SATTVA - Harmonious Stability

SATTVA

| Harmonius Stability |

Chapter 3: This chapter delves into the complexities surrounding culture and identity and the applications of geometry therein. Furthermore, this chapter expands on the symbolism and interpretations specific to the diasporas within Marabastad. It further concludes by divulging an understanding of how space is memory and how the intersections of lived spaces influence the dynamics of Marabastad.

Vernacular definitions

The following definitions are understood from the online Britannica encyclopaedia (Encyclopædia Britannica, Inc., 2021 :online)

Circumambulation (v) /ˌsəːkəmˈambjʊleɪt/

The act of circulating around an object or space in a clockwise direction. This movement is said to invoke the divine to bestow the devotee with good fortune and prosperity. Spirituals embark on this journey to elevate their spiritual inclinations, honouring the divine residing at the epicenter and by doing so attaining moksha. These paths are typically trace around temples, neighbourhoods, and also cities.

Consecration (n) /kɒnsɪˈkreɪʃ(ə)n/

The process of creating or declaring a space to be spiritual. In Hinduism, it involves the preparation of space to manifest and channel the divine energy that exists within us into higher vibration levels (Isha Foundation, 2012).

Gopura (n) / ˈɡəʊpʊrə /

A gateway that borders the threshold to a microcosm. In India, these structures are prominent entrances to the sanctuary of a temple ground and are generally situated in alignment with the cardinal directions (north, south, east, and west). The tiers are decorated with statues and carvings that visually relate epics of the deity housed in the temple.

Shilpa Śāstras

An ancient Indian manuscript that details principles and fundamentals for arts, crafts, and detailing, that are relevant to architecture. It has topics rooted in iconography, proportions, and compositions of sculpting.

Vāstu Śāstras

An ancient Indian manuscript that details design principles for various building systems and occupations. It has a cosmic alignment to where functions are most suited and appropriate to enhance the users’ experience when living in that space through a designed mandala that understudies underlying geometry and its applications.

▶ 6 - Cultural cohesion in geometry

Geometry exists around all of us, within us and through us. It is the most consciously used tool in cultures, and each has its ideals behind its applications. Looking back to Marabastad, the several diasporas in the area lived alongside the natives and used geometry that stemmed from their ancestral roots.

This section covers the Ndebele (natives of Tshwane), the Muslim, and the Indian study of geometry applications as a basis for extending the Indi-Afrikan identity.

Due to colonial distinctions, the Muslims and Indians were grouped as a single race. The two ethnicities have a considerable variation in celebrations and conducting of religious ceremonies, and spoken languages.

Note: Various rituals and traditions have deep symbolism, meaning, and mythology rooted in austerities. This section shares a brief insight to provide the fundamental understanding for the application into this thesis. Further research can be done of one’s own volition.

AFRIKAN MUSLIM

HINDU GEOMETRY

Figure 42: Concord of ethnicities, diagram composed by author.

◊ Geometry for Ndebele

Cultures do not reside in stagnation, in fact they are kinetic. The natives of South Afrika existed in regions from now known as KwaZulu-Natal, Mpumalanga, and Gauteng, and across the border into Zimbabwe (Gray, 2020). Through disruptions and forceful displacements caused by the Boers (Gray, 2020), the Ndebele tribes migrated inland, and translations of the geometry expression occurred.

Art manifested and became their symbol of reclamation and rebellion. Art was a means to express the pain and display resistance to imposed power. After that, art became a medium to communicate with other subgroups of the same ethnicity (Hoard, 2000). The art is translated to describe everything about the wearer and user. Translations range from their marital status, age, social class, homesteads and extends to their spiritual state and daily life.

Such complexities are aligned with the use of colour and are essential in identifying emotions and social stances. For example, white is associated with ancestors and purity, red can symbolise woman and fertility, and blue can relate to notions of love (Fox, 2017). Initially, earthy hues and tones (such as white, brown, and black) were used before introducing various colours.

Figure 43: A Ndebele homestead. (Reinventing Resistance: The Ndebele Tribe’s Geometric Wall Art, 2020)

Figure 44: Dr Esther Mahlangu’s Art Collection (The Melrose Gallery, 2020, pp. 5–30)

Pattern compositions are a language and are instilled with deeper meaning over time. The Ndebele’s art was initially used in their attire and beadwork before extending to their dwellings as time progressed.

The most symbolic shapes used are triangles, squares and rectangles. The triangle symbolises the family, a mother, a father and a child (Bhuda, 2019, p. 47). Various configurations of the triangle, such as an hourglass or diamond shape, have various meanings.

The use of geometry for natives defined how homesteads were created. Geometry studied geological features to allocate functions spatially and assisted with the formation of villages. The homesteads are cylindrical with conical-shaped roofs made from grass, and the walls are plastered with adobe or dung before being adorned with art.

This cultural creation became locally and internationally synonymous with the Afrikan identity. Geometric art is a powerful visual relating the Afrikan story and the triumph of survival through oppression.

Geometric art and design are at the core of the Ndebele identity, and they are skills preserved and shared with its youth for generations to come. Life is art. Art speaks to life and art shares life.

◊ Geometry for Muslims

Decorative geometry is deeply rooted in Islamic culture. Ancient manuscripts describe mathematics and its rules to create meaningful geometric visuals that are progressively used in places of worship (Ali, 2020).

The shapes commonly used are lines, circles, squares, and triangles. By applying and superimposing these shapes upon each other, a complex template is formed. These shapes are designed in a tile before being replicated and rotated to create a tapestry of tessellations and fractality. Figure 45 is one such example of the application.

The template began as a circle subdivided into equal parts. With a further extension of division lines, various circles are imposed at intersection points and from this, a template is extrapolated.

For Muslims, the applications of complex geometries are preferred over a physical objectification of the idea of God. There is a strong belief that one must experience the phenomena of the almighty through the intricacies visible in screens and rooms, further explored in the form and spatial design.

These tapestries became the visual expression and statements of religious and philosophical ideas (Norman, 1998).

Figure 45: Layering of shapes and extensions to form a tapestry (Ali, 2020)

Figure 46: Vitruvian man based on the golden mean proportion system (Dabbour, 2012)

Figure 47: Multiplicity in unity, referring to wholeness(Dabbour, 2012)

Figure 48: Detail and influence of geometry(Owen, 2012) Geometry is quantitative when regulating order and constructing forms and qualitative when addressing proportion and expressing the form. The shape echoes unity and reflection and is considered the blueprint of the creators’ source. The most commonly used system is the golden mean proportion system, which reflects the nature of multiplicity within geometry (Dabbour, 2012).

The use of architecture dramatically changes the way one lives and experiences space. Selective spaces are allocated for specific purposes, resulting in the evolution of applications of geometry within those spaces.

It is noted that geometry has the power to influence the physical space for manifestation, and thus more attention to detail is given to such spiritual realms (Irfan, 2019). The domes overhead, within spiritual areas, carried the most significance. The domes intend to make physical the non-physical and point to the concept of transcendence and harmony of space(Irfan, 2019).

In Islamic architecture, geometry is used as a selfguiding tool and a window to the inner laws of space and place. It is the basis for understanding the construct of nature and life. Thus, architecture is strongly related to cosmology, philosophy, and symbolism.

◊ Geometry for Hindus

The employment of geometry is fundamental to the life of Hindus. Its use is evident in talismans used for visual and physical rituals, art forms and several other aspects of life. These practices are rooted in the Vedas, an ancient collection of scriptures that details guidance and discourse on living. The Vedas include topics ranging from livelihoods and lessons to spiritual and metaphysical expansions.

The Vedas contain scriptures known as the Shilpa and Vastu Śāstras( pronounced as Shastra). These shastras cover arts, sculptures, and composition principles for temple architecture and decoration. The Vastu Shastra (vastu means ‘dwelling place’ and shastra means ‘science’) covers geometry, geography, geology, cosmology, and even mathematics in the applied design of spaces ranging from spatial planning of dwellings to design principles for cities.

The Vastu Shastra notes the importance of fractality

Figure 49: A temple as the subtle body(Sreenivasarao, no date)

Figure 50: A decorative iteration of the Sri Yantra, a common talisman used in Hinduism (Creativemotions, 2018) Figure 51: Vastu Mandala imposed on Chandigarh, indicating master plan rationale and key landmarks within the neighbourhood (Chakrabarti, 1998, p. 197)

and geometry as one of its primary underlying principles. It mentions a vastu purusha mandala (vastu denotes the site, purusha represents the form, and the mandala the application). The mandala can be visualised in the form of four squares, nine squares, or expanded accordingly based on the applications as needed.

The mandala was a key generator for city and dwelling planning in India. It was also vital in scaling to micro levels, such as the placement of windows and doors within the human scale (Chakrabarti, 1998, p. 64).

Each square within the mandala is used to locate and coordinate rooms for specific activities, and it identified which direction was best suited with which activity(Ravi, 2008). The mandala was generated to form a template for spatial planning in response to India’s climatic conditions. In South Afrika, the use is extended to assist in placing worship spaces in their ideal position, as well as developing dwellings to suit South Afrika’s climate.

Figure 52: The original Vastu Purusha mandala (Ravi and Minu, 2008).

Figure 54: The Purusha interpretated in relation to the elements (Ravi and Minu, 2008). Figure 53: An interpretation of the mandala for a dwelling (Ravi and Minu, 2008).

Figure 55: The mandala reflected in temple planning and the positioning of the deities accordingly (Sreenivasarao, 2012).

Figure 56: Proportions guiding the design of temple art (La boite verte, 2015). Figure 57: The temples proportions in relation to the divine (Sreenivasarao, 2012).

Figure 58: Proportions of the scultpures as per the Shilpa Shastras (Sreenivasarao, 2012). Figure 59: A dance form as per Shilpa Shastras (Sreenivasarao, 2012).

▶ 6 - Reconstructing Indi-Afrikan’s culture

Indians are exceedingly known for their vibrancy in arts, attire, Bollywood, foods, festivities, and rituals. Every creation and expression possesses its technique for execution. Rituals have a geometric language that is subtle but influential and is deeply integrated into the lifestyles and livelihoods of the Indi-Afrikans. This is elaborated on within this sub-chapter.

In rituals, based on observations, the use of geometry is far more extensive and metaphysically intended. Any form of spiritual offering begins by ringing a bell, and the intention is to sharpen the focus of one’s mind. After that, lighting a lamp and sharing the incense smoke in the clockwise cardinal directions are undertaken to prepare the space for manifestation.

This action intrinsically acknowledges the energy flow within us. As in chakras, so as in the cosmos. These actions are carried through for all the festivals and austerities undertaken by the Hindus.

Many festivals form part of the Indi-Afrikan culture. The most prominently celebrated festivities celebrated in South Afrika covered in this section are Holi, Navratri, and Diwali, followed by New year (Navuṁ varṣa). The observed lesserknown but significant festivals include Maha-Shivratri, Holi, Ganesh Chaturthi, Hanuman Jayanti, and Krishna Jayanti. These festivals are deeply rooted in mythos and carry symbolism and wisdom which one can pursue at one’s own will.

Holi is widely recognised as festival of colours. The celebration of this festivity carries the significance of cleansing a person’s misdeeds and starting afresh in life through p enance and prayer. The ritual includes offerings into a giant pyre and circumambulation before the play with powdered colour occurs. Legend states that Holi is the triumph of good over evil alongside the ushering in spring.

Legend says that Holika, the kings’ sister, lost her life trying to trick the demon into taking a place next to her on the pyre, with her son, who was tortured. Her life was foregone, but her cloak fell from her around her son, saving him (India Today, 2018). On this day, the tradition is for mothers to hold the fast to pray for their children’s long life.

Navratri is the annual celebration of nine nights and is the most significant event for the Hindus. It involves nine days of intense prayers and soul-cleansing before the evenings commence with dance celebrations. Traditionally, people form small to large-scale circles and dance in

Figure 60: Hindus notes the existence of chakras within the human body. Chakras are energy in oscillation. As energy circulates the human body in clockwise direction, so does the moon in relation to the planet earth. This oscillation is evident cosmically. Sketch by author.

Figure 61: The oscillation is evident in the cycle of time, life, and prayer. Life is cyclical, there is a start and an end. Hindus are firm believers in reincarnation, there understanding is that one needs to do penance which can help attain moksha and in doing so, break the cycle of reincarnation. Sketch by author.

Figure 62: Energy in oscillation as it ascends in progression. When this rationale is applied in temples, devotees are in prostration to recognise the divine as that form of energy and ultimately align themselves to that energy. Through offerings into fire, one is able to focus and channel such energies to carry with them in their journey or undertaking in life. Sketch by author.

Figure 63: The geometric tiers of the temple and yantras reflecting geometry,(Brill, 2014) the progression of circles towards the centre is reflected in the gopuras tiers, as it increases in height it too narrows width. Sketch by author. clockwise direction. The purpose of the dance is to take the devotee on a spiritual journey through physical exertion and penance. Mythos states that a demon, Mahishasura, was granted a boon of immortality under the condition that a woman could defeat him. When his arrogance inflated and he attacked the realms, the goddess took on nine forms to defeat him (TOI-Online, 2021). On each day of Navratri, these nine forms are worshipped.

The 10th day after Navratri (known as Dussehra) is noted to be the day where Rama defeated Ravana in a war. This epic is titled Ramayana and forms part of the teachings which constitute Hinduism. This festival commences before Diwali as it marks the conclusion of an old era, and the conclusion of the wars.

Diwali/Deepawali is known as the celebration of lights. There are approximately 12 legends behind the festival of this day. The widely known reason for celebration is the epic where Rama returned to his kingdom after spending 14 years in exile following the defeat of Ravana in battle.

The Hindus lit lamps outside their home to provide Lord Rama with a path to return to his kingdom, which became a tradition. This day is filled with events of dance and the bursting of fireworks. However, the minor details that are not fully shared publicly are prayer, food and delight making, and the tradition of making rangoli (geometric patterns made with rice or powder) at homesteads.

Rangoli uses many colours in a sequence of geometric mandalas, sometimes expanding to represent lotus flowers or even a deity. These mandalas often carry the symbolism of timelessness (IndiaParenting, 2013). Rangolis are decorative and serve to invite new and vibrant energies into the day. These decorations are kept as the day transitions into the new year. The use of geometry extends into decorations for entrances into homes and temples. Furthermore, geometry is applied in the textiles of fabrics and items of clothing. These patterns and designs distinguish various ethnicities within Indianism, and multiple patterns are used repeatedly to create a tapestry of visual appeal.

Figure 64: Collage composed by author.

In traditional dancing, such as Bharatanatyam, the dancer gracefully moves while maintaining specific postures and poses. Movements are required to keep to the rhythm while carrying out various fast and slow-paced choreographed iterations.

The dance incorporates storytelling about various epics from ancient scriptures such as the Ramayana and the Bhagavad Gita, among others. The attire comprises the layering of fabrics and jewellery and extends to adorning the face, hands, and feet with jewellery and red dye (Cultural India, 2021).

It is noted that postures and poses align to geometric proportions and expressions such as the golden ratio. Each gesture and posture maintains a conscious display of geometry, and this, in many ways, allows the dancer and audience to experience an elevated spiritual indulgence.

Figure 66: Looking to the Gopura, Image taken by Alain Proust (Swart, Proust and Culture, 2020)

Figure 65: Entrance to the hall from 6th Street. Images from the Pretoria Tamil League. (PTL, 2019) Figure 67: Dancers from Nritya Rupam Academy of Dance perform on the platform in the Mariamman Temple. Image provided by Seema Lala.

Figure 68: Mahalaya Patchma prayers performed in the Mariamman Temple, in Marabastad. This prayer is conducted annually for the ascension of our ancestors. Images from the Pretoria Tamil League. (PTL, 2019)

Figure 69: A ceremonial procession (circumambulation) in the Mariamman Temple, in Marabastad (CivilizationalRoots, 2020) Figure 70: The festival of Khumba Abhishegam, The devotee creates a sri yantra on the floor with powder. Images from the Pretoria Tamil League. (PTL, 2019)

On the other hand, attire such as saris and dhotis uses a process of layering fabrics in various ways. Initially, the layering forms a skin that assists in regulating the wearer’s temperature given the arid conditions (GetEthnic, 2020). The ethnic attire gained traction within the fashion industry and ethnic groups. The fabrics have geometric art prints throughout or on the borders of the material, allowing some psychological engagement. These tapestries and attire have internationally aligned with Indianism.

In a holistic sense, geometry is a tool used by the Indians and Indi-Afrikans to stimulate the well-being of people within its spaces. Applied geometry exceeds the painted two-dimensional idea of decorative arts and architecture and steps into an intended philosophically and cosmically positioned experience of space.

This study involves the experiment of geometry and fractality coalescing to influence the built environment and mediate the design process as a medium to re-affirm the belonging for Indi-Afrikans.

Above: Figure 71: Top left, is the image showing the worshiping of Mariamman Devi being conducted and to the right, devotees pay respect through offering and prayer. Images from the Pretoria Tamil League. (PTL, 2019).

Below: Figure 72: The podium being set up to conduct offerings for the various festivities. Images from the Pretoria Tamil League (PTL, 2019).

Above: Figure 73: Top Left: Banquet within the hall accomodating all the devotees. Top Right: A Bharatanatyam dancer performing a choreographed piece in respect for the deity’. Images from the Pretoria Tamil League (PTL, 2019).

Below: Figure 74: Bottom left: A newspaper article showing the ceremonies which happens on the dome above the deitys’ abode. Bottom Right: The music group that performs the hymns with traditional instruments, seated on the podium. Images from the Pretoria Tamil League (PTL, 2019).

▶ 8 - The revered Mariamman Temple

Figure 75: Existing temple layout, envisioned and illustrated by author.

Figure 76: Depiction of the Temple during celebrations and major festivities, envisioned by author. It is imperative to uncover the presence of the gopura in Marabastad after having understood the origin of temples and the history as well as the cultural inclinations of those within Marabastad.

Following events that led to indenturing labourers from India, some aspects of culture were lost in the migration to South Afrika. Nevertheless, the Indians held onto their surviving knowledge of rituals and beliefs, and the knowledge was the source of their identity and belonging amongst the “others” on stolen land.

The Mariamman Temple was constructed in 1928 and completed in 1933 (Mikula, et al., 1982). Its gopura is iconic and sacred, humble with its five-tier construction and detail. The gopura utilises geometry consisting of horizontal and vertical planes, arches, and circular decorative elements. The base is constructed from brick and concrete, and the spire is composed of iron and timber and some precast concrete elements.

When the construction of a temple is undertaken, various rituals are followed to consecrate the land. As a result, space is imbued with energy through chanting mantras, offerings to fire, and collective praying. All these procedures ensure the beneficial well-being of the area servicing the people for years to come.

“If you have the necessary technology, you can make the simple space around you into a divine exuberance; you can just take a piece of rock and make it into a god or a goddess. This is the phenomenon of consecration” (Sadhguru, 2016).

In traditional temple architecture, the epicentre is where the divine resides. The path encompassing the temple relates to the manifesto of the divine being central to the devotees’ journey. The path resembles the spiritual undertaking and understanding the scale of the devotee in respect of the divine. Through the act of

of circumambulation, the divinity is invoked within the devotee. The procession leads the devotee on a journey, with the destination being the epicentre where the abode is situated, concluding the journey. This translation is evident in the Mariamman temple.

Circumambulation is reminiscent of oscillation, extending from the cosmic scale to the human and atomic scale – as depicted in science by the drawings of atoms. We exist not in isolation from our surroundings but rather as a part of it, as a whole.

This macrocosmic level of thinking can be related to the microcosmic levels of interaction within cities and more so in communities. This constant interaction and engagement are at the source of existence, for we cannot function in isolation. We function better as clusters – communities, neighbourhoods, and cities.

Thus, it can be understood that architecture binds communities together and is the conduit for inducing peoples’ involvement in space and their surroundings. These exchanges are fundamental to our existence and shape the way we have become over time and generations. This notion of thinking is equated to spirituality.

Spirituality develops and understands the concept of awareness within oneself. Spiritual exchange subconsciously occurs within space daily, but there is a higher level of conscious interaction within a designed area.

For the people of Marabastad, the temple is at the core of this level of awareness. The temple is a reminder for many to be humble during testing times and courageous in the face of adversity. The use of geometry on the gopura elicits awe and wonder as the viewer gazes upon it. Such profoundness is present in the formulation of the patterns followed by traditional scriptures known as the Shilpa Sastras.

Figure 77: Usage of the Temple during smaller functions or ceremonies, envisioned and illustrated by author.

Figure 78: Depiction of devotees circumambulating the Divine, envisioned and illustrated by author.

Above: Figure 79: The Marieamman temple and its interior podium space, Images taken by author.

Below: Figure 80: Images photographed by Alain Proust.

Above: Figure 81: Looking towards the hall and the roof decor, images taken by author.

Below: Figure 82: A small garden with the plants used in prayer and looking towards the deities adobe, images taken by author.

Figure 83: Parti diagram, sketched by author.

Figure 84: Parti diagram iteration, sketched by author.

▶ 9 - Spiritual embodiments of architectural memory

Geometry, spirituality, energy, and memory intersect and run parallel to the experience and creation of architecture. This experiential memory is a spirit, a phenomenon that science or analysis cannot adequately describe, prove, or discredit.

Space can be imbued with a particular embodiment of energy through action and the consequence of human activity, which further defines the spaces’ functionality. Locations that had signs of prior life, such as the lands in Marabastad that once held families and homes – albeit of poor condition, still carry the remnants of energy that reflect what it once was and still influence the experience when traversing through it.

Our senses of awareness can physically ‘feel’ and harness the embodied energy, environment, and atmosphere. We possess the capability to perceive ambience and atmosphere, consciously or unconsciously.

“Long ago, we figured the real power of designed environments to quicken the metaphysical dimension of our humanity” (Bermudez and Ott, 2015, p. 23).

One can become receptive to these shifts in the energy and experience of spaces. It is the same way one experiences the change in dynamics when leaving sacred spaces, such as temples, mosques, or churches and entering onto a public street edge abundant with activity. Architecture possesses the power of transference of human energy to land itself, encapsulating an imagined lifestyle and livelihood that may have once flourished or is yet to be manifested.

While each stream has its individuality, these principles are vital in establishing identity and a sense of place in individuality and collectively. Architecture itself became a language of traversing thresholds and creating boundaries for privacy and safety for families.

These boundaries and thresholds were significant and logically structured to organise social sectors. Topographical and environmental characteristics influenced settlements and divisions of lands that determined how settlements could be best created and managed.

Such remnants are visible in Marabastad. They hold the key and markers to imagined life and serve as evidence of cross-pollination and multi-racial occupation. Various details in the existing architecture have remnants of the once-vibrant urban spirit. Despite the fall of the spirit at the hands of oppression, some pockets of frozen memory still exist, with the majority situated along Boom Street. Boom street’s vibrancy is abundant due to it being the gateway to and from the city centre. In some ways, albeit altered, the memory of the old Asiatic Bazaar still survives through the microeconomies situated along its streets.

In areas where the most lives had been dispossessed, rubble and discarded material serve as grains of truth for the pre-existing habitat. Through captured images and stories written by its inhabitants, one can only imagine

Figure 85: Site panorama of the 1st Tier from Grand Street, image by author.

the kind of ether the township possessed. Once a picture is painted, it is forever burned into the memory of our perceptions and experiences.

Through architecture, we can connect and reclaim spaces from which the collective of Marabastad was viciously torn. Through geometrical expressions and impressions within space, we can heal. We are entities of accumulation who have experienced multitudes from all cultures and we are granted the ability to reclaim our space, place, and being. Through architecture, there is a possibility to commemoratively heal as a collective and engage as spirituals beyond the dimensions of defined spiritual space.