ASSIGNMENT 3 : STRUCTURE OF RESEARCH PAPER
1 Introduction
1.1 Introducing the area of research
1..2 Initial statistics
1.3 Understanding aspects of research
2 Literature Review
2.1 Survey of all possible data related to the topic or on architecture and human behavior.
2..2 Collecting data that is related to the spiritual aspect of architectural spaces.
2.3 sorting out case studies both inside and outside India.
3 Inter relating differently Sacred Structures
3.1 Study to understand intangible aspects/feelings in different spaces and their relation.
3.2 Understanding intangible aspects, and defining them with case studies.
4 Inter relating differently Sacred Structures
4.1 Study to understand intangible aspects/feelings in different spaces and their relation.
4.2 Understanding intangible aspects, and defining them with case studies.
5 Case studies
5.1 Analyzing case studies and study the principles which are applied
5.2 Analyzing and closed spaces, the entrance, path, and surrounding spaces,landscaping, geometry, proportion scale, symbolisms, light, sound, color.
6 Design Idea Formation
6.1 Based on the studies done a conclusion would be derived.
6.2 A conclusion on how we architects can use design tools to stimulate all the senses and make the experience of a spiritual atmosphere, in any spaces we design.
AQ-05-AtharvLad
No Title
Author+Co-author& his/herbackground
Transformationsof 'SacrednessinStone': ReligiousArchitecturein UrbanSpacein21stCentury
Germany-NewPerspectives
intheStudyofReligious Architecture
KIMDEWIDT(universityof bonn),MartinRadermacher Ruhr-UniversitätBochum, VolkhardKrech
Ruhr-UniversitätBochum,Beate Loeffler
TechnischeUniversität Dortmund
NewPerspectivesintheStudyof ReligiousArchitecture
Religioustransformationsinmodernsocietiesarenotmerelya discursiveordemographicphenomenon,theyalsorelatetoreligious architectureinurbanspaceandaffectthebuiltenvironmentatits core.Manychurches,forinstance,areintheprocessofreuse, closure,orevendemolition.Atthesametime,therehasbeenan increaseintheconstructionofnewmosquesandareorientationin synagoguearchitectureinGermanyforthelasttwenty-fiveyears.
Forcenturieshumanshavebeenbuildingsacredspacestoworship andpracticetheirparticularreligion.Howeverdifferentthesespaces maybeinsize,shape,construction,andeventhereligionthey containtheyallhaveoneaspectincommon,light.Thepresenceof lightisoneoftheoldestwaystoexpressholiness.Any westernreligionisinseparablefromtheuseoflight.Lightiswhat makestheintangiblegodtangibleaslightwashesawall,createsa focalpointorisadirectanalogyforthelightofGod.Theuseoflight throughhistoryinsacredarchitecturechangesaswellasitseffecton theworshiper.Thesacredspacesdiscussedinthisessay,Stonehenge, thePantheoninRome,BathAbbey,LeCorbusier'sNotreDamedu HautChapelatRonchampandTadaoAndo'sChurchoftheLightare onlyafewbutarerepresentativeexamples.Eachexampleisexplored withitsuseoflightanditsprinciplesthatcreateapowerful connectionbetweenthephysicalandthespiritual.
ReligiousArchitecturein UrbanSpacein21st CenturyGermany
Thequantitativestudyisacomprehensive database,whilethequalitativestudy focusesontherelationsbetweenarchitectural forms,urbanpositioning,religiousaspects,and social situationsinselectedcases.
Inthisarticletheyhaddoneextensive researchontheoldmosquesandreligious buildings,whicharenowuntouchedand forsakenplaces.Howdemolisingthemmight notbetherightthingtodo.
Sincethe1990s,thereligiousarchitecturallandscapeofGermanyhastransformed drastically. Whereasinpreviousdecades,betweenthe1950sand1970s,observersnoteda nowadays,closure,demolition,andreusearemoredominantphenomena regardingchurchbuildings.Duringthelastdecades,wecanobserveanincreasein buildingactivities ofmosques,and,toalesserextent,ofsynagogues,thathascontributedtothe diversityofthereligious cityscapeinGermany.
Thishelpedmebetterunderstandon topicswhichonspirituality,inwestern countires.
https://www.researchgate. net/publication/336899636_Transf ormations_of_'Sacredness_in_Sto ne'_Religious_Architecture_in_Ur ban_Space_in_21st_Century_Ger manyNew_Perspectives_in_the_Study_ of_Religious_Architecture
3 TheEvolution,Tangibleand IntangibleRemainsof Ancient SpiritualityandSpatial ConceptinTraditional Oriental Architecture
BeatriceMesseri IMTLucca P.zzaSanPonziano6 Lucca 55100 Italy beatrice.messeri@imtlucca.it
Inthereligiousarchitectureof manyculturesthewordtemple suggestsacircumscribedspacethat separatessacredspacefromthe profane.Thisspaceisoften expressedasquareshapeaptly subdivided.Theritualtodelineate theplanofthebuildingisdescribed BeatriceMesseri2bythe“the squaringofthecircle”,wherethe circlegeneratesthesquare thankingtothecrossdirections
Thespatialconfigurationisstrictlyconnectedwith theancienttraditionsandknowledgeaboutthenaturalworld withcommonrootsinmanyOrientalcountries.The preservationinterventionsandthemanagementofthesitein mostcasesrespectthespiritoftheplaceanditssocialuse. Evenifthetourismandtheconnectedeconomicalreasonscan bequiteaggressiveandcantransformthesiteandforever destroyitstangibleandintangiblevalues
Architectureitselfislimited becauselightshapesa building.Formandspace are nothingwithoutlightto illuminatetheirsurfaces. Evenadarkroomneedsa sliveroflight tobeabletodefineits darkness.
Methodolyisfollowedbyunderstanding theimportanceoflightanditsintangable aspect,anditseffectonhuamanmind. Followedbyvariousexamples/Casestudies aroundtheworld.
When thinkofaplaceofworship, thinkofa placewhere onecansitandberemindedofallthethings thatareimportantoutsideourindividual lives.Toexpressspirituality,thearchitecthas tothinkoftheoriginalmaterialof architecture,spaceandlight.Lightcanbe simultaneouslytangibleanddivinewhile alwaysbeingnecessarytoilluminateanyspace especiallythosedeemedsacred.
Lightcanbesimultaneouslytangibleanddivinewhile alwaysbeingnecessarytoilluminateanyspaceespeciallythosedeemedsacred.
Thisexplainsoneoftheaspectsofthe studyimdoing"Light'intoavery detaliedmanner.helpedmeunderstand howlightisusedinstructrestoenhance itanditsaffectonaindividualmind.
Religiousarchitecture Anthropological Perspectives byOskarVerkaaik
peopleput alotoftimeintosomethingthey proclaimtobeobsoleteisthe argumentthatreligiousbuildings maynotbecrucialforreligious reasonsbut areimportantinasocialorpolitical sense.
Giventhatmanypeopleofreligiontendtodownplaytheimportance of religiousbuildingsasmerelyrepresentingtheoutsideorthe superficial partoftheirreligion,itisremarkablehowmuchtime,energyand–above all–moneyareputintotheconstructionofnewreligiousbuildingsall overtheworld.
Architecturereflectsthesocial,cultural, historicalandeconomical changesinsocietywithreligiousbuildingsmore sothanother architectonicalstructures,andthenitis followedbymultiplecasestudies,and conclusion
Manyoftheancienttraditionsandknowledge aboutthecosmology,philosophiesandreligion werecommonpatrimonyofsomeOriental countries.Theanalysedcasesshowthesame culturalroots,diversifiedbecauseofspecific historicalevents,economicalandsocial reasons.Whatweneedtosafeguardisthe identityoftheplacewithitsuniquedifferences, thosedifferencesthatcontributedtomakethe placeBeatriceMesseri10special.The managementforthesesitesiscomplicated becauseoftheclimbinggrowthofmass tourismwhetherornotthesitesareinscribed intheWHL.EveniftheUNESCObrandattracts evenlargercrowds,itisimportantnotto distorttheperceptionoftheplaceandsatisfy thedifferentusers.Thecutwiththepastis nevertherightchoice;itisbesttointegratethe pastandthenewthroughthesensitive involvementofthelocalcommunity
Aseriesoflegislativeandeconomicalmeasures,appropriatelystudied,areatakento improvetheprotectionfortheconservationofthesitesinsertedin theirspecific context.Agoodplanningoftheworksofpreservationandtheinfrastructuresystem, besidesthetrainingoflocalexpertsareessential,withtheinterchangeof internationalcontributions.Theriskisthattheatmosphereofthesitecontinuesto befascinatingeveniffalsifiedbyunnaturalconditions.Tomaintain“therealspiritof place”thesafeguardandrevitalisationoftheintangibleheritagearefundamental
Inthisarticle stuiedalotaboutsybolismsand otheraspectsofhistoricalbuildings,manyprincipals aboutbuddistarchitectureandtheirseignificance, Alsohowexternalaspectseffectedthestructesetc.
https://www.icomos.org /quebec2008/ cd/toindex/77_pdf/77-MQR8-142.pdf
Thisstudyreflectsthesocial,cultural,historical andeconomical changesinsocietywithreligiousbuildings/ spiritualstructures,andthenitisfollowedby multiplecasestudies,andconclusion
Inthisarticletheystudyabouthowaroundthe worlddifferentstructres hadaimpactonthe surroundingsanditsculturalimpactinasociety Varuoidchruchesintheworldwar1and2. Politicalaspectstothebuldings.,alsothe variousbuildingmaterialsandstructualdetails onthose
Thisarticlegivesaninsightonhowsomestrucureshaveimpacteddcitiesandhow developmentaroundithasimpactedthestructure,multiplecasestudieson importantfiguesfromthewestanditspoliticalinsights.
Thisarticlehelpedmeunderstand variousaspectsandconceptsof SymmetricalAnthropologyofIslamic Architecture, ReligiousArchitecture, AnthropologicalPerspectiveson religiousarchitecture,WorldHeritage andSocialRenewalofbuildingswhich areabandoned.
https://library.oapen. org/bitstream/handle/20.500.12657 /33832/456162.pdf?sequence=1
5 Radicalspiritualspacesthat rethinkthetraditionalchurch BYEMMATUCKER Casestudiesonnewtakeonthe traditonalchrurches.
Architecturehasalwaysbeenapowerfulwayofhelpingworshippers connectwiththeirfaith–withchurchesandcathedralsoften extravagantmanifestationsofthesebeliefs.Whileopulentinteriors andintricateexteriorshavetraditionallybeenderigueurforhouses ofprayer,contemporaryarchitectsarehelpingtopushforwardanew visuallanguageforreligion.
6 THESPIRITUAL TRANSCENDENCEOF SACRED byAISHWARYASHYAM RUPABALSEKAR Itsaresearchdonetointrospect thefeelingoftheuserand transcendingthemintophysical form.
Thisprojectfocusesontohaveastructurethatcreatesthenotionof transcendenceonthehumanmind,allowingittoevolvefromthe physicaltothemetaphysicalandfindwhattheyarelookingfor.The structurewillfusewithnaturetoaddtoitsbeautyinsteadoftaking awayfromitwiththeintentionofacohesivestructureforbothman andnature.
7 SpacetoSoul: PsyclonauticCenter byYugantarRanda ArchitectssuchasPallasmaaand Barraganhaveacknowledgedthe disconcertinglackofspiritualand emotionallyricharchitecturethat seemstocharacterisemodern trends.
Architectureisaphenomenonthatdefinesthequalityofthebuilt environmentwhilstaccommodatingvariousfunctions.Thequalityof thespatialandfunctionalarrangementsinagivendimension providescharactertoaplace.
Medthodlgyhereisgivingabreifexplanation ontraditionalarchitectureandhowweneedto putinanewvisiuallanguageforthespecific region,followedbymultiplecasestudiies.
Whileopulentinteriorsandintricateexteriors havetraditionallybeenforhousesofprayer, contemporaryarchitectsarehelpingtopush forwardanewvisuallanguageforreligionand thenewstructureitself.
Thisarticleisaacculmiationonvariousstructuresaroundtheworldwhichhave takenthedesginprincipalsandusedtheminacontemporywaytoatotallynew desginworminwhichspaceshavethesamesiritualaurabutinatotallynewform.
Thisarticleopenmetomanynew conceptsofvolumeanddefinedspace, minimalinterior,windowsofdifferent shapesandsizes,abstractexteriors, reinventionofoldstructures.
https://thespaces.com/7-spiritualspaces-reinvent-traditional-church/
Theexplorationisdividedinto3parts ResearchandFindings LearningandInference ReflectionsandConclusions
MethodolyisfollowedbyIntroductionto spiritualarchitecture,mentalevelutionand humananddiffrentaspectslikechakara,form, geometry,elemetntsofnatureetc.andlater adaptingalloftheseaspectsintoselectionof siteandproject.
Canspiritualitybethemediumtoachieve transcendencethroughsacredarchitecture? Whatdoessacredarchitecturemeaninthe worldtodayandhowdoesitinfluenceand impactthemindsofpeople?
Theimportanceistoistounderstandhowandwhataboutaspacecantrigger transcendencebydecodingexistingstructuresandbeliefs,tofinallycreatea structurethatallowsforapersontoexperiencetranscendenceandspirituality.
Howdoestheintangibilityoftranscendence translatethroughtothetangibilityof architecture? Howcanarchitecturecatertoeveryone,devoid oftheirspiritualandreligiousbelief?What responsedosuchspacesderivefromitsusers?
ThePsychonauticcentreisdesginedwith respecttoclimaticconditionswhilean architecturallanguagewillbeestablishedto bindthevariousfunctionstogether.sacred qualitiesofarchitecturewillbeconsidered whiledesigningthemeditationcentre.Planning principleswillbeinformedbyvarioustheories andphilosophiesstudiedintheresearch.
Importanceistotakingintoconsiderartionintangaleaspectsintoaphysicalform througharchitecture,aneedforaeducationalcenterwheretheseintangable aspectscouldbethrought.
Thispaperstudiesontopicslikewhatis SacredArchitecture?ThehumanMind andthecreationofMemoriesI ArchitectureandtheHumanMind.
https://issuu. com/aoa_confluence_2022/docs/ais hwarya_balsekar_1702_blackbook
Thispaperhelpedmeunderstand variousaspectsofintangleand unconsciousfeelinginahumanstateof mindalso,putingthesefeelingina spacewherethemainpurposeistogain aspirituallevelwokness.
https://issuu. com/theyugantarhanda/docs/14340 yugantar
ResearchPaperReview
Reasonforthetopic Literaturereview ResearchQuestion Methodology,Scope&Limitation Findings/ExpectedOutcome Significanceoftheresearch Usefulformyresearch Linkofthepaper
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2 Light,MakingtheIntangible TangibleinSacredSpaces
AlisonMeirose UseofmoreNaturallightingtothe fullestextent
https://core.ac. uk/download/pdf/5009995.pdf
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Scrutinizing the Gap between Spirituality and Architecture
Author: Atharv Lad Aq-05
Co-Author: Ar. Ketaki G.
SMEF's BRICK School of Architecture, Pune, Maharashtra
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, I 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 its relation to its Architecture
Spirituality is often not about the divine, it is about perceiving the process of life at its fullestprosperity. Itisnot aboutthephysicalityorthementalityoftheprocessbutrather for seeing it for what it truly is. It is like realization. To realize 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. Realization empowers you and the same applies for Spirituality.
The concept of the spirit of a space Some of the architectural integrant which affects human phycology are:
Architecture
Silence
Climate
Light
Landscape transformation
Acoustics
Weather
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Color
Cooling
Related technological fields
Vibrations
Texture surfaces
Texture forms
Repose odor
Emotional Design
Emotion is a fundamental aspect of what makes us human; it shapes our cognition, perception, memory, and learning and it colors our past, present, and future experiences Emotional value is important in design for enhancing user experience as Donald Norman explains: "Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents."
Intangible architectural aspects then, provide an aesthetic interaction that engages users on an emotional, meaningful, and psychological level. Whereas affective computing focuses on the system recognizing and adjusting to what it believes the user is feeling, emotional design focuses on the emotional experience. Physical and Tangible Interfaces Human movement is often spurred by intention and motivation within people. Tangible user interfaces allow users to interact with virtual information by sensing and manipulating physical environments through objects, surfaces, and spaces. Relation of architecture and human psychology is far interrelated. Appropriate use of various architectural components has the capacity of enlightening the atmosphere whereas inappropriate use does the opposite. The building forms, the functions incorporated in it, colors, negative and positive spaces in and around it may be the few points but architecture is directly attached with human psychology from conscious to subconscious level.
Transcendence is the ability to go beyond the range of limits of a field (of act or conceptualsphere).Theabilitytotranscendistoelevateyourselfbeyondthephysicality of this realm.
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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, allowingyou to perceivewhat truly exists andhencefacilitatesthenotionofSpirituality 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 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 forms a bridge to, Scrutinize the Gap between Spirituality and Architecture
Key Words –
SACRED SPACE, TRANSCENDENCE, TANGIBLE DURABILITY, INTANGIBLE DURABILITY
1. 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 past years were- Bridging the gap between the
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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 introducingnatureinthedesign,itisvitaltoseehowtheseelementsimpactthehuman 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 hampertheexisting landscape but rather addto it,allowingthespaceto growwith 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
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1.1 Title
Scrutinizing the Gap between Spirituality and Architecture
1.1.1 Sub-Head
TheSpiritual transcendence of sacred architecture, study of intangible aspects and human emotions in Spiritual structures
2. Literature Review
The architecture of spiritual buildings has multisensory aspects in the design. Multisensory design has become apparent in a recent strand of research
Sight, Touch, Smell, Sound, Taste.
(Agapito, 2020)
Bermudez conducted several studies to know how structures have an impression on how one feels and what about these spaces create these feelings. These structures engage areas related to the state of deep reflection and meditation. Many of those buildings, regardless of which religion or state they belong to, even have frescoes through which you are feeling you've got entered a sacred space, heights you would like to reach, climb up or sometimes go down, an architectural choreography of space and time that we hardly do today. 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. These structures that were created were wont to explain the working of the planet. (Bermudez, 2015)
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. Using this theory to develop a progressively higher degree of stimulation supported one's journey through the structure. As one moves further into the structure their degree of sensorial stimulation heightens. The users are intrigued.
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The more the senses are stimulated the higher their chances of creating a memory that stays true. Through the creation of a narrative (Lee, AUG 18 2015)
Spatial Qualities and Human Mind
The sacred is never intentionally chosen, but in some way or the other revels itself. (Eliade, 1963)
The meaning of structured space, a meaning which we believe lies in its dynamic relationship to its human personality and to our mental health. The environment in which humans operate has an important influence on their well-being and performance. Our structured environment is so important and, influences direct or indirect, the shaping of personality and the choice as well as the attainment of goals. Emotional design and tangible interaction are compelling forms of enhancing user engagement. The combination of these modes of interaction can create a new dimension of human experience when physical movement in space or the manipulation of objects triggers emotions within an individual. By seamlessly integrating expressive tangible interaction techniques with ambient intelligence, that is, by creating environments that are sensitive and responsive to human gestures, meaningful experiences can be constructed. Leon Festinger, Stanley Schachter, and Kirk Bath found in their detailed studies of one urban situation, that physical spaces play a very large part in the formation of community relationships and even minor architectural features, such as the position of staircase and mailboxes, had important effects on the social life of people."Thearchitectwhobuildsahouseorwhodesignsasiteplan,whodecideswhich direction the houses will face and how close together they will be, also is, to a great extent, deciding the pattern of social life among the people who will live in those houses. (Maness, 2011)
(Scott, 1914), he said," The architect models in space as a sculptor in clay. He designs the space as a work of art; that is, he attempts through his means to excite a certain mood in those who enter it." The view has been elaborated by others, among them Bruno Zevi, Architecture as Space, 1957: "the facade and walls of the house. Church, or palace, no matter how beautiful they may be, is only the container, the box the content is the internal space.' As Geoffrey Scott suggests," Space itself is not obvious, cannot be visually perceived; one sees only objects in space or the structural members
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that enclose the space. Space itself can only be sensed- that is, felt; its quality is apprehended by means of the senses, but its effect is upon the emotions, and cannot readily be rationalized, measured or depicted. One can only gauge and describe accurately enough the adequacy or structural soundness, its provision for warmth, ventilation, sanitation, light, and other physical factors.
One can criticize its components in terms of proportion, texture, color, and other aesthetic considerations.
Architecture truly conceived, is nothing less than the conscious and careful determination of our whole structured environment and leaves an impression on individual's mind, which can be controlled. Like a stage setting that controls the movements of actors and defines where and under what circumstances they can meet, ourhabitat channels our movements andinfluence ourcontacts. Ifwethink ofbuildings at all, it is usually when we are jolted by some outrage, such as a stalled elevator or a leaky roof, long columned corridor, and double-height space. (Walter, 1988)
Some of the architectural integrant which affect human psychology are (Arthur, 2006):
Architecture
Silence
Climate
Light
Landscape
Transformation
Acoustics
Weather
Color
Cooling
Related technological fields
Vibrations
Texture Surfaces
Texture Forms
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Fourth year Research in Architecture Year 2021-22
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Repose odor
Emotional Design
Emotion is a fundamental aspect of what makes us human; it shapes our cognition, perception,memory,andlearninganditcolorsourpast,present,andfutureexperiences. Emotional value is important in design for enhancing the user experience as Donald Norman explains: "Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents." The emotional design then provides an aesthetic interaction that engages users on an emotional, meaningful, and psychological level. Whereas affective computing focuses on the system recognizing and adjusting to what it believes the user is feeling, the emotional design focuses on the emotional experience. (Norman, 2014)
Human movement is often spurred by intention and motivation within people. Tangible user interfaces allow users to interact with virtual information by sensing and manipulating physical environments through objects, surfaces, and spaces. Relation between architecture and human psychology is far interrelated. Appropriate use of various architectural components has the capacity of enlightening the atmosphere whereas inappropriate use does the opposite. The building forms, the functions incorporated in it, colors, negative and positive spaces in and around it may be the few points but architecture is directly attached to human psychology from the conscious to the subconscious level. (Ullmer, 1998)
3. Methodology
The exploration is divided into 3 parts: -
• Research and Findings
• Learning and Inference
• Reflections and Conclusions
The study is intended to be broken into subheads that will make it easier to understand the topic that talks about spiritual dimensions in sacred spaces and architectural qualities influencing human behavior.
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STAGE 1
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 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 nonreligious perspectives.
STAGE 2 LITERATURE SURVEY
Through thesurvey of all possibledata related to thetopicoron architecture andhuman behavior. This stage of the research includes collecting data that is directly or indirectly related to spiritual aspect ofarchitectural spaces. This has beendonethroughtheprinted form or from the internet, articles and discussions of peoples relating to the study. Literature survey aims at sorting out case studies both inside and outside India and also at getting a review of what are the recent developments and events that are taking place in the field of spiritual architecture.
STAGE 3 INTERRELATING DIFFERENT SACRED STRUCTURES
As our concern is on human being, the structures affecting human mind around the world should have similarities. Search for the overlapping of spatial qualities in sacred structures around the world. 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.
STAGE 4 FRAME WORK
To make a framework of different issues and principles studied which can be applied on case studies. List of issues formulate questionnaire for the case studies and interviews. To understand better 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.
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List of design aspects: Open and closed space Portal or entrance Path and surrounding landscape Destination point Form, geometry, proportion and scale Articulation and symbolism Light, color and sound
Stage 5 CONCLUSION
After assimilation of all matter and analysis of material collected, conclusions are derived, as to, how an architect can use design tools to stimulate all the senses and make the experience of a spiritual space spiritual.
Data Collection and Data Analysis
Architecture is the first pioneer on the highway toward the adequate realization of inner self. For this means it levels space for self-realization, informs his external environment, and builds a fit place for the aggregation of those assembled having similar faith, as a defense against the threatening of tempest, against rain, and savage animals. Besides the variety of buildings and design approaches in the effort to create a space where man can feel spirituality, there can be found some common design tools that help to create the soul stirring experience. The following discuss some of these parameters. The portal or threshold is the entryway into the sacred space, which helps to separate the space from the greater surrounding space and invites you to step inside. A portal can be created with a hardscape such as a gate or a portico, or with simple planting.
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Torana, Stupa
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The path invites exploration and discovery along the route. It meanders through spaces, fuels the imagination, and entices one to see where it may lead. The destination point is an endpoint within a space that inexplicably draws visitors. It may be a resting place, such as a bench, or a beautiful natural feature, such as a gurgling fountain or rain curtain. It is a point within the sacred space where those who visit always end up. Sacred spaces may have more than one destination point.
Space and Volume
An example of a typical Hindu temple, defining the particular space with a play volume and having a specified function.
Space, whether of the individual or the universal, possesses a unique quality of experience. It is hyper-sensitive, besides being super potential. Sense of surround defines the space as separate and apart from the overall outdoor environment. Visitors who enter the space feel as though they are entering a room. There are natural or man-made boundaries (or a combination of both) that delineate the space
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Pathway to Lotus Temple, Delhi
Architecture of Vishnu Temple
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within the greater environment. These boundaries provide a subtle feeling of shelter, enabling people to feel safe and enjoy their time spent in the space. ((Nicolas, 2004)
By generating a continuous flow of spaces, each act movement becomes an experience. Each component of architecture becomes important and provides for this linkage. Architectural form is the point of contact between mass and space "Architectural Form required to fulfill its functional requirements for that is the reason for its being -both physical and spiritual." (Saarinen, 2020) form conveys a meaning. It is important to understand how form can transmit a spiritual meaning. Certain shapes and forms are conventionally associated with certain meanings.
Scale and Proportions
Scale refers to the size of something compared to the reference standard or size of something else. Deciding the scale of a sacred space is a common design concern. Some blend into the fabric of the neighboring community and landscape; others stand out as landmarks, easily recognized for their special purpose. Generally, the sacred spaces take monumental scale to create an atmosphere of awe, mystery, and magnificence. The scale of the interior spaces, the size and weight of doors, and the exposed structural columns and beams all serve to denote the special quality of the sacred space.
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Vastupurusa (Source: Charles Correa, Vistara; Architecture of India)
Vitruvius Man (Source : Leonardo Da Vinci)
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Proportion refers to the proper or harmonious relation of one part to another or to the whole. While the designer usually has a range of choices when determining the proportions of things, some are given to us by nature and the man himself.
Human body proportions are used not merely as numbers with an inherent harmony, but as a system of measurements that could govern lengths, surfaces, and volumes. It can lend itself to an infinity of combinations; it ensures unity with diversity; the miracle of numbers.
Proportional buildings and scale link spiritual architecture to the mathematical structure of the cosmos. The building should relate well not only to the human scale but also to the psyche.
Light is regarded to be the most important component in the definition of space or the manifestation of form in an architectural space; it not only defines the space but also gives meaning to it. In this study, one looks at how light can create a place of
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Vedic Hindu Temple Architecture (Vaastu)
Light and Color
Mosque Interior
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worship; how to make a quiet, enclosed, isolated space, a space full of activities, filled with vitality.
Color is the attribute that most clearly distinguishes a form from its environment. We respond to bright colors, for instance, red, with the emotional part of our brain. First, our muscles get tense, and then we lean towards the colour. Our respiration and heart rate go up and the blood pressure starts rising. The opposite reactions occur when we see light colors such as blue. Our muscles relax, the heart and respiration rate drop and the blood pressure lowers. Texture is an important asset of colour. It is the visual and especially tactile quality given to a surface by shape and arrangement, and the proportions of the parts. Texture also determines to which the surfaces of a form reflect or absorb incident light. It gives an expression to the surface, thereby contributing to the overall impression.
INTERPRETATIONS OF SPIRITUALITY
The survey was conducted to understand how people interpret Spirituality and to observe what qualities of 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 their 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: 136
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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 built form can govern the emotions of its users.
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- 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 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 realization 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.
4. Conclusions
Following the conclusion of the analysis on the aspects pertaining to the Scrutinizing the Gap between Spirituality and Architecture, one can say with certainty that religion is not a factor for feeling spirituality.
Having commented on the different perceptions of religious architecture it allows for the understanding that Architecture is born from all religious architecture. This helps give one a better idea of The spaces are created with the intention of stimulating the mind and fostering experiences. The culmination of the ideas of Sacred space, the understanding oftheHumanMind andfinallytheintegrationofnatureintotheplanning and design of the space all add to the intrinsic values of the space to be Transcendental.
This also helped understand the unique manner that fosters experiences and also allows for the people to feel and find their definition 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 possess
Hence the research 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
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Spaces are sacred for the benefits they have on their users and the emotions and experiences they foster.
Acknowledgement
The completion of this research paper could not have been possible without the guidance of research coordinators Ar. Ketaki G, Ar. Ramiya Gopalakrishnan and guide Shraddha Manjrekar. Their guidance carried me through all the stages of writing my research. A debt of gratitude is also owed to all the people, places, without whose corporation, the study would not have been a success. Last but not the least, I would like to thank SMEF’s Brick School of Architecture for enabling my study.
References
(Nicolas, W. R. (2004). Building Type Basics for Places of Worship .
Agapito, D. (2020). The senses in tourism design: A bibliometric review. Annals of Tourism Research, 1-29. doi:10.1016/j.annals.2020.102934
Arthur, D. (2006). The Concept of the Spirit of a Space .
Bermudez, P. (2015). Transcending Architecture .
Chris van Rompaey. (n.d.). The Concept of Beauty in Alexander Baumgarten's Aesthetica. 1-7.
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Eliade. (1963).
Florida, U. o. (2011). Strengthening Weak Ties: Social Networks and Student Housing. Florida, USA.
Lee, J. (AUG 18 2015). The Five Senses Theory. Retrieved from https://www.ted.com/talks/jinsop_lee_design_for_all_5_senses?language=en
Maness, M. (2011). Strengthening Weak Ties : Social Networks and Student Housing. Florida : University of Florida.
Norman, D. (2014). Physical and Tangible Interfaces .
Saarinen, E. (2020). About the principles of “universalism” and “cosmism” in modern architecture as an expression of the common human ideas of the contemporary time.
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Scott, G. (1914). Architectural of Humanism.
Ullmer, B. (1998). Models and Mechanisms for Tangible User Interfaces. Illinois: Clemson University.
Walter, E. (1988). Placeways: A Theory of the Human Environment.
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