into its beauty and charm starting from the approach and ending in the small artisanal markets around the temple. The structure’s true charm however lies in the spaces covered in the heavy foliage of the forest- the winding pathways create lovely areas and nooks for people to enjoy and embrace the energy and spirituality that encompasses these spaces. The meditation ponds and the sound of flowing water in the holy bath all only add to this value. These elements all facilitate the idea of Transcendence. This temple leaves a lasting imprint on the minds of those who visit the site. This is strengthened by the sense of narration created by the temple. The temple is a haven for stories and folklore that echo through the forests that surround it. The pathway allows for a sense of movement through the spaces and with each step comes a new experience and visual. The combination of these factors together creates a strong mental narrative in the minds of the users ensuring that the temple leaves its mark in your mind for years to come.

--------------------------------------------------------------SURVEY TO CHECK THE DEGREE OF TRANSCENDENCE :

---------------------------------------------------------------ELEMENTS

WEIGHTAGE (W out of10)

CHARACTERISTIC ELEMENTS

USER RATING ( UR out of 10)

W x UR

GOA GAJAH, BALI

1. Location

2. Setting

3. Religion

4. Symbolism

5. Spirituality

6. Site Approach

8 7

8 6

64 42

8. Movement

9. Form

100

11. Play of Light

12. Openings

13. Ornamentation

6 5

5 8

30 40

7. Change in Atmosphere DESIGN ELEMENTS

10. Sensorial Stimulation

14. User Structure Interaction TOTAL

DEGREE OF TRANSCENDENCE

726 74.08%

Table 1.0

Fig 3.0

Fig 4.0

Fig 5.0

Fig 6.0

12.2 | CASE STUDY 2:

LIGHT IN ARCHITECTURE, DGT ARCHITECTS

---------------------------------------------------------------The installation has been created to light up the oldest concrete dome in paris. The idea was to create an installation that would provide an immersive and emotional experience. The Use of light and water is more than just functional. It is a symbolic representation of Light and Water being the source of all evolution. The installation’s many outlets release 60 drops of water per second individually. The different colours evoke different moods in the space, with cool colours and warm colours being used effectively. The installation activates a person’s senses, by providing stimulus to all 5 of the human senses. The interactive design allows the users to touch the water, visually experience the flow of water and colour of the lights, hear the sound of water cascading down, smell and taste the reminisce of mist in the air. The flow of the water can be inferred as the flowing of time and life, and how life continues to move. It creates a space of introspection where one can drown out the sounds around them, and allow for the sounds of nature to encompass them.

ELEMENTS

WEIGHTAGE (W out of10)

USER RATING ( UR out of 10)

W x UR

CHARACTERISTIC ELEMENTS

LIGHT IN WATER- DGT ARCHITECTS

1. Location

2. Setting

3. Religion

4. Symbolism

5. Spirituality

6. Site Approach

8 7

2 8

16 56

8. Movement

9. Form

11. Play of Light

12. Openings

13. Ornamentation

6 5

8 8

48 40

7. Change in Atmosphere DESIGN ELEMENTS

10. Sensorial Stimulation

14. User Structure Interaction TOTAL

DEGREE OF TRANSCENDENCE

579 59.08%

Table 2.0

Fig 7.0

Fig 9.0

Fig 10.0

Fig 8.0

12.3 | CASE STUDY 3:

BRUDER KLAUS CHAPEL, AR. PETER ZUMTHOR

---------------------------------------------------------------Bruder Claus Chapel is a literal representation of nature facilitating architecture. The innovative use of tree trunks creates a sensuous sacred space. The building is filled with symbolism, with the trees casting various holes in wall, which when experienced from inside, gives the vision of stars. The structure from the outside is symbolic to the vision of a starburst that Bruder claus had in the 15th century. The building exudes a beautiful silence that harmoniously compliment its surrounding nature. The play of light in the spaces and the warmth of the building creates a space of introspection that allows for Peter zumthor explains the quality of the building by saying “To me, buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence, and integrity, and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being.”

ELEMENTS CHARACTERISTIC ELEMENTS

WEIGHTAGE (W out of10)

USER RATING ( UR out of 10)

W x UR

BRUDER CLAUS CHAPEL- AR. PETER ZUMTHOR

1. Location

2. Setting

3. Religion

4. Symbolism

5. Spirituality

6. Site Approach

8 7

8 8

64 56

8. Movement

9. Form

11. Play of Light

12. Openings

13. Ornamentation

6 5

7 7

42 35

7. Change in Atmosphere DESIGN ELEMENTS

10. Sensorial Stimulation

14. User Structure Interaction TOTAL

DEGREE OF TRANSCENDENCE

752 76.73%

Table 3.0

13.0 | INFERENCE

13.0 | INFERENCE ----------------------------------------------------------------

A. The true Quality of Sacred Architecture that facilitates Transcendence:

----------------------------------------------------------------

This refers to the intrinsic value of Sacred architecture and how it facilitates Transcendence. The structure is designed to allow its users to experience the space, the users are allowed to feel the power of the energy around them that triggers emotions. The spaces are designed to trigger positive emotions. No matter the mental state you are in when you enter, the structure will help turn that into one that is positive and pleasant. This severs the very important role of putting your mind at ease allowing one to imbibe and absorb their surroundings and knowledge for what it truly is, not a fragment of your imagination. The overall peace brought to your mind allows you to feel mindfulness and hence slowly transition into transcendence. So the real quality of these spaces apart from their facilitation for spirituality and sacredness is its ability to impact the users mind positively allowing for a better mindset when approaching Transcendence.

----------------------------------------------------------------

B. Transcendental Architecture is born from Religious Architecture:

----------------------------------------------------------------

Sacred Architecture that is devoid of religion is a product of the evolution of both spirituality and the ideas that go with worship. These spaces have hence been born from all religions and hence possess and provide a sense of comfort to all those who are religious and those who are not. The new language to be proposed will be a culmination of religions and non religions alike allowing for people to find a sense of comfort when they enter the space. Based on the study of religious architecture one observation was made. All religious architecture has an element in the design that brings you closer to the heavens physically- the Shikhar, Minarets, Spires, etc. This then becomes an element the new form will cater to and in doing so have a logical basis for the same. Similarly the semi open spaces are present in all the religions tying architecture and nature through the structure.

---------------------------------------------------------------C. A Narrative through architecture strengthens a Memory:

----------------------------------------------------------------

This allows for a stronger grasp on the smaller details and creation of a strong narrative filled with both emotions and place recognition. This allows for the user to create their own version of a memory palace in this location allowing them to access it as needed and also allows for this memory to be easily triggered by other external stimulations and hence Intangible Durability is achieved in a space through the minds of the users.

---------------------------------------------------------------D. The Degree of Transcendence of a space is subjective:

----------------------------------------------------------------

The degree of Transcendence is one which is subjective to the user. It is based on how the user perceives the space and how they interpret this emotion. The Transcendence index therefore caters to calculation of the degree of transcendence felt by that particular user and does not speak of a general transcendence felt by all. Allowing users to calculate and compare the degree of transcendence they felt across multiple structures and better analyse how and why they felt this through the elements of Transcendence. To quote Philip Daffara, “Any space may be Sacred based on the Mindfulness of the Dweller”.

---------------------------------------------------------------E. The Interpretations of Spirituality:

----------------------------------------------------------------

Through the survey several inferences came to light. For starters it was proven that religion is not the basis to feel spirituality. Second, everyone has several different ways of interpreting spirituality and even though the basis is more or less similar, it’s the choice of words that are intriguing to understand how and what they expect from a space of this nature. Words like Calmness, Evolvement, Peace and Conscience among many others will be abstracted and influenced through the design.

PART 3: REFLECTION AND CONCLUSIONS

14.0 | DESIGN IMPLICATIONS

Fig 1.0

14.1 | DESIGN BRIEF Transcendence is an emotion that when felt grounds you to your soul and body. The mind, body and soul use several means to feel connected. To be connected to the cosmos means to be present and to evolve beyond the realm of physicality and be aware of the realities of the world around you. However, given the world we live in today where the human mind and body are often separated from one another and nature, transcendence turns into an emotion that is difficult to find. The structure to be designed is planned with the intention of facilitating transcendence for all its users through the medium of spirituality. The design looks at creating a centre for Spirituality, a centre that caters to everyone regardless of their Religious or Spiritual belief. The structure will be a culmination of all religions and non religions alike, allowing the user to find a degree of comfort in the space and find the source to their transcendence in any means they find fit. The site too must evolve beyond Spirituality and set itself in the physical realm grounding it to reality. For this the design will cater to the society and community that surrounds it. By doing so the structure not only has a positive impact on the users but also the community in its immediate vicinity. The structure looks at providing livelihoods for the community and triggering growth and economic development by means of small businesses being created that serve as adjacent functions to the existing structure. The structure looks to cater to the urban masses too, in doing so allowing for the space to melt into the daily lives of the people who really need it. It will also serve as a ground for socio-cultural gatherings and be a part of the daily use of the society. The aim is to have the society and structure amalgamet to create Social interdependency between the two and ensure that both flourish and grow together. In addition to these functions, the structure will serve as a magnet to attract both local and international tourists to the site and hence to the Hamlet. The site will have secondary functions that cater to the needs of the tourists. This will include on site residency allowing tourists to come stay and enjoy the beauties of the site while enjoying the amalgamation of nature and the built form , which add to the unique experience. Several other informal spaces like green areas and pathways govern the design of the space. The design brief is to create a structure that caters to the programme while ensuring the inclusion of nature and the surroundings into the builtform. The design will bring in the power and the influence of the sun and nature into the space, all with the idea to have spaces and interactions with nature that aid transcendence. - The Design brief will cater to a structure that is Secular in nature. Spirituality is an emotion devoid of Religion, the structure looks to allow people to find their idea of spirituality regardless of one’s religious and spiritual belief. The goal is to create a space that is inclusive of all religions and beliefs, allowing everyone to find comfort in their search for spirituality. - The idea of providing a Sacred Space devoid of Religion is one that breaks the stigmas of what exists today. The aim is to ensure that the resulting site is a structure that is Secular in nature.

---------------------------------------------------------------APPROACH TO THE PROGRAMME:

---------------------------------------------------------------The following are the list of criterias considered when deciding the Programme: -The Structure will serve as a space that caters to the user’s search for Spirituality. Hence, the structure needs to cater to all Religions and also cater to people who need not follow a religion. -The site looks at creating primarily a “Spiritual Place” not a Religious Space. -To Draw harmony from the coexistence of all religions under one precinct. -The space will combine Nature, Architecture and a strong sense of Spirituality. -The design will be an abstraction of religion allowing those who are religious to feel the same connection to the space as those who are not religious. -The Key to the programme is to have the interaction of the two: a Religious Space (different spaces for different Religions) and a Sacred Space (a space that caters to all religions and beliefs). - Can the idea of Spirituality be abstracted to create a new language of architecture that facilitates Spirituality and Transcendence. An amalgamation of elements drawn from religions and placed in a manner that can be related to all.

---------------------------------------------------------------DESIGN OBJECTIVE:

---------------------------------------------------------------The Design objectives are principles that are addressed and fulfilled by the programme. These are ideologies that are born from issues faced or criterias that the site will help facilitate. The solution to these objectives is brought about through the creation of the programme.

Fig 2.0

Table 1.0

100

14.2 | DESIGN PROGRAMME The programme looks at fulfilling all the requirements the structure aims to achieve. The culmination of the site and structure are governed by the programme. The success of the structure will depend on the degree of fulfillment of the programme post construction.

---------------------------------------------------------------USER STUDY:

---------------------------------------------------------------The users can be broadly divided into 5 categories. Several users may overap in functions, i.e: a user who is a spiritual user may also be a temporary resident on the site. The table shows the categoric division of the users based on programmes and functions. These are divided into: Spiritual Users, Residents, Management(Staff), Locals and Tourists.

101

Table 2.0

Table 3.0

102

---------------------------------------------------------------DIVISION OF FUNCTIONS ON SITE:

---------------------------------------------------------------The site can broadly be divided into 4 parts. Each part caters to a set function it aims to achieve. These functions are: -Spiritual Functions: this caters to all the spaces ranging from the several sanctums to the spaces for learning and the adjacent functions associated with it. - Residence: This refers to the housing accommodations provided on site. This will cater to the staff and priest who stay on the site as well as the several tourists who visit and allows them the opportunity to to experience a site that amalgamates nature and the built environment. -Social/ Public Functions: These functions are those planned with the aim of catering to the hamlets surrounding the site. This includes areas that can also be accessed by tourists and people devoid of if they are visiting in search of spirituality. These functions include the spill out space, the marketplace, the social gathering hall and the activities provided to enjoy the site. - Natural Functions: These are those activities and functions that allow for the integration of nature seamlessly into the site. This includes the forest pathways, the waterfront and the green spaces as part of many more.

Table 4.0

103

---------------------------------------------------------------TANGIBLE DURABILITY:

----------------------------------------------------------------

The structure aims to have Tangible Durability. This refers to the structure being able to last the test of time. To ensure for the same, the structure will consider the following: -Integration with Nature: The structure looks to add to the existing nature without taking away from it. This means that the structure will not hamper the growth and life around it, but rather facilitate nature to grow. Over time the structure will fuse with nature to create a whole new experience allowing for the survival of both. - Self Sufficient: The structure will be planned using renewable resources like solar energy and rainwater harvesting. It will also have its own biofriendly waste management system. This will also ensure that the structure does not depend on the grid for survival. - Building Technique and Materials: The structure will be built using a combination of traditional and modern techniques. The design will allow for the structure to be as self reliant in terms of user comfort without the need for any energy. Subsequently the structure will also be built using a lot of materials found on site like stone that will help reduce the carbon footprint. The structure will be a landmark project to connect the past, present and the future.

---------------------------------------------------------------INTANGIBLE DURABILITY:

----------------------------------------------------------------

The structure will possess Intangible Durability. This means the Structure will continue to live in the minds of the user even after they have left the site. To ensure for the same, the structure will consider the following: - Creating a Narrative: To create a narrative through architecture means to create a story through the movement of the user. This begins with designing a Trigger point something that sets the mood for the entire space.This trigger will play in the minds of the user as they make their way through the rest of the space. Next comes creating subtle cues hinting to the trigger. This allows for the memory to be refreshed and strengthened through the use of strong icons in your design. This allows for a stronger memory for the users once they leave the space. - Triggering the Emotions and Senses: By empathetically designing the spaces the architect can govern the emotions felt by the users of the space and also further deepen this connection between the body and the mind by the way the senses are stimulated. The users will then find themselves feeling a series of emotions while their senses are triggered. This creates a unique stamp on the mind that will associate itself only to this space. In the future when the users feel those emotions and senses in any possible computation, they will be transported back to the memory and the story etched in their minds for the site they once visited. This will allow the structure to live on in the minds of its users.

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---------------------------------------------------------------UNDERSTANDING THE FUNCTIONS:

---------------------------------------------------------------PROGRAMME FUNCTIONS PRIMARY FUNCTION

SACRED

SECONDARY FUNCTION

SPECIFICATIONS ACTIVITY

SANCTUM OF TRANSCENDENCE

Secular worship/ realisation devoid of any specifc religion

CENTRE FOR SPIRITUAL EDUCATION

World Experts come preach different principles and ideologies to those who want to learn

AREA (TOTAL: 3420+ 580)

1000 SQ.M

75 SQ.M

DESIGN ELEMENTS MAX. USER DENSITY/ FOOTFALL

500

These spaces will be an ammalgamtion of Nature and the built form. The users in the meditative space must respect the others by respecting the sanctity of the space.

Dedicated for meditation devoid of any disturbances

100 SQ.M

INTROSPECTION SPACES

Similar to meditation spaces but allows one to find peace through means comfortable to them

75 SQ.M

HINDU SANCTUM

Worship for the Hindu Religion

80 SQ.M

ISLAM SANCTUM

Worship for the Islam Religion

80 SQ.M

BUDDHIST SANCTUM

Worship for the Buddhist Religion

80 SQ.M

CHRISTIANITY SANCTUM

Worship for the Christian Religion

80 SQ.M

Worship for the Jewish Religion

80 SQ.M

JAIN SANCTUM

Worship for the Jain Religion

80 SQ.M

SIKH SANCTUM

Worship for the Sikh Religion

80 SQ.M

Worship for the Zorastrian Religion

80 SQ.M

FUNCTIONS

ZORASTRIAN SANCTUM

Table 5.0

105

ACCESS

The structure will draw The entry to the inspiration from all the sanctum will be through surrounding religions in the other religious terms of an architectural spaces or independant language. However the of those. users can volume will be one that choose how to acces the allows the users to feel space at their comfort. the scale of the space.

These are spaces and volumes that are to the human scale allowing people to focus less on the space and more on ability to learn and imbibe.

MEDITATION SPACES

JEWISH SANCTUM

FORM/ VOLUME

The spiritual centre will have an interactive approach to the space be it visual or physical interaction. This will trigger curiosity in the minds of the users

MOVEMENT

PLAY OF LI

The movement in the sanctum is around the apex(the area that grounds the rest of the space to reality)

The sanctum w designed to allow light to enter from of the structure an as it reaches th creating a sen numinosity. The p of dense foliage ar structure will also sense of moveme space through the light entering the s extinguishing the

The movement is goverened by what interests the learner

The space will be with daylight and areas of diffused l creates a pos environment for and teachin

Both spaces are ve in how they are tre designed. The ligh to show directio These spaces have a The access for both changes throughou radial movement functions will be a creating intrigu governed by the seating natural route that allows provided and the existing curiosity. There i for ones mindset to single beam of s trees around the site. change positively pior to entering the str Allowing for different entry into the main through the ceiling experiences while These spaces will be an spaces. becomes a point f meditating and ammalgamtion of to focus on durin introspecting. Nature and the built meditation and form. In the choose to then introspective spaces introspectio people are allowed to be more involved with one another and allow for an interactive or individualistic means to find peace

Each religious sanctum will be designed drawing inferences from its religious architectural language. The approach to all the However each of these sites will respect the spaces will have a sense religion's rituals and will of uniformity and unity. also act as transition The goal is to facilitate spaces allowing people comfort from these to approach the space spaces and also allow all from a distance while users irrespective of still reaping its benefits. their religions to be able to access all sanctums to any degree they find comfortable.

The movement to all the sites will respect the religion's rituals. It will also govern the kind of atmospheres that are created internally.

Each structure w using natual lig enters the space various openings. light enters the changes from rel religion based ob=

ATTRIBUTES FOR THE PROGRAMME FROM THE TRANSCENDENCE INDEX

IGHT

OPENINGS & FENESTRATION

The openings will be a mix of openings for a will be w for the view and openings for m the top light, allowing for the nd defuse sunlight to play with the otherwise dark he floor space. Additionally nse of presences this opening will also round the serve as the portal to involve o create a Archaeoastronomy ent in the into the space and e dappled streangthen its space and connect to the darkness. heavens.

e flooded d creating light. this sitive learning ng.

ery similar eated and ht is used on and ut the day ue and is also a sunlight ructure g and this for people ng their d if they during on.

SENSORIAL STIMULATION

TANGIBLE DURABILITY SKIN/ FINISH

(ORNAMENTATION)

The senses will be throughly stimulated in this space. Sight will be triggered by the play of light and the view portals created. Sound will be The materials used triggered by that of flowing water, are earthly materials the wind blowing through the spaces like stone, mud, and the vibrations of the chants from wood. Materials that the religious sanctums that unite in have textures and this space. Smell is triggered by the create a strong smell of the flowers and the inscent connect to nature. sticks lit in the space. Touch is triggered by the play of textures and materials as well as the several elements used throughout the space.

USER INTERACTION

The senses will be throughly stimulated in this space. Sight will be triggered by the play of light and the view portals created, Sight will alos The openings will be a allow for users to find comofrt in their mix of both openings will be lit religion and achieve sprituality .. for a view and ght that Sound will be triggered by that of openings for light. through flowing water, the wind blowing These can also be . How the through the spaces and the enhanced by lattice spaces vibrations of the chants from the work and an ligion to religious sanctums that unite in this architectural language =n beliefs. space. Smell is triggered by the smell that is born from the of the flowers and the inscent sticks rrespective religion. lit in the space. Touch is triggered by the play of textures and materials as well as the several elements used throughout the space.

INFRASTRUCTURE

INTANGIBLE DURABILITY

KEYWORDS TO DESCRIBE THE SPACE

This space allows for the user to feel the emotions of Calmness, Intrigue and Awe, Appreciation and Joy. When a person feels these emotions in daily life triggered by the quality of light or the materials or nature like caves or forts, their memory will relay back to this moment in this space.

NUMINOUS, EXPERIENTIAL, CONNECTION, PEACE, SACREDNESS, COSMIC ENERGY

The space triggers the emotions of Humility, Curiosity, Satisfaction and The space will be a Amusement. When a place as if in the person enters a outdoors but with space where they are the protection of a ale to see the built form that does outisde as part of the not hinder the view inside and are or the atmosphere surrounded with soft that aims to facilitate natural light like an learning obervatory or a gallery, they will be reminded of this space.

TRANSPARENCY, PEACE, LIGHT

QUALITY OF THE SPACE

The users are drawn to interact with the space, The space will be The space looks at be it as simple as bend naturally ventilated being a medium to down to touch the The use of active and with some facilitation allow for spirituality flowing water or play passive systems will be from other systems. and hence allows its with your shadow implemented to help The light will be users to find comfort created by the sun. The add to the idea of a self in spirituality through natural daylight that users can find peace in sustaining module that the new language of will be taped into by sitting and experiencing doesnt need external architecture that the design to the space at one help to survive. enhance the intensity facilitates location or by walking and direction. transcendence. around and having an immersive experience.

The openings will Sight will be stimulated by the use of allow for a light materials, the views of the comfortable outside and the play of light in the The materials will be The users can interact environment that is space. Touch will be stimulated by light and airy with the space through incorporating the the materials and textures of the materials that allow both the formal and surfaces on which you sit and work nature outside into for pleanty light to informal interactions and also the temeprature comfort the space and triggers enter the space. designed to all the interactive learning. provided by smart planning. Sound There will be a users to draw the most Rooms and spaces will will be triggered by the sound of the degree of from the space. the be more informal wind through the leaves and the transparency in the space also ensures that allowing the users to scriptures read by the preachers. structure allowing for nature interacts with feel comfortable and Smell will be heightened by the smell nature to fill the inside both the user and the ask questions, interact of the nature that surrounds you. as it does the outside. structure. with the teachers and Taste can be triggered by the fruit the space. bearing trees around the space.

Sight is triggered by the presence of the beam of light in the otherwise dark space. This also heightens the other senses and allows for a different perception of the same The single beam of space had you seen it in the light. light will be brought The eyes are also stimulated by the into the space via an beautiful views one can observe opening that will while introspecting or medidtating. enhance the light as it These could be views of the valley or enters the space. a waterbody or the mountains. Touch There are several is stimulated by the various textures other larger openings and thee nature that surrounds the in other spaces that users. The sense of smell is help connect you to heightened by the smell of the the views outside. flowers and the leaves blowing in the wind. The smell of inscent sticks burning also fills the space. Sound is triggered by the chanting on people and the sounds that create nature.

LIGHT & VENTILATION

SPATIAL QUALITIES

The users are in a formal setting in this situation where people who do not want to be disturbed come to meditate. Here the interaction between The materials in this function will primarily user and space is lower be the natural setting than the introspection that exists on the site. spaces, but the purpose is the same, to evolve Smaller built and transcend while in interventions will be the search or peace and inserted through the calm. space that allow for the users to be The users can interact sheltered. The with the space as it textures and details triggers the senses and will include materials people being in an like stone, raw earth, informal setting grass, sand, greenery, compared to that of the wood just to name a meditation spaces few allowing users to approach one another and start meaningful conversatons and discuss their interpretations of spirituality.

The ventilation will be a combination of both artificial and natural, this alllows for people to find comfort situations that allow them to learn and preach. The lighting will predominantly be natural with the addition of artificial to facilitate users to read and work at all hours convienent to them.

The structure will be solar powered and will be self reliant. most of the needs of the space will be met with by renewable resources.

Both spaces are This space triggers essentially the same the emotions of Due to these spaces what seperates them Peace, Calmness, being primarily in nature is the structures Thought and and in the open there is interaction with the Reflection. People a lack of need for The spaces will be user. The space will be reminded of energy to run these naturally lit and allows for one to this space in their focus, think and ventilated. they will spaces. Whatever little daily lives when this that requires energy will require minimal realign their visit a park or take a be pwered by solar mechanical systems thoughts allowing for walk through nature energy and designed to for the same. realisation and or even when they allow for passive evolution in any simply find a souce systems to help run the means they find fit. to their meditation space. Choosing either to be it through music meditate ot or Exercise. introspect.

The users will interact Using a common with their religious material for all the sanctums draws a sanctum the way they sense of uniformity, usually would. What is additionally all of different about these them will be designed sanctums is due to its keeping certain close proximity to The space will be elements of geometry another religion users naturally ventilated similar allowing them will get the opportunity with some facilitation to all have a sense of if they wish, to go from other systems. unison. However, witness the functioning The light will be each of them will be and worship in another natural daylight that inspired by their religion out of respect. will be taped into by respective they can choose to the design to enter the others architectural forms enhance the intensity sanctums to any degree and will allow the and direction. users to feel s sense they find comfortable of comfort through but must do so with theirr specific religion respect. This allows for and will also learn to all the religions to exist respect that of the in harmony and benefit others. from one another.

Each individual sanctum will change based on personal rituals and and the kind of services required in the space. The spaces will be connected to one another through sound tunnels to allow the chanting and vibrations to reach the main sanctum. there will be a sound damper that will shut off the travelling of the sound when needed.

These spaces look to The spatial quality is create emotions of Calm, Comfort, and drawn from the facilitate spirituality. different religios while being true to The play of light and the atmosphere in spiituality. The the spaces allows for spaces aim at this experience. In exuding sacredness daily life when through the people feel this as particular religion they visit their daily while still allowing places of worship or people from other nature they will be religions to feel this sense of Spirituality. reminded of these sanctums.

PEACE, CALM, SOLITUDE

INTERACTIVE, AMMUSING, SENSORIAL

COMFORTING, IDIVIDUALISTIC, RELIGIOUS, SENSORIAL

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107

---------------------------------------------------------------UNDERSTANDING THE FUNCTIONS:

----------------------------------------------------------------

PRIMARY FUNCTION

SECONDARY FUNCTION

RESIDENCE FOR TOURISTS

RESIDENCE FOR STAFF

ACTIVITY

Provides housing for the Tourists

Provides housing for the Staff

AREA (TOTAL: 3420+ 580)

MAX. USER DENSITY/ FOOTFALL

710 SQ.M

100

285 SQ.M

FORM/ VOLUME

ACCESS

The volume will be that at a human scale allowing the users to have a sense of the normal and giving them a sense of comfort they seek in their houses and stay.

The access to both the tourist residence and the staff quarters will be through corridors which open up to the gardens and forests surrounding the space. This will allow each space to have its own view of nature and will allow for nature to enter their spaces of rest as well.

The cafes and restaurants will be spaces designed for views and vistas overlooking the valley and allow for the users to immerse themselves in the depths of nature. There will be some areas that will be shaded and others that will open to sky allowing for different experiences in the same space.

The acess to the cafe will be through the forests and will be located towards the edge of the site, allowing those coming only for the cafes to prevent distubing the rest of the site.

The form and volumes for the spaces will be designed based on the requirements of the local craftsmen. The design will follow a language similar to that of the surrounding structures but also represent the craft and artform itself.

The access to the workshop will be placed The movement is minimal allowing for the best with majority of the space access to the villagers dedicated to workspaces and the craftsmen to allowing the local artisans access the space at and producers to work in theirr ease to create harmony without their products and local interupting the others. produce.

The nature trails and spaces will be created in the forests without hampering what exists. These will be spaces designed to experience nature at its fullest and is a huge break from the urban life.

These are spaces that will serve as the access to spaces allowing the user to unwind before entering a new space.

These elements are the primary form of movement through the entire site allowing for users to experience nature between spaces.

These spaces will be in varrying volumes and varrying forms all with the intention of creating different experiences everytime.

With the creation of these spaces the idea is to experience complete Allisthesia allowing the users to full experience the oscillation of the senses.

These spaces use the journey of the senses to govern the movement. People can decide the route of their journey based on the sense they want to trigger through an experience.

This will be a large space created for using during festivals. It is essentially a blank canvas however still has its own character

The access is a simple pathway leading to the space. it is an unrestricted space allowing for the masses to use it without crowding

The movement here is free of restriction. The function in the space is to facilitate interactions and discussions between the users and the movement will govern this.

40 (Including families of some staff)

CAFE & RESTAURANTS

Catered food for all the residents as well as allows outsiders to come enjoy the view

WORKSHOPS FOR ARTISANS

Dedicated to local artisans to come produce their art and crafts prior to sale and also hosts workshops to teach tourists the skill of the craft

FOREST PATHWAYS/ SPILL OUT SPACES

spaces that are born out of nature and allow for a direct connect to nature devoid of the built

SENSORIAL ZONES

These zones are dedicated to creating different experiences that transform the sensorial perception of the user

SOCIAL GATHERING HALL

A large hall dedicated for large gathering during fesitvals and functions

150 SQ.M

100

FARM LANDS

Used to grow produce for the structure and also sell to generate revenue

NO BUILT-UP AREA

75 SQ.M + UNBUILT

INFORMAL FUNCTIONS

COMMON/ SOCIAL FUNCTIONS

LEISURE ACTIVITIES/ EXPERIENCE ZONES

Zones and activities that allow for the tourists to enjoy nature and experience the spaces

ADMINISTRATIVE AREAS/ MEETING ZONES

Areas dedicated to the Management and the running of the centre and Smaller gathering rooms dedicated to allowing for personal interactions and conferences

80 SQ.M

NO BUILT-UP AREA

50 SQ.M + UNBUILT

Both these spaces are essentially open to sky and have the activities scattered through the entire site

MOVEMENT The movement in the rooms is very simple and efficient allowing for a vista from different points in the room.

The movement allows for efficiency and sustainance. it is planned to allow families to live in comfortably while still having ample space for leisure.

The restaurants are planned to allow people to mve around freely without interupting or disturbing the others. the movement is govenered by the kinds of views provided and the way the trees and foliage is incorporated into the design.

the Farm lands will be planned to allow for the efficient movement and governance of the farm lands.

The acess to the spaces will be through the forests and will be located towards the edge of the site, These are spaces adjacent allowing those coming to existing ammenities only for the activities to like the nature trails and prevent distubing the waterbodies. the rest of the site. movement will be guided by these elements.

50 SQ.M + UNBUILT

200 TOTAL CAPACITY OF DAILY USERS AT A TIME (inlcudes restaurant, workshops and Sacred spaces)

130 SQ.M

These are spaces at a This will be placed The movement in these human scale with some further back inside the spaces is purely functional areas slightly bigger. site to allow the primary 100 (80 Staff + and the experience will They will be well functions to nbe 20 Guests) be enhanced by the use incorporated with nature undisturbed by the of smaller interventions allowing for the users to functioning of the admin through the space. have a healthy work and management. environment.

Table 6.0

108

---------------------------------------------------------------SPATIAL AND DESIGN STUDY OF FUNCTIONS:

----------------------------------------------------------------

Fig 3.0

HINDUISM

JEWISM

JAINISM

109

ISLAM

CHRISTIANITY

BUDDHISM

ZORASTRIAN

SIKHISM

Fig 4.0

Fig 5.0 Fig 6.0

Fig 7.0

110

PROGRAMME FUNCTIONS PRIMARY FUNCTION

FUNCTIONS

INFORMAL FUNCTIONS

1000 SQ.M

500

CENTRE FOR SPIRITUAL EDUCATION

75 SQ.M

MEDITATION SPACES

100 SQ.M

INTROSPECTION SPACES

75 SQ.M

HINDU SANCTUM

80 SQ.M

ISLAM SANCTUM

80 SQ.M

BUDDHIST SANCTUM

80 SQ.M

CHRISTIANITY SANCTUM

80 SQ.M

JEWISH SANCTUM

80 SQ.M

JAIN SANCTUM

80 SQ.M

SIKH SANCTUM

80 SQ.M

ZORASTRIAN SANCTUM

80 SQ.M

RESIDENCE FOR TOURISTS

710 SQ.M

100

RESIDENCE FOR STAFF

285 SQ.M

40 (Including families of some staff)

CAFE & RESTAURANTS

75 SQ.M + UNBUILT

80 SQ.M

WORKSHOPS FOR ARTISANS FOREST PATHWAYS/ SPILL OUT SPACES

NO BUILT-UP AREA

SENSORIAL ZONES

50 SQ.M + UNBUILT

150 SQ.M

200

NO BUILT-UP AREA

SOCIAL GATHERING HALL

COMMON/ SOCIAL FUNCTIONS

MAX. USER DENSITY

SECONDARY FUNCTION SANCTUM OF TRANSCENDENCE

SACRED

AREA

FARM LANDS MEETING ZONES LEISURE ACTIVITIES/ EXPERIENCE ZONES

30 SQ.M

50 SQ.M + UNBUILT

100

100 SQ.M

100 TOTAL STAFF

3420 SQ.M

1760

ADMINISTRATIVE AREAS

TOTAL: Table 6.0

Key and SIzes considered fo Area Calculations:

----------------------------------------------------Avg. of 2.5 SQ.M per person

Area for Studio Apartments: 25 SQ.M [2/3People] Area for Small Hotel Room: 25 SQ.M [2/3 People] Area fr Big Hotel Room: 30 SQ.M [4/5 People] Dorms for with bunk beds: 30SQ.M [15 people] Area for 1BHK: 35 SQ.M [5People] Area for 2BHK: 45 SQ.M [7People] Hall for 200 people: 150 SQ.M[3 SQ.M/ 4people]

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---------------------------------------------------------------AREA AND USER CALCULATIONS:

---------------------------------------------------------------TOTAL USERS:

----------------------------------------------------------------

The total count of users is 1500 people. This number represents the maxium users on the site at a given time. However, each space has its own maximum capacity, and since some functions overlap, the total users based on capacity of spaces is 1640 people. The maximum users on site can be broken down into: - Spiritual Users: ( all sanctums, education centre, Meditation and introspection spaces, daily spiritual users): = 1000 users - Tourist Residents: ( tourists staying on site): = 100 users - Daily Users: ( locals, day tourists, restaurant customers, visitors): = 300 users - Staff: (Management, Housekeeping, Cooks, Priests, Security, etc ): = 100 users

Total: 1500 Users

TOTAL AREA:

----------------------------------------------------------------

Considering the avg. of 2.5 SQ.M per person ( This may increase and decrese based on the function and the user capacity of the space) as the key for calculating the spaces. 1.5M

1.5M

2.5 SQ.M

1.5M

Fig 8.0

1500 user x 2.5 SQ.M = 3,750 SQ.M =4,000 SQ.M ( rounded off) Therefore Total Built Up Area= 4000 SQ.M (1 Acre) * Based on FSI the site size will varry. Areas denoted in the table do not include areas not considered in the built up area and are tentative and may be subject to change.

112

15.0 | THE SITE

114

15.1 | SITE SELECTION CRITERIA The broader intent of the design is to create a symbiotic relationship between nature and architecture and use it as the basis to create an outer body experience for all its users. The aim is to use the site as a medium for the users to experience Sacredness and Transcendence at its highest. The idea is to create architecture that facilitates nature and not vice versa. Subsequently, one ends up with a culmination of the two- Architecture and Nature, where they are both interdependent on one another and in doing so strive for the survival of the other. The structure stands to exist not only for nature, but also to sever its immediate context and the people who will use it.

----------------------------------------------------------------

Subsequently, the site is a natural setting that intends to be a centre for spirituality that integrates nature, architecture and the society. The following are the list of criterias that impacted the selection of the site:

1. Topographic Factors:

This criteria refers to the quality and the character provided by the land. The site aims to be one which has topographic variations like elevations, depressions and a mixture of hardscape like rocks and boulders and softscape like greenery and vegetation. The site should be in close proximity to a waterbody (seasonal or perennial) which must be easily accessible from the site.

2. Natural Backdrop:

This criteria refers to the backdrop and setting provided by the location. The site must be situated in a natural setting where there is ample foliage and vegetative cover, but also a significant area that is open and allows for development. The area must be one where the structure will be able to integrate with nature seamlessly.

3. Approach and Accessibility:

This criteria is based on the experience drawn from the journey leading to the site and how it adds to the overall experience. The quality drawn from the approach for the site acts as a prequel for the structure and only enhances the emotions and the experience the users will witness. In addition the site must also be easily accessible by means of convenience and practicality. This ensures that everyone who intends to come to the centre will be able to do so with ease.

4. Proximity to a Community:

In this criteria “Community” refers not just to people but a group of people with a common interest. This need not be a religious belief but simply a binding factor like a need or requirement. This community could be at an urban or a rural scale but the site will cater to the needs of this society. Hence the site location complemented by the other criterias can function at either a city level or a rural level without a change in the programme. The site must have scope for expansion outside the structure allowing the society and community to prosper through the structure.

5. Proximity to a Metropolitan City:

The reason for having a city close to the site is to allow the site to be incorporated into the daily lives of people. The purpose of this site is to serve as a centre to realign the mind,body and the soul of its users- a luxury most in the city are unable to utilize due to

115

the hustle of urban life. Hence, the site must be accessible at ease from a metropolitan allowing for the proper integration of the context and allowing for maximum people to benefit from the space.

6. Social Significance:

This criteria refers to the social, intangible characteristic the site must possess. This caters to the people inhabiting the immediate context and their social investment in the site. This also acts as an incentive to draw people to the site from places further away. But primarily by catering to social factors the structure integrates itself into a society and ensures for the cumulative survival of both the structure and the society it’s built in.

7. Potential for Transcendence:

This criteria refers to a character that is intangible. However, this might be one of the most important factors to consider. When selecting the site what must be considered is its ability to capture a sense of transcendence without the presence of the built architecture. It is this potential that the structure will capture and only enhance. It is this intangible factor that will be measured based on certain factors drawn from the Transcendence Index. The degree of Transcendence drawn from the site will play utmost importance to the resulting structure.

----------------------------------------------------------------

Hence, the culmination of these factors aims to provide a meaningful basis for a site that aims to be a Precinct that caters to the Transcendence of Spirituality and acts as a centre for Social Interdependence.

116

Fig 1.0

Fig 2.0

Fig 3.0

117

Fig 4.0

15.2 | PRELIMINARY SITES ---------------------------------------------------------------SITE1: KARLA, LONAVALA

---------------------------------------------------------------AREA: 32,430 SQ.M DISTANCE FROM MUMBAI: 94 KM DISTANCE FROM PUNE: 56 KM

REASON FOR SELECTING THE SITE: - Site is placed between mountains and a lake allowing it to have its own microenvironment. - It is surrounded by hills and is at an elevated level while still having flat lands, allowing for a wider view of the surroundings. - The site can be easily accessed from the highway connecting Mumbai and Pune. - The site has dense vegetation while still having a balance of open lands for development. - The site has a view of several waterfalls, and the mountains provide for a strong backdrop for the location. - The site has a strong community that surrounds the site. The context also has several spiritual precincts, like temples and Buddhist caves. CONTEXT: - 10 Min from Chitrapur Saraswat Brahmin Durga Parmeshwari Temple. - 20 Min from Karla Buddhist Caves. - 15 Mins from Ekvira Devi Temple. - 10 Mins from NH48-Mumbai-Pandharpur Highway. - 25 Mins from Lonavala Train Station

Fig 5.0

118

Fig 6.0

Fig 7.0

Fig 8.0

119

Fig 9.0

---------------------------------------------------------------SITE2: PAWNA 1, LONAVALA

---------------------------------------------------------------AREA: 47,980 SQ.M DISTANCE FROM MUMBAI: 104 KM DISTANCE FROM PUNE: 55 KM

REASON FOR SELECTING THE SITE: - The site is located on elevated land that descends down into the lake. The site has a seasonal waterfall that cascades through the site during the monsoons. - The site is encapsulated with the mountains and hills that surround it and the site overlooks the entire Pawna Lake and its surroundings. - The site has a unique access to the site both through the forest access as well as the possibility of using a boat to access the site by water. - The immediate road leading upto the site is not well developed resulting in some difficulty while approaching to the site. - The site has several vistas with each changing drastically through the year resulting in a change of scenery every time you visit the site. CONTEXT: - 10 Mins from Club Mahindra Tungi Resorts. - 15 Mins from Tung Fort. - 20 Mins from Lonavala Forest Camp. - Adjacent to Pawna Lake. - 35 Mins from Lohagad Fort. - 1.5 Hour from Lonavala City. v

Fig 10.0

120

Fig 11.0

Fig 12.0

Fig 13.0

121

Fig 14.0

---------------------------------------------------------------SITE3: PAWNA 2, LONAVALA

---------------------------------------------------------------AREA: 42,005 SQ.M DISTANCE FROM MUMBAI: 103 KM DISTANCE FROM PUNE: 55 KM

REASON FOR SELECTING THE SITE: - The site is located on an island in Pawna Lake. It is a culmination of two small islands in close proximity to one another. The site itself is flat land with no elevations in its landform. - The site is surrounded by the mountains and hills that surround it and the site overlooks the entire Pawna Lake and its surroundings. - The site has a unique access to the site where one must reach a certain point by road followed by a boat which is the only access to the main site itself. - The site is situated close to other campsites and hotels and this might hamper the privacy and the serenity of the location. - The site has several vistas with each changing drastically through the year resulting in a change of scenery every time you visit the site. CONTEXT: - 30 Mins from Club Mahindra Tungi Resorts. - 15 Mins from Tung Fort. - 30 Mins from Lonavala Forest Camp. - Adjacent to Pawna Lake. - 45 Mins from Lohagad Fort. - 1.5 Hour from Lonavala City.

Fig 15.0

122

Fig 16.0

Fig 17.0

Fig 18.0

123

Fig 19.0

---------------------------------------------------------------SITE4: LOHAGAD 1, LONAVALA

---------------------------------------------------------------AREA: 27,045 SQ.M DISTANCE FROM MUMBAI: 91 KM DISTANCE FROM PUNE: 62 KM

REASON FOR SELECTING THE SITE: - The site has a small community situated at a close distance away from the location. The influence of the context has a huge role on the location. - It is surrounded by hills and is at a slight elevation over the rest of the surroundings. It allows for views of both the hills and the forest. - The site can be accessed very easily through the main road which is very close to the plot. - There is a balance of Vegetated and open lands allowing for both the structure and nature to flourish together. - The site allows for views of several waterfalls during the monsoons and also attracts several tourists to nearby attractions, which positively benefits the structure. CONTEXT: - 5 Mins from The Oven Restaurant. - 10 Mins Dudhiware Waterfall. - 45 Mins from Pawna Lake. - 20 Mins from Lohagad Fort. - 1 Hour from Lonavala City. - 30 Mins from Mumbai-Pune Highway

Fig 20.0

124

Fig 21.0

Fig 22.0

125

Fig 23.0

---------------------------------------------------------------SITE5: LOHAGAD 2, LONAVALA

---------------------------------------------------------------AREA: 44,563 SQ.M DISTANCE FROM MUMBAI: 87 KM DISTANCE FROM PUNE: 62 KM

REASON FOR SELECTING THE SITE: - The site has a small community situated at a close distance away from the location. The influence of the context has a huge role on the location. - It is surrounded by hills and is at a high elevation over the rest of the surroundings. It allows for views of both the hills and the forest and the lakes in the distance. - The site can be accessed very easily through the road leading up to Lohagad. - There is dense vegetation with little to no sparse vegetation that allows for development. - The Site is very steep which makes construction and safety an issue with the site. CONTEXT: - 5 Mins from The Oven Restaurant. - 10 Mins Dudhiware Waterfall. - 45 Mins from Pawna Lake. - 20 Mins from Lohagad Fort. - 1 Hour from Lonavala City. - 30 Mins from Mumbai-Pune Highway

Fig 24.0

126

Fig 25.0

Fig 26.0

Fig 27.0

127

Fig 28.0

---------------------------------------------------------------SITE6: SAIDONGAR, KARJAT

---------------------------------------------------------------AREA: 42,803 SQ.M DISTANCE FROM MUMBAI: 75 KM DISTANCE FROM PUNE: 104 KM

REASON FOR SELECTING THE SITE: - The site is far away from society and in the valley of Saidongar Hill. It is surrounded by hills and mountains and adds to the setting for the site. - There is a perennial river that flows through the site which increases in volumes around the monsoons. - The site is far out of the main city and hence takes longer to access, but the roads leading to the site are fairly well planned with moderate infrastructure. - The site has a good balance of both dense vegetation and sparse vegetation that both contribute in creating a strong setting for the structure. - The site is close to many scenic locations in addition to several temples in the adjacent areas. Additionally, there are several hotels and bungalows at a short distance from the location that attract more tourists. CONTEXT: - 40 Mins from TATA Hydro-Electric Power Plant. - 20 Mins The Leelas Resort, Karjat. - 10 Mins from The Natutarian Farm. - 20 Mins from Raja Waterfalls. - 10 Mins from Pali Bridge.

Fig 29.0

128

Fig 30.0

Fig 31.0

Fig 32.0

129

Fig 33.0

---------------------------------------------------------------SITE7: MAVAL, PUNE

---------------------------------------------------------------AREA: 35,860 SQ.M DISTANCE FROM MUMBAI: 133 KM DISTANCE FROM PUNE: 68 KM

REASON FOR SELECTING THE SITE: - The site has the ideal balance of water, forest and land required for the project. The site due to its incline has an undisturbed view of the Lake. - The site is adjacent to a perennial lake and also has several waterfalls that flow through the site. - Due to the road neworks the location is very easy to access and is well situated near a community that can cater to the structure. - There is a good balance of Vegetated and open land that can be used positively in the design of the structure. It is also a landform designed for privacy with how it sits in its context. - The structure is well placed with ample space between it and the nearest development. It also has several tourist attractions close by which benefit the structure. CONTEXT: - Adjacent to Thokarwadi Dam - 10 Mins from Bendewadi Waterfalls. - 5 Mins from Kusur Ghat. - 20 Mins from Dahuli Waterfalls.

Fig 34.0

130

Fig 35.0

Fig 36.0

Fig 37.0

131

Fig 38.0

---------------------------------------------------------------SITE8: IDYLWORLD, PUNE

---------------------------------------------------------------AREA: 40468.6 SQ.M DISTANCE FROM MUMBAI: 160KM DISTANCE FROM PUNE: 26 KM

REASON FOR SELECTING THE SITE: - Due to the elevation, the vegetation and the location along the mountain wall, the site allows for privacy no matter where one is standing on the property. - The site is a combination of Mountains, Forests and varying terrains. The site allows for a vast view of the valley overlooking the city in the far distance and the mountain range that surrounds it. - Due to the development and the urban planning of Idylworld provides for proper road access to the site easing the users journey to the location. - The site has dense forested vegetation that allows for the integration of nature into the site. It also has areas of sparse vegetation allowing for development. - The site is well placed in a community and is surrounded by two villages that impact the immediate context, the site is also easily accessible from the heart of pune city. CONTEXT: - Adjacent to the villages of Urawade and Botarewadi - 10 Min from National Highway (Paud to Raigad) & Pirangut Industrial Hub - 20 Min from Ring Road (14 Lane) & Pune Ring Road Metro (Passing through Bhugaon Village) - 30 Min from Chandani Chowk & NH4 (Mumbai-Bangalore Highway) - 30 Min from Hinjewadi IT Park

Fig 39.0

132

15.3 | COMPARATIVE SITE ANALYSIS After studying each site, they were each analysed under a selection matrix to see which site was the most suitable for the structure and will serve as the site that facilitates Transcendence. The highest value possible for the ideal site is 156. Idylworld, Pune is the most suitable site for the structure based on the matrix, hence, it is the site selected for the project. SITE SELECTION CRITERIA PRIMARY FACTOR

LEVELS IN THE LAND

TOPOGRAPHIC FACTORS

VEGETATION

AREA WATERBODY BACKDROP

NATURAL BACKDROP CHANGE IN GROUND QUALITY

ACCESS TO SITE

ROAD/TRANSPORT CONNECTIVITY

APPROACH AND ACCESSIBILITY

LOCATION OF CITY FOR FUNCTION

PROXIMITY TO CITIES AS A CONTEXT

APPROACH TO SITE

PROXIMITY TO A COMMUNITY

COMMUNITY BINDING FACTOR

COMMUNITY WITH SCOPE FOR GROWTH SCOPE FOR DEVELOPMENT AROUND SITE

SOCIAL SIGNIFICANCE

OPPORTUNITY TO PROVIDE LIVELYHOODS

INCENTIVE TO ATTRACT PEOPLE

CONTEXT DRIVEN FACTORS

POTENTIAL FOR TRANSCENDENCE SITE DRIVEN FACTORS

TOTAL

133

KARLA

SECONDARY FACTOR

PAWNA

TERTIARY FACTOR ELEVATION

DEPRESSION

INCLINE

FLAT

DENSE VEGETATION

SPARSE VEGETATION

BARREN AREA

SPACE FOR BUILT

SPACE FOR UNBUILT

PERINIAL WATERBODY

SEASONAL WATER BODY

MOUNTAIN BACKDROP

FOREST BACKDROP

HARDSCAPE

SOFTSCAPE

WEAK LAND

SOLID LAND

EASY ACCESS TO SITE

EASY TO FIND

GOOD ROAD NETWORK

ACCESS TO PUBLIC TRANSPORT

GOOD INFRASTRUCTURE ROADS

INCLUSION INTO CITY LIFE

TRAVELABLILTY FROM CITY

PROXIMITY TO A METROPOLIS

DAILY ACCESS FROM CITIES

ACCESSIBLE FROM CITIES

DEGREE OF CONTEXT DEVELOPMENT

UNIQUE FACTOR

WATER APPROACH

FOREST APPROACH

CLOSE PROXIMITY

SIZE OF COMMUNITY

COMMON NEED

RELIGIOUS DIVERSITY

SIMILAR BELIEF TO STRUCTURE

SCOPE FOR COMMUNITY TO GROW

SCOPE FOR SITE TO GROW WITH THE COMMUNITY

DEVELOPMENT PROVIDES TO SITE

DEVELOPMENT PROVIDES TO COMMUNITY

PROVIDE LIVELYHOODS THROUGH THE STRUCTURE

PROVIDE LIVELYHOODS THROUGH CONTEXT

POSITIVE IMPACT ON THE SITE

OPPOTUNITY FOR DEVELOPMENT OF COMMUNITY

CULTURE SERVES AS AN ATTRACTION

NATURAL CONTEXT SERVES AS ATTRACTION

COMMUNITY SERVES AS AN ATTRACTION

CONNECTION WITH NATURE

IMPACT OF SURROUNDING ATMOSPHERE

SITE EXUDES PEACE

SITE HAS ITS OWN ENERGY

SITE HAS A DEGREE OF TRANSCENDENCE

101

108

PUNE

IDYL WORLD

101

108

104

107

106

113

131

135

PAWNA2

LOHAGAD LOHAGAD 1 2

KARLA

PAWNA1

KARJAT

Table 1.0

DEGREE OF FACTOR POINTS MOST APPROPRIATE, HIGH, EASY, BIG MODERATELY APPROPRIATE, MEDIUM, MODERATE LEAST APPROPRIATE, LOW, DIFFICULT, SMALL

3 2 1 134

Fig 1.0

Fig 2.0

135

15.4 | SELECTED SITE ---------------------------------------------------------------SELECTED SITE: IDYLWORLD, PUNE

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Land Use: Agriculture and Horticulture FSI: 10% of Site area= Total built up area Height Restriction: 17M Orientation: North-East facing site Adjacent Villages: Botharwadi & Urawade Inclince: Slope on Site at highest is 1:3 Vegetation: Forested Areas, Teak Wood Trees, Terrace Farming, Trees can be added Animals: 2 types of deer, porcupines, wild bores, langure Materials available on Site: Black volcanic basalt rock available for construction Site Level: 850M above Sea-level Annual Rainfall: 1500ml Summer Temps: 25ºC-40ºC Buildability: Due to the scale of Idylworld being over 250acres, the sit has been legally granted a NA status (Non-Agricultural). INFORMATION PROVIDED BY IDYLWORLD: - North facing & open to the west (optimal sun protection and wind-flow). - Flanked by the Western Ghats and 7000 acres of NDA forest, the region is verdant with water bodies like Khadakwasla Damn in the vicinity. - Reserved afforestation zones around the area translate into a lower density of development and Purer Air. - Prior to purchase in 2006, the forest at Idylworld was under serious attack by tree poachers and grazing activities. - Since taking possession of Idylworld in 2007, the landowners have protected, preserved and propagated the natural flora at the site. - Idylworld’s reforestation is nearly complete, and sustainable forest management practices are used in design & execution of infrastructure works. - Out of the total area of a plot, 80% should be conserved for forest and the remainder for personal use (farmhouse, courtyard, private garden, tents, etc). SITE AREA JUSTIFICATION: Site offers 10% FSI Based on Design Programme, Total BuiltUp Area= 4000 SQ.M or 1acre. :Therefore, site area needs to be 10acres or 40,468 SQ.M

136

---------------------------------------------------------------STRENGTH ANALYSIS:

----------------------------------------------------------------

• Allows for the site to be close to the city, while still being surrounded in nature. The sites location allows for a vast view of the valley without threat for it being hampered in the future. • Has a strong urban and rural community to facilitate and provide for through the structure. • The site has ample means to add value to the structure, through its surrounding amenities and attractions.

Fig 3.0 Fig 4.0

---------------------------------------------------------------WEAKNESS ANALYSIS:

----------------------------------------------------------------

• The common amenities provided in Idylworld are close to the site selected and may hamper the serenity for the users on site. • The site has a strong incline and may need to be levelled out to allow for safe construction. • There is a lack of an existing perennial waterbody on site.

137

---------------------------------------------------------------OPPORTUNITY ANALYSIS:

----------------------------------------------------------------

• There is scope to create a waterbody by channelling the existing seasonal water streams and tapping into the rainwater. • The site allows for the structure to be a landmark for the society both visually and physically. • With the planning of Idylworld the site has an urban plan it must respond to as well. With the growth of Idylworld it allows for the site to grow as well. • The site provides for opportunities allowing for the structure to be self sufficient and energy efficient.

Fig 5.0 Fig 6.0

---------------------------------------------------------------THREAT ANALYSIS:

----------------------------------------------------------------

• The site has an incline and the structure should be stable for the safety of its users and those around the structure. • The resulting structure must be planned to ensure the safety and must benefit the site, the land, the existing life on the plot(vegetation and animals) and the ideals of Idylworld and its surrounding community.

138

16.0 | ENDNOTE

140

141

16.0 | ENDNOTE Following the completion of the analysis on the aspects pertaining to the Spiritual Transcendence of Sacred Architecture, one can say with cerrtainty that religion is not a factor for feeling spirituality. Having commented on the different perceptions of religious architecture it allows for the understanding that Transcending Architecture is born from all religious architecture. This helps give one a better idea on how to approach the design of the project. The spaces are created with the intention of stimulating the mind and fostering experiences. The culmination of the ideas of Sacred space, the understanding of the Human Mind and finally the integration of nature into the planning and design of the space all add to the intrinsic values of the space to be Transcendental. This led to the design being approached in a unique manner that fosters eperiences and also allows for the people to feel and find their defination of Spirituality. It is imperative to understand the emotions and the experiences involved with Spirituality. Understanding the mindsets of the users in such spaces helps clearly define the characters and elements that the space must posses. Hence the thesis will ultimately deal with the question, how can Transcendence be felt through a space and how does this benefit the users. The answer is simple, Sacred Spaces are sacred for the benefits they have on their users and the emotions and experinces they foster.

142

17.0 | BIBLIOGRAPHY

144

17.0 | BIBLIOGRAPHY ---------------------------------------------------------------BOOKS:

---------------------------------------------------------------Transcending Architecture | Julio Bermudez What is Spirituality | K. Waaijman Need for Sacred Architecture: 12 Observations | Karsten Harries Indian Temple Architecture

---------------------------------------------------------------PRINTS AND PUBLISHED THESIS

---------------------------------------------------------------What makes a place sacred? | Ben Davis https://www.mvorganizing.org/what-makes-a-place-sacred/

Is Religious Architecture Still relevant? | Yiling Shen https://www.archdaily.com/891984/is-religious-architecture-still-relevant Relevance of Architecture today | Ayla Lepine https://www.architectural-review.com/today/architecture-does-not-teach-us-what-thesacred-is-but-it-may-touch-it-and-draw-others-to-it Temple Architecture and Sculpture | Clearias Team https://www.clearias.com/temple-architecture-sculpture/ Religious Architecture anthropological perspective | Oscar Verkaaik https://library.oapen.org/bitstream/handle/20.500.12657/33832/456162. pdf;jsessionid=409B5B8A85E9C7E56AAACC6D6311D908?sequence=1 Sacred Architecture | Tahmina Orfan https://issuu.com/tahminaorfanportfolio/docs/thesis_mini_book_jan9_ final_80a6487002eac9 Secular Spirituality in Architecture | Simeon Mihaylov https://involvedmag.com/secular-spirituality-in-architecture/ Sacred Sites Around the World | Bridget Hallinan & Alex Erdekian https://www.cntraveler.com/gallery/beautiful-sacred-sites-around-the-world Sacred Geometry Is Literally Everywhere | Sarah Regan https://www.mindbodygreen.com/articles/sacred-geometry Islamic Architecture | Gopika Gopan https://www.re-thinkingthefuture.com/architectural-styles/a2589-10-distinctiveelements-of-islamic-architecture/ Architectural features of churches | Helen Simmons http://www.culturesyndicates.co.uk/2017/11/architectural-features-churches/

145

Jain Architecture | NeoStencil https://neostencil.com/jain-architecture Key Elements of Buddhist Architecture | Gk Today https://www.gktoday.in/topic/key-elements-of-buddhist-architecture/ Sikh Architecture | Hisour https://www.hisour.com/sikh-architecture-29700/#:~:text=Sikh%20Architecture%20 is%20a%20style,branches%20with%20new%20contemporary%20styles. Landscape Architecture and Regional Planning | Safiye İrem Dizdar http://article.sciencepublishinggroup.com/html/10.11648.j.larp.20160101.15.html

---------------------------------------------------------------VIDEOS AND COURSES:

---------------------------------------------------------------Archeoastronomy | Politechnico Milano Professir Giulio Magli Archeoastronomy in the Indian context | Instcen Trust Dr.Mayank Vahiya Ted Talk - How to build a sacred space | Siamac Hariri Ted Talk - Holistic and sacred spaces.. | Phillip Daffara Inside Bruder Klaus field chapel | Peter Zunthor Ted Talk - Design for all 5 sense - Jinsop Lee Ted Talk - Architecture and the science of the sensuous | Stefan Behling The mind explained (memory and mindfulness) | Netflix documentary

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18.0 | APPENDIX

148

18.0 | APPENDIX Chp 1.0: Fig 1.0 Transcendence | Source: Author ---------------------------------------------------------------Chp 2.0: Fig 1.0 Transcendence in Sacred Architecture | Source: Urbanism - Paul Rudolf ---------------------------------------------------------------Chp 7.1: Fig 1.0 Sacred Architecture | Source:The Architectural Review Fig 2.0 Religious Sacred Spaces, The Blue Mosque | Source: Property Turkey Fig 3.0 Transcedental Sacred Spaces, Casa Brutale | Source: OPA ---------------------------------------------------------------Chp 7.2: Fig 1.0 Representation of Hindu Architecture, Virupaksha Temple | Source: Chardham Yatra Fig 2.0 Representation of Islamic Architecture, Tomb of Shah Rukan-e-Alam | Source: WordPress Fig 3.0 Representation of Christian Architecture, Sainte Chapell | Source: Smart History Fig 4.0 Representation of Jain Architecture, Dilwara Temples | Source: Trawell Fig 5.0 Representation of Buddhist Architecture, Bagan | Source: Frontier Mayanmar Fig 6.0 Representation of Sikh Architecture, Golden Temple | Source: Treebo Hotels Fig 7.0 Representation of Zorastrian Architecture, Ateshgah ( Baku Fire Temple) | Source: Statesman Fig 8.0 Representation of Jewish Architecture, Eldridge Street Synagogue | Source: The Jerusalem Post ---------------------------------------------------------------Chp 7.3: Fig 1.0 The Play of Light in Architecture, Chichu Art Museum | Source: Takeovertime Fig 2.0 Form and Stimulation of the Senses, The Louvre, Abu Dhabhi | Source: Arch Daily Fig 3.0 Inclusion of Nature, Naturescape | Source: Dezeem Fig 4.0 Diagram Showing the Inspiration to Transcendental Architecture | Source: Author ---------------------------------------------------------------Chp 7.4 : Fig 1.0 Diagram Showing Flat Land by Phillip Daffrara Fig 2.0 Holons of Being | Source: 4 Square Views ---------------------------------------------------------------Chp 7.5 : Fig 1.0 Sacred Geometry | Source: 7 Chakra Store Fig 2.0 Archeoastronomy, The Great Pyramids of Giza | Source: Deviant Art Fig 3.0 Orientation and Context of Sacred Enhancers, Stonehenge | Source: History ---------------------------------------------------------------Chp 7.6: Fig 1.0 Temples showing Transcendence Fig 2.0 James Hoban: Spirit of Place | Source: Nigel Borington ---------------------------------------------------------------Chp 8.1: Fig 1.0 The Human Mind | Source: The Author Chp 8.2 Fig 1.0 Graph for five sense theory | Source: Jinsop Lee Fig 2.0 Comparison between Student Brains | Source: Dr. Chuck Hillman, University of Illinios Fig 3.0 Aesthetic as the science of sensory cognition ----------------------------------------------------------------

149

Chp 9.0: Fig 1.0

Living building diagram | Source: Research Gate

Chp 10.0: Fig 1.0 Table 1.0 Fig 2.0 Fig 3.0 Fig 4.0 Fig 5.0 Fig 6.0 Fig 7.0 Fig 8.0 Fig 9.0 Fig 10.0 Fig 11.0 Fig 12.0 Fig 13.0 Fig 14.0 Fig 15.0 Fig 16.0 Fig 17.0 Fig 18.0 Fig 19.0 Fig 20.0 Fig 21.0 Fig 22.0 Fig 23.0 Fig 24.0 Fig 25.0 Fig 26.0 Fig 27.0 Fig 28.0 Fig 29.0 Fig 30.0 Fig 31.0 Fig 32.0 Fig 33.0 Fig 34.0 Fig 35.0 Fig 36.0 Fig 37.0 Fig 38.0 Fig 39.0 Fig 40.0 Fig 41.0 Fig 42.0 Fig 43.0 Fig 44.0

The Transcendence Index by Author Elements of Transcending Architecture by Author Characteristic elements: Location | Source: Author Jageshwar Temple, Ranikhet Hanuman Temple, Dadar Characteristic elements: Setting | Source: Author Jageshwar Temple, Ranikhet Hanuman Temple, Dadar Characteristic elements: Religion, | Source: Author Islamic Jaali Hindu Jaali Characteristic elements: Symbolism Mahalxmi Temple, Kohlapur Angkorwat at Cambodia Characteristic elements: Spirituality Church of Light, Osaka Global Pagoda, Mumbai Characteristic elements: Site approach Pathways in Goa Gajah, Bali Entrance cave in Goa Gajah, Bali Characteristic elements: Change in atmosphere Entrance at Bruder Klaus Chapel External view of the Chapel Design elements: Movement Entry gate to Taj Mahal Vista through Gardens Design elements: Form External view of the Lotus Temple Internal view of the Lotus Temple Design elements: Sensorial simulation Touch and smell in Buddhist Temple Sight, smell and sound in Hindu Temple Design elements: Play of light Light entering Chapel from the Spire Light entering Chapel from the Spire Play of light on the outside of the Temple Play of light on the inside of the Temple Design elements: Openings Openings for light Openings for views Design elements: Ornamentation Gothic Churches Interactions between structure and users Formal Interactions Informal Interactions

Table 2.0

Calculation for Degree of Transcendence

----------------------------------------------------------------

---------------------------------------------------------------- 150

Chp 12.0: Fig 1.0 Elements seen in space - Goa Gajah Temple, Bali | Source: Google maps, edited by Author Table 1.0 Degree of Transcendence in Goa Gajah Fig 3.0 Light and Architecture | Source: DGT Architects Fig 4.0 Light and Architecture | Source: DGT Architects Table 1.0 Degree of Transcendence in the Light in Water Fig 5.0 Light and Architecture | Source: DGT Architects Fig 6.0 Light and Architecture | Source: DGT Architects Fig 7.0 Play of light in Chapel Fig 8.0 Play of light in Chapel Table 1.0 Degree of Transcendence in the Chapel Fig 9.0 External view of the Chapel Fig 10.0 Play of light in Chapel

---------------------------------------------------------------Chp 14.0 Fig 1.0 Fig 2.0 Table 1.0 Table 2.0 Table 3.0 Table 4.0 Table 5.0 Fig 3.0 Fig 4.0 Fig 5.0 Fig 6.0 Fig 7.0 Fig 8.0 Table 6.0

Design brief concept by Author Flow chart for design objective by Author Design Objective by Author Design Programme by Author Users by Author Division of functions by Author Design Matrix by Author Sacred Architecture in Religions by Author Movement around Sanctum by Author Volume and Scale in Sanctum Volume and Scale for Residence Volume and Scale for Restaurant Estimate area per person Area and user calculation

Chp 15.2 Fig 1.0 Fig 2.0 Fig 3.0 Fig 4.0 Fig 5.0

Site plan for Karla, Lonavla | Source: Google Earth Views of site Views of site Views of site Site context | Source: Google Earth

Fig 6.0 Fig 7.0 Fig 8.0 Fig 9.0 Fig 10.0

Site plan for Pawna 1 | Source: Google Earth Views of site Views of site Views of site Site context | Source: Google Earth

Fig 11.0 Fig 12.0 Fig 13.0 Fig 14.0 Fig 15.0

Site plan for Pawna 2 | Source: Google Earth Views of site Views of site Views of site Site context | Source: Google Earth

----------------------------------------------------------------

151

Fig 16.0 Fig 17.0 Fig 18.0 Fig 19.0 Fig 20.0

Site plan for Lohagad 1 | Source: Google Earth Views of site Views of site Views of site Site context | Source: Google Earth

Fig 21.0

Site plan for Lohagad 2 | Source: Google Earth

Fig 22.0 Fig 23.0 Fig 24.0

Views of site Views of site SIte Context | Source: Google Earth

Fig 25.0 Fig 26.0 Fig 27.0 Fig 28.0 Fig 29.0

Site plan for Karjat | Source: Google Earth Views of site Views of site Views of site Site context | Source: Google Earth

Fig 30.0 Fig 31.0 Fig 32.0 Fig 33.0 Fig 34.0

Site plan for Maval | Source: Google Earth Views of site Views of site Views of site Site context | Source: Google Earth

Fig 35.0 Fig 36.0 Fig 37.0 Fig 38.0 Fig 39.0

Site plan for Idyl World , Pune | Source: Google Earth Views of site Views of site Views of site Site context | Source: Google Earth

---------------------------------------------------------------Chp 15.3 Table 1.0

Site selection Matrix

Chp 15.4 Fig 1.0 Fig 2.0 Fig 3.0 Fig 4.0 Fig 5.0

Contour plan for Idyl World, Pune View from the site Strength Analysis Weakness Analysis Opportunity Analysis

Fig 6.0

Threat Analysis

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152

The Spiritual Transcendence of Sacred Architecture_Design Dissertation_2021-22

Articles inside

0 | INTRODUCTION

0 | THE TRANSCENDENCE INDEX

0 | SCOPE AND LIMITATIONS

0 | AIM and OBJECTIVE