RESEARCH METHODOLOGY REPORT ON
STUDY OF ARCHITECTURAL ELEMENTS OF SPIRITUAL SPACES By KHUSHBOO GUNJAL Roll No: 14-ARV-79
Submitted to COLLEGE OF ARCHITECTURE
COLLEGE OF ARCHITECTURE SARDAR VALLABHBHAI PATEL INSTITUTE OF TECHNOLOGY GUJARAT UNIVERSITY VASAD - 388306
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Certificate College of Architecture, S.V.I.T, Vasad. Anand, Gujarat. (India) The present research is hereby approved as a creditable work on the approved subject, carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree for which it has been submitted. It is to be understood that by this approval that the undersigned does not necessarily endorse or approve any statement made, opinion expressed or conclusion drawn therein, but approved the study only for the purpose for which it is submitted and satisfy herself as to the requirements laid down by the Gujarat University. Research Topic: STUDY OF ARCHITECTURAL ELEMENTS OF SPIRITUAL SPACES
Guide Name: PRSKASH PETHA
Student: KHUSHBOO GUNJAL Roll no.: 14-ARV-79 Semester: VII Year: IV
Seal – signature Prof. Pragnesh Shah (H.O.D.) COLLEGE OF ARCHITECTURE S.V.I.T., VASAD, GUJARAT
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ACKNOWLEDGEMENT The research on “STUDY OF ARCHITECTURAL ELEMENTS OF SPIRITUAL SPACES “has been chosen by me as a topic of research which is a part of curriculum in 8th semester of Bachelors of Architecture course. I have tried my best to present to you this information as clearly as possible and I hope it will be comprehended by wisest spectrum of researchers and students for further knowledge I have completed this study under the guidance and supervision of my guide Prof.Prakash Pethe. I devote my special thanks to other faculties too who helped me to complete my research with their guidance and knowledge. I am also very thankful to my family and friends who helped me directly or indirectly in entire course of project.
Khushboo Gunjal
3 1.GENERAL________________________________________________________________________ 4 AIM:______________________________________________________________________________4 OBJECTIVE:__________________________________________________________________________4 SCOPE_____________________________________________________________________________4 JUSTIFICATION________________________________________________________________________4 METHODOLOGY____________________________________________________________________5 INTRODUCTION:____________________________________________________________________7 1.HISTORIC ATTEMPTS_______________________________________________________________ 8 2. SPIRITUALITY AND THE BUILT ENVIRONMENT_________________________________________12 2.1. WHY SPIRITUALITY?_______________________________________________________________12 3. SPIRITUAL ENVIRONMENT AND HUMAN BEHAVIOUR___________________________________14 3.1 PRACTICE OF MEDITATION AND ITS ENVIRONMENT__________________________________________14 3.1.1 MEDITATION___________________________________________________________________14 3.2 SPATIAL QUALITIES AND HUMAN MIND__________________________________________________16 4.SACRED SPACE AND SPIRITUALITY___________________________________________________ 19 4.1 OPEN SPACES: AS SACRED SPACES__________________________________________________19 4.2 ATTRIBUTES OF A SPIRITUAL SPACE________________________________________________20 5.SPIRITUAL DIMENSION IN EXISTING BUILDING TYPOLOGY________________________________25 5.1 THE HINDU TEMPLE_____________________________________________________________25 5.2 THE MOSQUE__________________________________________________________________29 5.3 STUPA, BUDDHIST ARCHITECTURE______________________________________________________31 6. CASE STUDIES___________________________________________________________________ 33 6.1 SHANTI STUPA___________________________________________________________________33 6.2 JAMA MASJID, NEW DELHI_______________________________________________________35 6. CONCLUSIONS__________________________________________________________________ 40 6.1 DESIGN ATTRIBUTES IN SPIRITUAL SPACES_________________________________________________40 BIBLIOGRAPHY____________________________________________________________________ 41
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1.General Aim: Analysing the architectural qualities that contributes in making of the spiritual environment. Objective: Influence of architecture on spiritual spaces. Quality of space. Spirituality and the built environment. Study of forms. Human behaviour. References to the natural world. Scope A brief study of design tools, which are capable of making the experience soul stirring. These include - form, space, volume, geometry, scale and proportions, light and colour. The study does not discuss in detail many issues, like evolution, construction, etc. But focuses on the internal design aspects, concerning the designing of a spiritual space, which are known and acknowledged. Study should avoid commenting on the beliefs and rituals of various religions but should debate towards the evolution and change of spatial qualities and form. Justification The current crisis of environmental degradation is also a crisis of places. People are systematically building meaningless places. We must develop a way of understanding the built environment and the natural landscape. True renewal, will require a change in the way we structure experience for understanding both the natural land and the constructed world. Since, the spiritual dimension and moral obligation have been discarded by the modern. Materialism divorced from ethics has corrupted the society. Therefore, more and more people are turning to spirituality, yoga and meditation. Religious people are searching for the lost grid of spirituality in religion. Thus, there is a growing need of buildings to cater this need of people. There are spatial qualities and architectural elements based on experiential background and emotional attachments. To identify and define these connections, one has to go beyond the basic observation of signs and symbols and analyse the spatial qualities and architectural elements which stimulate senses.
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METHODOLOGY 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 behaviour. STAGE 1 Identifying need for the study Trying to find the objectives of study. Setting up the scope and limitations. STAGE 2 LITERATURE SURVEY Through the survey of all possible data related to the topic or on architecture and human behaviour. This stage of the research includes collecting data that is directly or indirectly related to spiritual aspect of architectural spaces. This has been done through the printed 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 LITERATURE SURVEY 2 A study has been undertaken to understand the mental conditions of a man in different spaces and its relation with the creator. Through this the topic got defined. STAGE 4 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.
STAGE 5 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.
6 List of issues: Open and closed space Portal or entrance Path and surrounding landscape Destination point Form, geometry, proportion and scale Articulation and symbolism Light, colour and sound
STAGE 6 Case studies are selected to understand the sacredness and the spiritual consciousness through the built, the purpose behind it. Case studies will throw some light on the spatial qualities of spiritual spaces. Suitable case studies will be undertaken to examine the need of the topic and its negligence in present day scenario. STAGE 7 CRITICAL ANALYSIS OF CASE STUDY All the information collected so far was then analysed thoroughly. An analysis of experiencing the sacred buildings to out the design tools that an architect can employ to create the desired spiritual experience. STAGE 8 DESIGN IDEA FORMULATION 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.
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Introduction:
Spirituality is an ultimate or an alleged immaterial reality. The essence of spirituality is the search to know our true selves, to discover the real nature of consciousness. In other words, it is a constant discovery of the incredible, our real self, and a quest of our true being, why we are, who we are and where we belong. This has been a part of the eternal quest of man from times immemorial. These questions have been answered differently by many but are subject to one's own belief interpretation and perception. For mystics the spiritual is not something merely to think about but also something to be encountered. Spiritual phenomena may be said to be experienced when they are thought about in such a way that a depth of feeling becomes attached to them. When experience of the spiritual is heartfelt, the spiritual is found to be mysterious, awesome, urgent, and fascinating—what the German theologian and historian of religion rudolf otto called “numinous.” (Britannica). The relation between the spiritual and the numinous is comparable to the relation between a beautiful object and an aesthetic experience of the object by someone. Spirituality is our attempt to become aware of our spirit. "spiritual architecture' refers to any building system that facilitates this awareness. It is, an act of highlighting or bringing forth the self, not by rejecting matter but by manifesting it in matter, at various levels and in multiple forms. E.v. Walter in placeways, defines spiritual space as "a specific environment of phenomena that are expected to support the imagination, nourish spiritual experience, and convey spiritual truth" (walter,e.v., place ways: a theory of the human environment, 75).
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1.Historic attempts Religious or not, people are increasingly seeking an element of spirituality within the spaces in which they work, rest and play. Influence of religion in the field of architecture has been became the subject of extensive research Old ritual of worship did not know an indoor place necessary. Old days religious buildings and surroundings were considered and recognised as spiritual place, having same typical religious building typology and supporting elements. Spaces such as, naturally arrived, having some past historic mythology, performing rituals and traditions have spiritual influence. Religious architecture is the most lofty and impressive outcome created by humanity across different eras. Both in the ancient times and in the present, too, they become theatres for ritual congregation and practices concerned with the core belief of its followers. Since religious buildings in the ancient times were made of the most durable materials – permanent structures strong enough to withstand vagaries of time, climate and stay protected from marauders for fear of incurring the wrath of the gods —they survive in number. No wonder, in our chronicles of global history of architecture. Location Usually, the ‘house of God’ – always atop the most vantage point in the city, village or even when located amidst natural settings – built with the best of resources, materials and passionate human fervour. Look at the location of most Hindu temples, Buddhist monasteries or gurudwaras—they have been from ancient times located at hill tops, mountain peaks for ensuring powerful visual presence in the hearts of the pilgrims, climbing up to them arduously for darshans. Example: Parthenon, at acropolis
Figure 1.0.1Parthenon, Acropolis
The most iconic historic architectural marvel of classical times, the 3000 BCE Parthenon at the Acropolis of the Greek civilization establishes a unique site and
9 structure relationship, by virtue of its location atop the table-top hill. This imparts it a very powerful, prime visual identity overlooking the entire city of Athens.
The Form One of the key feature of the religious structure is that it must tower above the other mundane functions of the city; and this was achieved in the historic times by virtue of its commanding height. Religious and holy structures usually were completed over a long span of time and such evolved their architectural elements over centuries, and certainly they were the largest and most conspicuous buildings in the world, prior to the modern skyscraper. The sacred architecture of an era on one hand reected the pervading style of that period, and on the other, it was hugely distinctive by its lofty form rising above other structures. A major structural innovation happened during Byzantine era when the builders developed squinches or pendentives that provided for a smooth transition from a square plan at the base to a circular dome at the top required for a church or a mosque. The Hagia Sophia in Istanbul is a prime example of this innovation.
Hindu temple Gopuram (south india)
Shikhara (north india)
Domes & minarates
Mosque
Church
Campanilg
Domes
Spires
10 The spatial requirements of religious structures were governed by their religious practices and spiritual traditions
The Sacred Experience Norman L Koonce has suggested that the goal of sacred architecture is to make transparent “the boundary between matter and mind, flesh and the spirit.” In fact, entering into a religious building is a “metaphor for entering into spiritual relationship”.
The Settings In hot and arid climates water has played a very key role in the settings for a religious squinches or pendentives that provided for a smooth transition from a square plan at the base to a circular dome at the top required for a church or a mosque.
Example: Golden Temple, Amritsar
Figure 1. 0.2 Golden temple, Amritsar
The huge Sarovar or the holy tank surrounding the gold-plated, glittering temple structure enables it to be viewed as a shimmering mirror image reflected in its placid waters. This is one of the most profound and intense spiritual experiences rendered by a landscape element to its focal architecture. Be it religious and pilgrimage towns of Hardwar, Mathura, Allahabad, Nashik and many others, the river front and the bathing ghat is integral to its urban character.
11 Play of Light and shadow Play of light and shadow is a prime feature of both the historic places of worship as well as in their contemporary transformation.
Evolution from the Renaissance style to the Baroque can be recognized by – broader interior spaces, more playful attention to light and shadow, extensive ornamentation, large frescoes, focus on interior art”. Saint Paul’s Cathedral in London by Christopher Wren is a prime example of the rather late influence of the Baroque style in England.
Example: Notre Dame du Haut at Ronchamp
Figure 1.0.3 Notre Dame du Haut at Ronchamp
In Modernism, Notre Dame du Haut at Ronchamp, the late work of Le Corbusier is famous for its eye catching plastic form, built in pure white concrete exteriors that transforms into an ethereal, kaleidoscopic play of light pouring in through numerous small fenestrations in the dark interior.
12 2. Spirituality and the built environment 2.1. Why spirituality? To situate the investigation of spirituality in place, Maslow’s hierarchy of human needs provides a unique and valuable starting point. The five basic needs that Maslow originally identified were physiological, safety, love, esteem, and selfactualization. He determined that these needs are hierarchical and that as one need is “fairly well satisfied, the next prepotent (‘higher’) need emerges, in turn to dominate the conscious life” (Maslow 1943, 395). Nearly three decades later, Maslow determined that a sixth motivational level was required, above selfactualization, which results from an individual having “peak experiences” (Maslow 1961). May involve service to others, devotion to an ideal (e.g. Truth, art) or a cause (e.g. Social justice, environmentalism, the pursuit of science, a religious faith) and/or a desire to be united with what is perceived as transcendent or divine (koltko- rivera 2006, 303).
2.2. A definition of spirituality In order to develop an approach to the spiritual nature of design it is first useful to define what we mean by feeling free of blocks, inhibitions, cautions, fears, doubts, controls, reservations and self-criticisms spontaneous, expressive, innocently behaving (guileless, honest, candid, ingenuous, childlike), more natural (simple, relaxed, unhesitant, unaffected, immediate), more controlled and freely flowing outward creative uniqueness, individuality, idiosyncratic here now; free of the past and future being a “pure-psyche” living under one’s own laws; less of thing of the world and more a pure self-non-striving, non-needing expression and communication become poetic, mythical and rhapsodic a sense of completeness, authenticity, catharsis gratitude towards a higher power, humility, feeling fortunate with these characteristics in mind it is possible to develop an idea of what a ‘spiritual experience’ might look like for someone engaging in their surroundings spirituality, in particular the spiritual experience vis-à-vis the built environment. Although one could turn to a nearly infinite number of sources from literature, art, and music to sacred texts and philosophical treatises, there have in fact been a number of psychological investigations into what constitutes a ‘spiritual experience’ (maslow 1961; pahnke and richards 1966). Maslow identified 15 characteristics of people who were motivated by peak experience as it related to self-transcendence (maslow 1961): Feelings of integration, unity, whole, organized feeling fused with the world; becoming ego-less using all capacities at their best and fullest;
13 fully functioning effortlessness in functioning (flow, ‘in the groove’) feeling responsible, active, being the creating centre of activities; being a prime mover, self-determined Spontaneous, expressive, innocently behaving (guileless, naive, honest, candid, ingenuous, childlike), more natural (simple, relaxed, unhesitant, unaffected, immediate), More controlled and freely flowing outward Creative Uniqueness, individuality, idiosyncratic Here now; free of the past and future Being a “pure-psyche” living under one’s own laws; less of thing of the world and more a pure self-Non-striving, non-needing Expression and communication become poetic, mythical and rhapsodic A Sense of completeness, authenticity, catharsis Gratitude towards a higher power, humility, feeling fortunate. With these characteristics in mind it is possible to develop an idea of what a ‘spiritual experience’ might look like for someone engaging in their surroundings.
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3. Spiritual environment and human behaviour 3.1 Practice of Meditation and its Environment 3.1.1 Meditation Meditation has been described as a kind of concentrated thinking, but this does not mean just any kind of concentrated thinking. Concentrating on a pet rock or an ice cream is not meditation. Meditation is the process of concentrating the mind on the source of consciousness within us. Gradually this leads us to discover that our own consciousness is infinite. This is why the goal of meditation is sometimes described as ‘Self Realisation. The term dhyana is used in Jainism, Buddhism and Hinduism, with somewhat different meanings. Dhyana (IAST: DhyÄ na) in Hinduism, Buddhism, Jainism means contemplation and meditation, though their technical context is different. Dhyana is taken up in Yoga exercises and leads to samadhi and self-knowledge. The concepts of Dhyana and its practice originated in the Vedic and Upanishad era, developed further in the Buddhist, Hindu and Jain traditions, partly independently, partly influencing each other, and have been influential within the diverse traditions of Hinduism. It is, in Hinduism, a part of a self-directed awareness and unifying Yoga process by which the yogi realizes Self (Atman, soul), one's relationship with other living beings, and Ultimate Reality. Solo mediation Solo meditation is great for those who prefer to spend some time alone or prefer a more private and quiet approach to such activity. Solo meditation is also considered to be relatively cheap since there is no need to travel to distant location as you can do all of these at the comfort of your very home. With that being said, doing meditation alone comes with disadvantages. For instance, it’s a bit harder to feel motivated in doing the activity especially since there is no one to push you to move even further Group mediation Group mediation offers some other benefits, as well. Meditating together seems to spark a type of synergy, allowing each of us to draw from a reservoir of strength with depths beyond what anyone alone could generate. Group helps develop positive habits motivating and encouraging one another to work out and not miss out on every activity. Group meditation is also able to provide feedback that can help improve the overall activity. This in turn helps clear up any confusion with the different types of meditation. Group meditation also provide complements, positive remarks and helpful suggestions and tips on how to gain the most out with the activity.
15 Some individual reviews of people performing meditation.
Hitarthi Patel (Brahma Kumari) “In meditation surrounding helps a lot. Natural places help more like river side place, hilly or mountain area, such places help more and effects quickly in mediation. Meditation helps me a lot in my daily life. My mind doesn’t get diverted while doing any work. Helps me being happy and positive in any situation that arises. I think the place effects a person while meditate. Positive environment, proper surrounding, proper ventilated places effects well.”
Sir Trivedi (Head- Arvind ashram) “I practice meditation twice a day, not more only 10mins at a time. In group meditation, we meditate then discuss certain topic. I m 60 years old now. I live my own life reading books, handling this ashram and other activity now at this age I got some time for myself, so I meditation for peaceful mind.”
Chandra Shekhar Mukherjee (swami Vivekanand Ashram) “I think meditation is useful for all, not only for elder people but also for students, business men, for everyone. It helps to concentrate. I perform meditation early morning in ashram itself. Many people come at meditate here, its open to all. I usually perform sound meditation, which helps me to focus on one thing.it helps to stay away form negative thoughts, stress free. I dint get distracted doing any other thing. I prefer natural environment more rather then four walls.”
16 3.2 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 wellbeing and performance. Our structured environment is so important and, influence direct or indirect, on 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 Krik Bach 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 feature, such as the position of staircase and mailboxes, had important effects on the social life of people. "The architect who builds a house or who designs a site plan, who decides which 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."(Strengthening Weak Ties: Social Networks and Student Housing, Thesis, B. Design in Architecture, University of Florida, 2011) Geoffrey Scott's book "The Architecture of Humanism", 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 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 that encloses 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, colour and other aesthetic considerations.
17 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, our habitat channels our movements and influence our contacts. If we think of buildings at all, it is usually when we are jolted by some outrage, such as a stalled elevator or a leaky roof, long columned corridor, a double height space. (Walter, E.V., 1988, Placeways: A Theory of the Human Environment) Table 2.1 The concept of the spirit of a space (Source: Author) Some of the architectural integrant which affect human psychology are: Architecture Silence Climate Light Landscape transformation Acoustics Weather Colour Cooling Related technological fields Vibrations Texture surfaces Texture forms Repose odour Emotional Design Emotion is a fundamental aspect of what makes us human; it shapes our cognition, perception, memory, and learning and it colours 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." 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, emotional design focuses on the emotional experience. Physical and Tangible Interfaces
18 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, colours, 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.
19 4.SACRED SPACE AND SPIRITUALITY 4.1 OPEN SPACES: AS SACRED SPACES Does spirituality need sacred spaces and vice versa? Does spirituality really is incomplete without architecture? Is it not the quality of the inner life, open to a virtual dimension that transcends the sensible, that matters?
Fig 4.1 Lodhi Garden, New Delhi
Fig 3.1 Lodhi Garden, New Delhi (Source: Author) Open space has two different meanings that work together to create sacred places that are inclusive and aware of many elements that may be exclusive to any potential user of the space. An open space is open to the public, meaning anyone of any race, faith, culture, or belief is able to enter the space. The space is for the whole community of different people rather than just one particular group. Or, an open space is one that feels welcoming and non-threatening to those that spend time in it; it feels like home for the soul. The design of the space and the placement of features such as portals, paths, universal symbols that have meaning across all religions, nations and ethnic groups, lend to the openness of the space by inviting those outsides of the space to enter it. The combination of a space being open on both a physical and spiritual level is what makes up "Open Spaces, Sacred Places."
4.2 ATTRIBUTES OF A SPIRITUAL SPACE 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 defence 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
20 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.
Figure 4.2 Torana, stupa
Figure 4.2 Pathway to lotus temple, Delhi
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 end point 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.
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Space and Volume
Figure4.3 Architecture of a Vishnu temple,
An example of typical Hindu temple, defining the particular space with a play volume and having specified function. Space, whether of the individual or the universal, possesses a unique quality of experiencing. 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 into a room. There are natural or man-made boundaries (or a combination of both) that delineate the space 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, W. Robert Leo A Daly, 2004, building Type Basics for Places of Worship 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 fulfil its functional requirements for that is the reason for its being both physical and spiritual." (Saarinen, E., op.cit. pg 14 ) Every form conveys a meaning. It is important to understand how form can transmit a spiritual meaning. Certain shapes and forms are conventional associated with certain meaning.
22 Scale and Proportion
Figure 4.4 Vastupurusa (Source: Charles Correa, Vistara; Architecture of India)
Figur 4.5 Vitruvius Man (Source: Leonardo Da vinci.stanford.edu)
Scale refers to the size of something compared to 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 neighbouring community and landscape; others stands 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.
Figure 4.6 le Corbusier modular Man (Source: Corbusier, The modulor)
23 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 the 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 combination; 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 the psyche.
Figure 4.7
Light and Colour
Figure 4.8. Mosque interior
24 Light is regarded to be the most important component in 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 worship; how to make a quiet, enclosed, isolated space, space full of activities, filled with vitality.
Figure 4.9 0.4stupa
Colour is the attribute that most clearly distinguishes a form from its environment. We respond to bright colours, 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 goes up and the blood pressure starts rising. The opposite reactions occur when we see light colours such as blue. Our muscles relax, the heart and respiration rate drops 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.
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5.SPIRITUAL DIMENSION IN EXISTING BUILDING TYPOLOGY 5.1 THE HINDU TEMPLE The Hindu temple is essentially the "House Of God". It is not a place for congregational worship. Though congregation for religious ceremonies do take place, but the worshipper's communication with the divine is his own personal experience. The worshipper goes individually to the house of God and invokes his blessings. Stella Kramisch, in her book, "The Hindu Temple" says," the intellect of the age, absorbed largely in divine contemplation, is reflected in the temple idol, where spiritual dominates the material." (Stella Kramrisch, The Hindu Temple, Vol. 2)
Space
Figure 5.1 Evolution ,plan of a Hindu Temple (Source: Author)
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Figur 5.2 parts of a Hindu Temple (Source: Author)
The sanctuary as a whole is called a vimana, and the pyramidal or tapering roof above this is called the shikhara. Inside the vimana is a dark chamber, called the garbhagriha, sanctum; and this is entered by a doorway on one side. In front of the doorway is a pillared hall, or mandapa, which serves as an assembly for devotees. In some temples, the mandapa is detached from the vimana by an open space. Leading up to the mandapa is a porch or Ardh-mandapa. Form and Geometry The sanctum seems to be similar to cave like form. Sculpture is an integral part of the composition in stone. A detailed analysis of temple architecture reveals that much of its character was the result of repetition of motifs. Figurative decoration took precedence till the roof level. Apart from being influenced by the man and nature, the temple form relationship with the mountain has an architectural symbolic significance. Scale and Proportions The sacred geometry and proportions of a temple have always been greatly influenced by silpas, treatises codifying rules for Art, Sculpture and architecture and the Vastushastra in particular, a book setting down the rules of temple architecture. Analysing the temple in elevation, the superstructure serves as a spiritual tower, the function of which is to lead, from a broad base to a point where all lines converge. They merge ultimately into one. This point is the source of highest energy and is depicted by a lotus. Even the outer facade becomes a rhythmic succession of planes and multiple elements, the axis linking the inner chamber to the tower is never lost
27 The Portal, the Path and the Journey Observation shows that all parts of the temple plan and elevation exhibits manifestation of the spiritual. The deities engraved on the exterior surface are the focuses for the devotee. His journey begins from the exterior of the temple. The rite of circumambulation (invariable in clockwise direction) is also an extension of relating or communing with the deity. This in a way prepares the devotee to approach the sanctum. In the sanctum called garbha-griha, the devotees get in touch with the highest self, which is reborn through initiation and leads to perception and realization, it thus becomes the source of temple's power and essence. The movement inwards through sequence of doorways and series of thresholds; the perspective effect achieved in it suggests the pulse of the devotee penetrating the heart of the building. Light And Colour Light is used as a tool highlighting the spatial experience. It reinforces the contrast in exterior and interior of the temple. The interior is dim (in the halls) Sanctum (enough to see the deity); on the exterior the illumination is bright. This represents the Hindu doctrine of two aspects of reality, the unmanifest (darkness, formlessness) and the manifest (light and formation), with the latter from the former. It is important to stress that through different intensities of light the interior is graded into areas of lesser and greater importance. Thereby, place of prime importance can be highlighted by greater contrast.
Figure 5.3
Iconography is common in temples; different coloured stones have been extensively used in temple construction. They vary from pure white marble to black granite. Bright colours symbolizing celebration and happiness of a divine life are often used in temples.
28 The finished structure showed a fine appreciation of mass and volume; and effects of light and shadow to a marked degree. Every part of the building generations of conscious and sub-conscious knowledge. This has made Indian temples poetry in stone, mute sentinels to the skill of their unnamed builders.
5.2 THE MOSQUE Masjid or mosque, which for the 'prostration' is a building which provided space for the community activity. Historically the physical form seems to have evolved from the house of Prophet Muhammad at Medina. Metaphysically, the mosque is a building erected over an invisible axis terminating in Mecca. Conceptually a mosque is means to focus brotherhood of Islam. Ka'ba is the spiritual center of Islam. It is o hollow cube of stone rebuilt many times, situated at the center of Mecca. There is a strong metageometrical concept, where the Ka'ba is seen as a global center and the entire world is oriented towards it.
Figure 5.4. Parts of an Indian Mosque (Source: Author)
In Islamic architecture we find that many things are in five or sixes, almost as if echoing the number of five or six Pillars of Islam (witness, prayer, alms, fasting, pilgrimage and also holy war). The five elements are: 1. Mihrab 2. Minbar (pulpit)
29 3. Maqsura (Screen) 4. Fountain (tank for ablution) 5. Kursi (desk supporting Quran) Two functional elements are: Minaret Courtyard Form and Space In Islamic architecture space is fundamental and suggests multidirectional. Space here is not divorced from form. The different parts express dematerialization, hypostyle hall gives primary expression to divine limitlessness while the domed square speaks of the divine unity. Dome is an important feature in mosque design, symbolizing heaven. It has been treated differently to procure different effects, however, conceptually it stands representing heaven as contrast to the earthly square base which supports it. In open-plan space flows from uncovered to covered portion and back again, whereas in closed plan space the portal and prayer hall become distinct. The minaret in each case designates the area as a place. Again, inside the prayer hall in case of an open plan mosque the limitlessness of space is accentuated whereas in closed plan mosque, it is the unity of space which is emphasized. Once again one is expressing here that, infinity and oneness are in fact the architectural embodiments of an understanding of the divine nature.
Figure 5.5
30 Mosque by the very nature of its purpose is expected to be multidimensional, the space extending in all direction. The mosque has certain important features relating to which the attributes of the space can be achieved. These associations contribute to the overall experience, they are: Mihrab- it is a directional niche, it marks the direction towards Ka'ba. Minbar- it is raised pulpit often canopied with a staircase. It is a symbol of authority. Fountain- is related to the act of ablution to purify the body or parts of body before prayer. Minaret- it is an ancillary structure which is necessary for Islamic worship from which the muezzin gives the call for prayer. (Jose'Pereira, 2004, The Sacred Architecture of Islam). Light and Colour Allah is the light of heavens and the earth, His light may be compared to a niche that enshrines a lamp, the lamp within a crystal of star like brilliance. Light was generally used to modify elements of decoration and to create new patterns. Though, colours were frequently used to depict various aspects of being, either unity by building white mosque or world of varied existence through elaborately coloured facades.
5.3 Stupa, Buddhist architecture The initial function of a stupa was the veneration and safe-guarding of the relics of Gautama Buddha. The earliest surviving example of a stupa is in Sanchi (Madhya Pradesh). These are stupas that were built within Buddhist monastic complexes and they replicate in stone older stupas made of baked bricks and timber. A stupa, or Chaitya in Nepal, is said to represent Buddha’s holy mind. Each step thusly showing the way to enlightenment. Throughout history there have been different types of stupa and different ways of constructing them. In this case the Bodhisat stupa has several legends leading to it’s creation.
Figure 5.6
31 Parts of the stupa: Pinnacle – Symbol of Mt. Sumeru (The King of Mountains) Umbrella – Protector of three jewels, Buddha, Dharma and Sangha Lotus – Symbol of compassion and purity Thirteen Steps – The thirteen states of Bodhisattvas’ ground for the complete enlightenment Two Eyes – Symbol of method and wisdom Nose Symbol – Symbol of Nirvana Harmika – Symbol of eight noble path Prayer Flags (not really a part, but worth including as they are always there!) 108 niches on the stupa containing Buddha statues Mandala – Mansion of Buddha Space Spaces are been divided by the mean of level deferens and functionally also. The main relic where the remains are kept is location at the center of the stupa. The pradakshina path around it also follows the upper level by stairs. Form and Proportion The main structure of the Great Stupa (Figure 1) consisted of a flattened hemispherical cupola or dome, called an Anda, placed atop a cylindrical base. Anda, literally an egg, alluded not only to the shape, but to its deeper significance as a symbol of latent creative power. The Anda was also intended as an architectural replica of the infinite dome of heaven, representing the cycle of death and rebirth (anda related to the universe in ancient Hindu mythology and was also sometimes called the Garbha or 'womb'). The harmika, located at the summit of the anda, symbolized the zenith beyond life and death (nirvana) and its resemblance to a sacrificial altar was of particular significance, for the attainment of nirvana required the sacrifice of the self and the world (what was below needed to be sacrificed to reach the top) Light.
Figure 5.7
32 6. CASE STUDIES Case studies are selected to understand the sacredness and the spiritual consciousness through the built, the purpose behind it. Case studies will throw some light on the spatial qualities of spiritual spaces. The two primary case studies which are covered in the research are: 6.1 Shanti Stupa Shanti Stupa is situated on a hilltop in Chanspa,Leh district, Ladakh, in the north Indian state of Jammu and Kashmir. Shanti Stupa as know Buddhist white-domed stupa. It was built in 1991 by Japanese Buddhist Bhikshu Gyomyo Nakamura. The Shanti Stupa holds the relics of the Buddha at its base, enshrined by the 14th Dalai Lama himself. Shanti stupa has provided beautiful and panoramic view of the surrounding landscape. This has become a primary reason for Shanti Stupa to become a popular tourist attraction, apart from its religious significance. Scale and Geometry
Figure 5.8 Shanti Stupa
Situated at a height of 4,267 metres (13,999 ft), the stupa is located 5 kilometres (3.1 mi) from Leh - the former capital of Ladakh - on a steep hill facing the Leh Palace. The stupa can be reached by a drivable road or on foot using a series of 500 steep steps to the hilltop
Form and Proportion Santi stupa is situated on top of a rocky ridge, rendering it visible from a great distance. It is massive in size, locating the stupa on elevated ground, effectively utilizing the opportunity afforded by this imposing site feature. The Shanti Stupa is visually accessible to the public.
33 The Portal, The Path And The Destination The stupa is built as a two-level structure. The first level features the central relief of Dharmacakra with deer on each side. A central golden Buddha image sits on a platform depicting the "turning wheel of Dharma" (Dharmacakra). The second level has reliefs depicting the "birth" of Buddha, the death of Buddha (mahanirvana) and Buddha "defeating the devils" while meditating. [5] Both levels feature a series of smaller meditating Buddha reliefs.
Figure 5.9 Shanti Stupa elevation
Colour
Figure 5.10 Shanti Stupa
A big pure white stupa stands along with blue sky and mountains, became popular tourist attraction. Colours add more grace to the structure.
34 Iconography The Shanti Stupa was built to promote world peace and prosperity and to commemorate 2500 years of Buddhism. It is considered a symbol of the ties between the people of Japan and Ladakh. 6.2 JAMA MASJID, NEW DELHI The Jama Masjid of Shahjahanabad is located inside the city a short distance from the Red Fort. Built by the emperor Shah Jahan, this mosque is one of the largest mosques in India. Its foundation was laid on 6 October 1650, and at the time of its construction, this mosque was the largest in the entire subcontinent. Steep, high stairs lead to the Jama Masjid and the prayer chamber is marked by multiple entrance arches. Scale and Geometry
Figure 5.11 Plan of Jama Masjid
Jami Masjid, 500 m from Lal Quila, built by Shahjahan, is the largest mosque in India. It stands on a rise with a huge flight of stairs from 3 sides. This inspiring structure can be seen from a great distance. The two minarets are more than 39 m high. There is a fountain in the 900 sq m courtyard. It is eleven spans wide, while its
35 length is barely two spans.Three bulbous marble domes crown the mosque and towering minarets flank the south and northeast ends. Form and Proportion
Figure 5.12 Front elevation of Jama Masjid
Jama Masjid is situated on top of a rocky ridge, rendering it visible from a great distance. It is massive in size, locating the mosque on elevated ground, effectively utilizing the opportunity afforded by this imposing site feature, which overrode any overwhelming preoccupation with symmetry. The Jama Masjid is visually and physically accessible to the public.
Space
Figure 5.13 water tank of jama masjid
Generating enormous crowds of its own, the Jama Masjid, separated from the courts located in the Red Fort, and is significant because the plaza of the mosque, the bazaar, and the royal forecourts were distinctly separated. This division is intentional breakup of spaces intended for public versus private use. The intention was to make the mosque to be a place opens to everyone, and while Emperor performed his prayers here, others did as well. There is an arcade all around the
36 prayer room which was originally a continuation of the prayer room but has now been sealed off as an independent structure. The pillars then possibly serve as a reference to the emperor, proclaimed in the mosque's inscription as the "strengthener of the pillars of state... and the promulgator of faith.The prayer room to the west of the courtyard, facing Mecca, is a combination of red sandstone and marble and has three domes crowning it.
The Portal, The Path And The Destination Red sandstone gates access the courtyard from the centers of the north, south, and east sides and lead down to the city via three-sided stairways. The gateways and the steps are finished in red sandstone; the steps have white markings on the risers to indicate positions during prayers. The most prominent feature is that the steps are measuring three stories in height. Accessible balconies protected by low stone parapets. The floor of the courtyard is paved with red sandstone, interrupted by white marble strips which mark prayer positions for worshippers.
Figure 5.14 view of the dome from one of the Minaret
An ablution tank surrounded by a raised three-meter-wide white marble platform, is located in the centre of the courtyard. An intricately embossed marble fountain is located in its centre, and marble lampposts three meters in height mark its corners.
37 Touch
Figure 5.15 Jali in the Aisle
Jama Masjid is built primarily of red sandstone and is topped with white and black marble domes with the topmost parts covered in gold. This use of expensive building materials on the highest points of the structure, symbolize a dedication to the Islamic faith and project a sense of power that is held by the religion. The marble surfaces of Jama Masjid are considerably more austere than any other Mughal buildings, suggesting a division between secular and sacred arts. Structures are intended for public use and so used less expensive building materials and were simpler in ornamentation. Light The incredible play of light and shadow through the screens (jalis) of the mosque, let the eyes to halt for a while. The different patterns of the Arabic jalis also provide shelter from heat. Colour The Friday Mosque of old Delhi is clad completely in red sandstone, with white marble employed in the domes, ceilings, and floor of the prayer hall. Black marble inlays further embellish this material palette; for example, the geometry of the domes is exaggerated by inlays running from base to apex. In similar fashion, the minarets are decorated with vertical white marble inlays. The floor of the prayer hall is paved with white marble with a prayer-mat inlay pattern.
Iconography The edifices are beautifully done with calligraphy of versus of Quran. The cabinet in the north gate of the Jama Masjid contains a collection of Muhammad's relics - the Koran written on deerskin, a red beard-hair of the prophet, his sandals and his footprints, implanted in a marble block. The interior surfaces of the prayer hall are decorated with fine inlay work and Arabic inscriptions, as is the east elevation of the mosque. Today, the Friday mosque of old Delhi continues to carry out its congregational function, while the grand imperial gesture that it embodied serves as a reminder of the city's history. The primarily use of red sandstone in the construction of Jama
38 Masjid, and the extensive use of white marble reflects the versatility in the use of building materials, techniques including the use of marble and decorative inlays provide a monumental feeling about the permanence of the architecture.
Figure 5.16 jama masjid
Figure 5.17 isometric of jama mashid
39 6. Conclusions 6.1 Design attributes in spiritual spaces All the information collected so far is analysed thoroughly. An analysis of experiencing the sacred buildings to get the design tools that an architect can employ to create the desired spiritual experience. Geometry and proportion Man is a measure of everything be it social, physical or spiritual. Architecture is a derivative of this measure. Human body is a module for various proportioning systems, such as modular man, golden mean. Man is also a prime measure of scale. Alteration of scale with respect to the human scale generates different kinds of spaces and different kinds of feelings and experiences. In both the cases the monumental scale is secured to create an atmosphere of awe, mystery and magnificence. Historically, one finds man is depicted in numerous of ways. The plan of the temple represents the vastupurusa mandala, where the cosmic man or brahma is placed at the centre. The womb or the garbhagriha generates all positive energies. The superstructure also represents the architectonic man and bears the proportions of the human body.
Depicting nature Most of the ideas and concepts are derived from nature. With his observation and creativity, man has developed several things from natural forms and materials. The temples of the Hindu, minarets of the mosque and Buddhist rituals, to relate their place of worships to the holy mountains is one such attempt to imitate nature's forms Orientation The sun is a prime generator of any structure. The cardinal directions are based on the movements of sun. In Hinduism it is good to see the first rays of the sun, so the entry of temple faces east. The mosque has three entries but the main entry faces opposite to the mihrab which is directed towards mecca.
40 Bibliography http://www.themonkdude.com/meditation-spirituality/ Design and architecture magazine 2018 DesignConsiderations.pdf https://www.ukessays.com/essays/theology/the-spirituality-and-architecturetheology-religion-essay.php/ www.chabad.org/parshah/article_cdo/aid/45620/jewish/Spiritual-Space.htm/ https://www.thedivineindia.com/shanti-stupa/5804/ http://www.globalpagoda.org/ http://www.approachguides.com/blog/buddhist-stupa-architecture-symbolism/