Contextualising Interior Space making Semester 07 Portfolio Sacred Tree Hotel
Buddhist Monastic design Manav Budhani | UI4217
Contents
01 02 03 04
Explore
Understanding different layers of a space Case study of One and Only Hotel, Desaru designed by Kerry hill
Sensitize
Contextual and cultural influence study Group work research study and analysis of Buddhist Monasteries in Sikkim
Analyse
Understanding organisation and functioning Case study of public areas in a hotel- Reception, Restaurant, Banquet and SPA(BOH and FOH)
Synthesize
Coneptually and contextually designed hotel Designing a hotel considering the immediate and cultural context of the Buddhist Monasteries
EXPLORE
SENSITIZE
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Physical Context
Phodang Rumtek
Enchey Hot Springs
Mountains
Sikkim is the second smallest and least populated state situated at the northeastern himalyan region of India sharing it’s border with Tibet, Nepal and Bhutan. The monasteries display the finesse of Tibetan Buddhist Architecture. The landscape is dotted with monasteries, snow-capped mountains, green valleys, beuatiful rivers, dense forest cover and hotspirngs.
Tsulakhang
Dubdi
Lingdum
Ralang
Temi Tea Gardens
Pemyangste
Tashiding
Kartok
Wildlife Sanctuaries
Group Name: Buddhist Monastic
Ngadak
Group Members: Anusha, Isha, Manav B.
It is essentially a mountainous region, but its relief is comparatively low. It hosts the famous Kanchendzonga. Stones like mica schist, hornblende garnet, quartzite are abundant in the state. The important rivers and their tributaries in the region are Rangit, Tista, Dong Khola, Manpur Khola, Rangpo-Chu, Bania Khola, etc. There are various hot springs along their banks. The region has a sub tropical and alpine climate offering occasional rainfall throughout the year. This offers a wide range of vegetation making agriculture the primamry occupation in the state. The forest cover mainly consists of trees like Sal, Oak, Cherry, Laurel and Chestnut.
Sikkim E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Cultural Background
Masks
Sikkim was established as a Buddhist pilgrimage site in the nineteenth century and it continues to be an important religious centre. Buddhism in Sikkim is not an austere, monastic order distanced from the common people. It has absorbed and accommodated existing local beliefs and practices.
Chaam Dance Attire
Singing bowls
Tibet
Festive Instruments
Nepal Tibet
Annual festivities like Pang Lhabsol are celebrated with a lot of zest and color in the monasteries.
Thangkas
Butter lamps Prayer wheels
Certain local monks or lamas are artisans by birth. Monasteries show these works of art through Torma, Mandalas, Thangkas and Wooden artefacts. Monks also practice making ceremonial paper mache masks for festivities.
West Bengal, India
Chaam and Mahakala dances are performed by the locals during these ceremonies. From the ubiquitous prayer flags, to small shrines and murals in different localities, to houses in traditional style – Buddhism and the crafts it supported, are a part of people’s everyday lives.
Bhutan
Lepcha Weaving Prayer Flags Traditional Jewellery
Group Name: Buddhist Monastic
Dorjee Bell Thunderbolt
Group Members: Anusha, Isha, Manav B.
Carpet Weaving
Sikkim E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Pemayangste Monastery
Floor Level Proportions
The monastery is divided in 3 portions along the x axis with the middle being 1.5 times the side. �t has two equal (height) floors and has an attic. The roof is divided into two equal portions along the y axis.
It is the second oldest monastery in Sikkim. The name Pemayangste translates to ‘perfect sublime lotus’.
Front view: Pemayangste Monastery
Window detail: Pemayangste Monastery
The Monastery is a three- stories structure with an asymmetrical plan. The structure has a nine column grid, supporting the floors and roof.
Floor level proportions 礀㐀
The ground floor usually is for religious activities and has the prayer hall. The first floor is a residential space for some monks. The important scriptures, idols, relics, etc are displayed in the attic like a museum of the buddhist teachings. Visitors do not have access to this area.
礀㐀 礀㐀 礀㈀ 礀㈀
砀㌀
⸀㔀砀㌀
礀㐀 礀㐀 礀㐀 礀㈀
倀爀愀礀攀爀 栀愀氀氀
Group Name: Buddhist Monastic
吀栀爀攀猀栀漀氀搀
Group Members: Anusha, Isha, Manav B.
砀
䜀刀伀唀一䐀 䘀䰀伀伀刀
䜀刀伀唀一䐀 䘀䰀伀伀刀
礀㘀
匀愀渀挀琀甀愀爀礀
䌀椀爀挀甀氀愀愀漀
砀㌀
䄀氀琀愀爀
匀愀渀挀琀甀愀爀礀
The monastery has a colored band on the second floor, leaving as much width above the band. The monastery is symmetric as seen in the divisions along the x axis. The roof is divided into two equal portions along the y axis and has a post on top with the same proportion.
倀爀椀渀挀椀瀀氀攀 漀昀 伀爀最愀渀椀猀愀愀漀渀 礀
Facade proportions
Threshold detail: Pemayangste Monastery
Facade Proportions
砀㈀
礀㈀ 礀㔀
砀㈀
⸀㈀㔀砀㈀
砀㈀
Window level proportions
⸀㈀㔀砀㈀
砀㈀
砀㈀
砀
Window Level Proportions
The monastery has 3 doors in the front, each the same width and height. The distance between the doors is symmetrical w.r.t. the building but not w.r.t. each door. The area above the threshold, has windows on the whole wall. There are also 3 small window to the attic, placed centrally. 䜀刀伀唀一䐀 䘀䰀伀伀刀
Sensitize
Pemayangste Monastery
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
䌀椀爀挀甀氀愀愀漀渀
倀爀椀渀挀椀瀀氀攀 漀昀 伀爀最愀渀椀猀愀愀漀渀 䄀氀琀愀爀
䜀刀伀唀一䐀 䘀䰀伀伀刀
匀愀渀挀琀甀愀爀礀
䜀刀伀唀一䐀 䘀䰀伀伀刀
匀愀渀挀琀甀愀爀礀
䜀刀伀唀一䐀 䘀䰀伀伀刀
吀栀爀攀猀栀漀氀搀
䜀刀伀唀一䐀 䘀䰀伀伀刀
䜀刀伀唀一䐀 䘀䰀伀伀刀
倀爀愀礀攀爀 栀愀氀氀
䰀䤀一䔀䄀刀 伀刀䜀䄀一䤀匀䄀吀䤀伀一
吀栀攀 洀漀渀愀猀琀攀爀礀 栀愀猀 愀渀 愀猀礀洀洀攀琀爀椀挀愀氀 瀀氀愀渀 漀渀 戀漀琀栀 ˻漀漀爀猀⸀
䈀刀䄀一䌀䠀䔀䐀 䌀䤀刀䌀唀䰀䄀吀䤀伀一
吀栀攀 愀猀礀洀洀攀琀爀椀挀愀氀 爀漀漀洀猀 瀀爀漀洀漀琀攀 愀 戀爀愀渀挀栀攀搀 挀椀挀甀氀愀愀漀渀 瀀愀愀攀爀渀⸀
䘀䤀刀匀吀 䘀䰀伀伀刀
䘀䤀刀匀吀 䘀䰀伀伀刀
䘀䤀刀匀吀 䘀䰀伀伀刀
匀愀渀最琀栀漀欀瀀愀氀爀椀
䘀䤀刀匀吀 䘀䰀伀伀刀
䘀䤀刀匀吀 䘀䰀伀伀刀
匀愀渀挀琀甀愀爀礀
一䄀吀唀刀䄀䰀 䰀䤀䜀䠀吀
䄀氀氀 琀栀攀 爀漀漀洀猀 栀愀瘀攀 眀椀搀攀 漀瀀攀渀椀渀最猀 琀漀 戀爀椀渀最 椀渀 氀椀最栀琀⸀
吀栀攀爀攀 愀爀攀 漀瀀攀渀椀渀最猀 漀渀 愀氀氀 琀栀攀 眀愀氀氀猀 昀愀挀椀氀椀琀愀愀渀最 瘀攀渀愀氀愀愀漀渀⸀
Pemayangste Monastery Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Enchey Monastery
礀㈀ 礀㈀
The literal meaning of Enchey Monastery is the ‘Solitary Monastery’.
Front view: Enchey Monastery
Roof view: Enchey Monastery
礀㈀
礀㐀
The Monastery is a symmetrical structure with a square plan. The structure has a four column grid, supporting the floors and roof. Architectural style is influenced by Chinese architectural principle of ‘Five crest or pinnacle’, meaning the roof is constructed in four levels. The corner rooms have individual roofs, and the main structure has a roof divided in 3 levels, threshold, room and attic.
礀㐀
砀㌀
Floor level proportions
㈀砀㌀
砀㌀
礀㈀ 礀㈀ 礀 礀㌀ 礀㌀ 礀㌀ 礀㌀ 礀㌀
䘀漀爀洀 攀砀瀀氀漀爀愀愀漀渀 䄀渀愀氀礀礀挀愀氀 搀椀愀最爀愀洀猀 ㈀砀㌀
砀㌀
礀㈀ 䄀氀琀愀爀
匀愀渀挀琀甀愀爀礀
礀 礀㌀ 礀㈀
倀爀愀礀攀爀 栀愀氀氀
匀愀渀挀琀甀愀爀礀
匀愀渀挀琀甀愀爀礀 吀栀爀攀猀栀漀氀搀
砀
砀
砀
砀㈀
砀
Window level proportions Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B. 匀愀渀挀琀甀愀爀礀
䄀氀琀愀爀
砀㈀
砀
砀
䜀刀伀唀一䐀 䘀䰀伀伀刀
礀㌀
䜀刀伀唀一䐀 䘀䰀伀伀刀
䜀刀伀唀一䐀 䘀䰀伀伀刀
Side view: Enchey Monastery
The monastery has a colored band on the second floor, dividing the floor into 3 parts. The third floor is divided in half by the color band. The monastery is symmetric as seen in the divisions along the x axis.
䌀椀爀挀甀氀愀礀漀渀
倀爀椀渀挀椀瀀氀攀 漀昀 伀爀最愀渀椀猀愀礀漀渀 Facade proportions 砀㌀
Facade Proportions
礀㐀
礀㈀
匀愀渀挀琀甀愀爀礀
The monastery is divided in 3 portions along the x axis with the middle being 2 times the side. It has two equal (height) floors, one floor 1.5 times the height of the other two and an attic. The roof is divided into four portions with equal heights along the y axis.
礀㐀
There are wooden staircases in the side corridors, providing access to the corner rooms.
匀瀀愀礀愀氀 爀攀氀愀礀漀渀猀栀椀瀀
Floor Level Proportions
砀
礀㈀ 礀㌀ 礀㈀ 礀㌀
Window Level Proportions
The monastery has 3 doors in the front (covered by clothin the threshold area). The distance between the doors is symmetrical w.r.t. the building and each door. The windows on either side are the same width, height and placement. The windows on the third floor also follow symmetry. 䜀刀伀唀一䐀 䘀䰀伀伀刀
Sensitize
Enchey Monastery
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh 匀愀渀挀琀甀愀爀礀
Sensitize
Exercise 2 Week 3 & 4
䘀漀爀洀 攀砀瀀氀漀爀愀愀漀渀 䄀渀愀氀礀礀挀愀氀 搀椀愀最爀愀洀猀
匀瀀愀礀愀氀 爀攀氀愀礀漀渀猀栀椀瀀 匀愀渀挀琀甀愀爀礀
䄀氀琀愀爀
倀爀椀渀挀椀瀀氀攀 漀昀 伀爀最愀渀椀猀愀礀漀渀
Assignment 3 Cultural Immersion
䌀椀爀挀甀氀愀礀漀渀
䰀椀最栀琀
嘀攀渀礀氀愀礀漀渀
匀愀渀挀琀甀愀爀礀
匀愀渀挀琀甀愀爀礀
䄀氀琀愀爀
䜀刀伀唀一䐀 䘀䰀伀伀刀
䜀刀伀唀一䐀 䘀䰀伀伀刀
吀栀爀攀猀栀漀氀搀
䜀刀伀唀一䐀 䘀䰀伀伀刀
匀愀渀挀琀甀愀爀礀
匀愀渀挀琀甀愀爀礀
䜀刀伀唀一䐀 䘀䰀伀伀刀
䜀刀伀唀一䐀 䘀䰀伀伀刀
倀爀愀礀攀爀 栀愀氀氀
匀愀渀挀琀甀愀爀礀
䰀䤀一䔀䄀刀 伀刀䜀䄀一䤀匀䄀吀䤀伀一
吀栀攀 洀漀渀愀猀琀攀爀礀 栀愀猀 愀 猀礀洀洀攀琀爀椀挀愀氀 瀀氀愀渀 漀渀 戀漀琀栀 ˻漀漀爀猀⸀
䈀刀䄀一䌀䠀䔀䐀 䌀䤀刀䌀唀䰀䄀吀䤀伀一
Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
一䄀吀唀刀䄀䰀 䰀䤀䜀䠀吀
吀栀攀 猀愀渀挀琀甀愀爀礀 爀漀漀洀猀 栀愀瘀攀 搀漀漀爀猀 漀渀 琀栀攀 猀椀搀攀 漀昀 琀栀攀 洀漀渀愀猀琀攀爀礀 眀栀椀氀攀 琀栀攀 瀀爀愀礀攀爀 栀愀氀氀 栀愀猀 ㌀ 攀渀琀爀愀渀挀攀猀 漀渀 琀栀攀 昀爀漀渀琀 猀椀搀攀⸀
匀漀甀爀挀攀㨀 吀栀攀猀椀猀 ᰠ䐀椀瘀椀渀攀 䐀攀瀀椀挀挀漀渀ᴠ 戀礀 䬀爀甀渀愀氀 倀愀琀攀氀
䘀䤀刀匀吀 䘀䰀伀伀刀
䘀䤀刀匀吀 䘀䰀伀伀刀
匀愀渀挀琀甀愀爀礀
䘀䤀刀匀吀 䘀䰀伀伀刀
匀愀渀挀琀甀愀爀礀
䘀䤀刀匀吀 䘀䰀伀伀刀
䘀䤀刀匀吀 䘀䰀伀伀刀
倀爀愀礀攀爀 栀愀氀氀
吀栀攀 猀愀渀挀琀甀愀爀礀 爀漀漀洀猀 栀愀瘀攀 洀漀爀攀 漀瀀攀渀椀渀最猀 琀栀愀渀 琀栀攀 洀愀椀渀 瀀爀愀礀攀爀 栀愀氀氀⸀ 吀栀攀猀攀 愀爀攀 猀洀愀氀氀 椀渀 猀椀稀攀Ⰰ 挀漀渀琀爀漀氀氀椀渀最 琀栀攀 愀洀漀甀渀琀 漀昀 氀椀最栀琀⸀
匀漀甀爀挀攀㨀 吀栀攀猀椀猀 ᰠ䐀椀瘀椀渀攀 䐀攀瀀椀挀挀漀渀ᴠ 戀礀 䬀爀甀渀愀氀 倀愀琀攀氀
吀栀攀 猀愀渀挀琀甀愀爀礀 爀漀漀洀猀 栀愀瘀攀 漀瀀攀渀椀渀最猀 漀渀 ㌀ 眀愀氀氀猀 琀漀 昀愀挀椀氀椀琀愀琀攀 瘀攀渀礀氀愀礀漀渀⸀ 吀栀攀 瀀爀愀礀攀爀 栀愀氀氀 栀愀猀 ㌀ 漀瀀攀渀椀渀最猀 漀渀 漀渀攀 眀愀氀氀 琀猀甀爀昀愀挀攀⸀
Enchey Monastery
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
䔀渀挀栀攀礀 䴀漀渀愀猀琀攀爀礀
Construccon Details
The construccon details consists of various elements like column beam junccon, roofing members, window detail, flooring joists and the truss structure.
C
Detail A- Window with respect to wall B D
The columns are arranged in a grid fashion supporcng the beam and span at equal distances in a square grid which then supports the subsequent floor slab. The base of the column rests on marble flooring slab. The capital has its shaped derived from the ornamented detail. The capital is connected to the bracket which then holds the horizontal beam. All the walls were previously constructed with stone masonery but aaer the earthquake refurbishment they have been reinforced with RCC and then plastered.
Detail B- Beams supporrng raaers A
Detail C- Roofing with respect to wall
Detail D- Window overhang extension
Construction Details
The construccon elements consists of sloping roofs supported with truss structure, roof aac space, horizontal and verccal flooring cmber joists, rcc floor slab, cmber staircase, cmber railings, balcony overhang, columns and beams.
Sloping roof
Aac window Sloping roof roofing members
C
Detail A- Column brackets
B Main columns
The wooden beam is not carved as it is load-bearing but is finishes in paints and other decoracves. The flooring joist then connect with the beam and run in different direccons as per the spanning distance gets divided.
A Balcony staircase
D
The columns are equidistant and rest on the square wooden base supporcng the brakcets and capital. The shaas slightly taper at the top of the column which then has bracket, capital and ornamented detail.
Balcony columns
Detail B- Beams supporrng raaers Timber joists
Side entrance
Earthfill
Detail C- Raaers and perlins
Detail D- Staircase for balcony
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Column and Beam Pemayangste Monastery
There are nine columns in the prayer hall with beams running parallel to the altar. This divides the space in sixteen squares. The column shaft tapers down at the top, forming the bracket base. Each surface of the shaft has three equidistant semicircular grooves. It is always finished in red paint. The column is supported on an elevated base; the material used for the base is flexible. The brackets follow perfect symmetry,in terms of size and ornamentation. The springing center of the bracket consists of important religious symbols like lotus, offering jewels, etc.
Bracket details
砀
㘀砀
礀
Junction of column and beam at threshold
㐀礀
Column Proportions
The column has a square base that slightly tapers towards the top. The bracket is 6 times the column width. Group Name: Buddhist Monastic
砀
Group Members: Anusha, Isha, Manav B.
Beam layer details
Pemayangste Monastery E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Column and beam
Enchey Monastery
Brcket details
Junction of column and beam at threshold
There are four columns in the monastery placed equidistantly forming a square grid. They divide the interior volume and dictate movement in the space. Resting on a square wooden base the columns spring up to connect the beam. The shaft tapers slightly at the top and consist of three equidistant concave grooves. The bracket is constructed using two wooden members but ornamented as a single entity. The prominent elements in the bracket are the symmetrical dragon figure and the three jewel-offering motifs inthe center. There are also motifs of flower, leafs, and clouds. The bracket capital supports the intersecting beams.
Column Proportions
The column has a square base that slightly tapers towards the top. The bracket is made in 2 parts. Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
Beam layer details
Enchey Monastery E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Pemayangste Monastery This windows is on the first floor of the monastery. It is rectangular and has three openings. The opening is a basic grill. The over hang extends further than the other window.
This window is on the ground floor of the monastery. The bracket is geometrical and shaped and not carved. There are two openings and the window is comparatively less ornate.
Enchey Monastery The window has a black border to break between the ornamentation and the plain white wall. There are carved brackets supporting the over hang. There are frames around the opening that are painted with floral patterns. The opening is very small in comparision.
Windows Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Doors
Pemayangste Monastery
There are two types of doors a main door to the prayer hall and side doors to the sanctuary rooms. The main door has more width than the side doors. It has an over hang supported by four ornate brackets. There are faces of deities drawn in the space between these brackets. Both the doors are made of plain wooden planks with brass handles. The layers formed by the door frames differ in ornamentation and appear different. The main door has dragons and floral patterns depicted while the side doors have more floral patterns.
Pemayangste Monastery Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Doors
Enchey Monastery
There are three doors in the monastery, a main door used by everyone and two identical doors alongside to be used by the monks. The main door has an over hang supported by four ornate brackets. The door frames are thick and have painted patterns. Both the doors are made of plain wooden planks with brass handles. The main difference is the bracket and the overhang. Both the doors have floral patterns, the main door has bunched patterns and the side doors have continuos patterns.
Enchey Monastery Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Finishes
1.
The exterior of monasteries is kept plain with a band of red color (Img: 2.) on the first floor to keep the evil at bay. The GI roof is colored yellow as a mark of respect (Img:5.). The openings and threshold are more ornate on the outside than on the inside, representing the change in the spiritual environment (Img: 1.,3.,
2.
4., 8., 9.).
9. 8.
7. 4.
There are eight base colors used white, black, blue, green, yellow, orange, red and gold. Earlier, these were extracted from mineral powders and used with natural glue binder. They have now adopted other mediums like oil paints, acrylic and synthetic colors.
3.
5. Group Name: Buddhist Monastic
Monasteries usually have stone and mud flooring on the ground floor and timber planks on higher floors. The interior has a display of vibrant colors on all surfaces, depicting deities or auspicious symbols (Img: 6., 7.). These wall paintings break the monotonousness of nature in the dimly lit chambers.
6.
Group Members: Anusha, Isha, Manav B.
Finishes E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Mandalas
Mandalas
Intricate mandalas are made as a part of rituals. It is also called ‘magic cirlce’, a medium of transmitting positive vibes and energy. They are painted on the ceiling of the prayer hall for this reason. Their is usually a deity in the center surrounded by auspicious symbols and geometric patterns in a square layout. The mandala is sketched in charcoal and then colored with mineral pigments, dried vegetable powder, etc. Precious stones like ruby, turqoise, etc. are also used to decorate. After the ritual, the powder is carefully collected and used later for holy purposes.
Thangkas
Thangkas
These paintings are done on handmade paper or cloth and then stuck onto a silk cloth. The cloth usually has embrodery patterns and enhances the painting attached to the middle. The composition depicts deities along with nature symbols or sacred texts. These scrolls are hung on columns in the prayer hall as they are considered sacred and worshiped to bring blessings and happiness. The paintings follow specific proportions and are colored in acrylic colors, oil paints or natural dyes.
Group Name: Buddhist Monastic
Finishes Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Murals
Murals
There are five wisdom Buddhas and various other deities like Mahakala, Avaloketeshwara, Tara, Manjushri, etc. These deities depict various expressions of wrath and peace filled with vibrant colors. The characters are the centre of the wall painting forming a narrative with the help of auspicious symbols, religious motifs and landscape elements.
Symbols
Symbols
According to Buddhist religion there are eight auspicious symbols that were a gift to Buddha Sakyamuni from gods after he attained anlightenment. These symbols are a treasure vase, a parasol, a pair of golden fishes, a lotus, a conch shell, a victory banner, a golden wheel and an endless knot. Vajra, a club with ribbed round head, is another such symbol. It is the weapon of Indra, the god of rain and thunder and symbolises union of powers.
Geometric Patterns
Geometric Patterns
Group Name: Buddhist Monastic
Geometric borders and patterns are depicted as ornamentation in the local workmanship. A lot of these designs are derived from the swastika, key, bunch, wave and parchment/ scroll patterns. The endless knot and various celtic knot designs are especially used in the borders of thangka scroll paintings.
Finishes Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Kirtimukha Pattern
3’ - 0”
Wall Composition
Mural painting
Vajra and Dorje Red Natural Dye Paint
3 1/2’
Img 1: Bands of colour in Front facade
1’-0”
Img 5: Rhythm followed by Kirtimukha pattern(Top band)
Img 3: Composition of wall 2X
Img 6: Rhythm followed by dorje-vajra pattern(bottom band)
Img 2: Bands of colour in Back facade
X X X
Img 4: Colour division of wall
Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
Img 7: Colour scheme used in monastery
On the exterior, there are bands of red and black colour to break the monotany of the white paint. The vibrant and ornate windows and doors are enhanced by a thick black border. Interiors of the monastery is enriched with mural paintings. The walls are divided into four sectionskirtimukha pattern, mural painting, dorje and vajra pattern, red paint (top to bottom). The topmost Kirtimukhi pattern which is equally divided into two parts, one is painted in red and another in green. There is a series of jewels and garlands. The pattern is repeated at equal intervals by alternating the one full part which forms a rhythm in the whole composition (Img 3). The dorje and vajra pattern in the bottom band is made of green, red and blue colour. This pattern is repetative in itself and forms a symetric composition through out the room. These divisions were designed in a way that the cone of vision has the main mural narrative. It is framed on top and bottom with patterns and to increase the readability.
Pemayangste Monastery
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
2’ - 0”
Wall Composition
Silk Banner
Mural 25X25 mm wooden frame Blue, yellow colour band Bottom band
Mural Painting
Img 5: Wooden frame detail
Img 1: Bands of colour in Front facade
Img 3: Composition of wall
3 ’- 0”
Red Natural Dye Paint
8X 8X
Img 6: STraditional Silk banner detail
Img 2: Bands of colour in Back facade
X X
Img 4: Colour division of wall
Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
Img 7: Colour scheme used in monastery
On the exterior there are bands of red and black colour to break the monotany of the white paint. The thick black border around the windows and doors has an angular shape to make it look bigger. The interior walls are divided into four sections- Traditional silk banner, mural painting, three band of colours, red paint (top to bottom). The Topmost silk banners are hung in way that it is equally divided in vertically and horizontal axis. Vertically divided into two banners of red and green colour, and horizontally it achieves equidistant vertical lines that break the flat colours(Img 3). The mural painting is framed in a wooden frame of 25mm to enhance the painting. Below the frames are bands of blue and yellow colour to enhance the framing. These divisions were designed to keep the murals in direct cone of vision of the viewer. The background is done in green and blue which balances out the more vibrant foreground colours. This balance ties the whole composition of various deitied together as a narrative.
Enchey Monastery
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Furniture
Altar Tables Seaang
Seaang
The column placement guides the furniture placement in the hall. The furniture placement leads to formation of three bays. The placement is linear in nature but the typology of furniture changes within a series of furniture placed in a line as the social heirarchy of the lama changes. The higher lama seating is always aligned to the left and the subsequent lower ones to the right. The furniture for higher lamas are ornamented and decorated with silk fabrics and handmande tibetian rugs. The lower lamas have less ornamenation in the furniture, and also the height varies. To show superiority the height of furniture also varies, the backrest seats are provided only to the higher lamas. The student seats are usually non-ornamented simple benches with reading space having some storage inside them. The altar has wide tables surrounding them which are the offering tables and are used to keep the essentials like the instruments or butterlamps on them.
Higher lama Oering Tables Lower lama Students
Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
Pemayangste Monastery
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Furniture The column grid leads to the linear furniture layout with a central bay for circulation. The furniture near the altar is reserved for the higher lamas and as the distance increases the post of lama seating there decreases. The difference in social heirarchy is visible by the typology of furniture being provided to them. Higher the lama, more ornamented and furnished with silk cloth or rugs will be seen, but a lower lama is being provided with simple table chairs and the students just with a seat and storage inside them. The altar being a special part of monastery, there are several offering tables surrounding it to to cater the needs of functioning. The tormas, butterlamps and prasads are kept on these offering tables.
Altar Tables Seaang
Seaang
Higher lama Oering Tables Lower lama Students
Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
Enchey Monastery
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Choktse Table
There are repetitive floral carvings on the edge of the table.
Foldable legs
These tables are used in household and monasteries depending on the amount of ornamentation. It is a foldable table with one side open. It is made in a 2:1 proportion so that the sides can fold behind the front elevation. The table top attaches to the legs like a lid. Structurally the table has four square wooden legs and the infills on three sides are either painted or carved for aesthetic purposes. The wooden panels are carved separately and assembled with the legs right before the finishing. The carved table is finished with a coat of primer and then painted. There is a base color applied first, often red, and then the details in are added in gold.
Elevation
Proportion
Exploded axo Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
Furniture E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Altar
Altar
It places deities on a higher platform, a place where the deities can reside. There are many variations based on the number of dieties and the amount carvings on it. The lower cabinet has lucky motifs inscribed on each drawer. The lower half acts as a storage unit and above it is a highly decorative and carved module to keep the diety.
Moorah
Moorah
Cane and bamboo are used majorly in the furniture. Moorah is a seating element which is lightweight and comfortable. The circular base and seat is made from bamboo. In vertical support, bamboo sticks are used in elliptical path forming an interesting pattern and providing strength. The seat is weaved with cane and forms a checkered pattern over it.
Coffee Table
Coffee table
It is a low heighted table generally used at homes in sikkim. This table has a one piece wooden leg, which has been carved and sanded into a soft curve. The table is made in three parts - the table top, carved plates and legs.
Group Name: Buddhist Monastic
Furniture Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Sensitize
Exercise 2 Week 3 & 4
Assignment 3 Cultural Immersion
Bhutia community
Lepcha community
They are the oldest artisans of carpet and handlooms. The weave is done on a fixed vertical loom made of wood or iron with hand-knotting. The warp - taan of the carpet is cotton and is mounted on the upper beams while the woven fabric is wound to the lower beam. When a motif or a new colour is introduced, The ground colour is cut and the new coloured thread is inserted by twisting into a single warp thread and looping.The loops are cut with a knife to create a pile. The design is first drawn on a graph paper and then translated in the weaving process. The patterns are stylised floral motifs, the lucky symbols, geometrical design and dragons. The overall effect of carpet is a single, bold and powerful design. Besides regular capret, they design asanas which are small square bedside carpets to sit on.
Sikkim is famous for their Lepcha handlooms. Earlier, the weavers would use yarn spun out of stinging nettle (sisnu) plant to weave clothes.Today, cotton yarn is the basic material where as the woolen yarn is used for the motifs. Lepchas also rear their own sheep for wool. The yarn is dyed and dried for at least a week before being put on loom. The colours are mainly white, black, red, yellow and green etc. The weave or ‘thara’ is done on a vertical loin-loom with a backstrap to hold the loom in place. The fabric produced from this loom is smaller in in width. Nearly all types of weaves can be woven in the loin loom. Thecloth woven by the women is used for women’s traditional coat material. Traditional design with different colours are used to make tharas which are used for making bedspreads, bags, belts, curtains, cushion covers, table mats, tray cloths etc, apart from their traditional dress.
Furnishings Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Lepcha woven fabric.
Exercise 2 Week 3 & 4
Lepcha coat.
Jya-jya coat.
Kochen, Tanga pattern.
Bhutia attire.
Tanga pattern.
Bhutia woolen carpet, rectangle.
Assignment 3 Cultural Immersion
Lepcha attire.
Curtain
Lepcha rug and cushions.
Local curtain, cotton.
Lepcha table cloth and napkins.
Silk curtain.
Monastery entrance.
Bhutia Carpets
Silk Coat
Lepcha Fabric
Sensitize
Group Name: Buddhist Monastic
Group Members: Anusha, Isha, Manav B.
Square carpet, Aasan.
Bhutia woolen rugs.
Furnishings
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Exercise 2 Week 3 & 4
Chukhor
Chukhor Victory banners are one of the eight lucky symbols in Buddhism. They are cylindrical in shape with the upper cylinder depicting offerings. The hanging layers of silk cloth are shaped like a downward arrow and have a tassel attached to it.
Torma
Torma Tormas are considered to be symbolic sculptures representing the guarding deities. Usually made from butter or ghee they may be short term or long term additions. Being significant elements of ritualistic offering in monastic prayers they are present inside the prayer hall. Offering Bowls There are seven bowls symbolising seven teachings of Buddhism. The bowls are generally made out of brass, bronze or silver and ornamented with gold and silver inlay work. Used in daily rituals, they are arranged on a separate table placed in front of the altar.
Offering bowls Group Name: Buddhist Monastic
Assignment 3 Cultural Immersion
Prayer Flags Prayer flags are meant to spread the prayers in the air for the general goodwill of everyone. The fluttering flags create a welcoming atmosphere in the state. They are found in houses, tourist locations, roadside cafes.
Prayer Flags
Sensitize
Accessories Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Exercise 2 Week 3 & 4
Damru Masks
Masks Face masks of different god and goddesses are made and worn by people during festivals, religious ceremonies, and dances. These depict serene, partly angry or animal expressions. They are also used as wall hangings. Wooden masks are carved out of tough light-wood known as ‘Zaru Shing’ (Zaru wood). Singing Bowls These bowls are metallic made of mixed metals. They sometimes have mantras engraved on them. They come with a wooden stick that produces a sound when moved along the rim of the bowl. The sound leads to a crescendo.
Singing bowls Group Name: Buddhist Monastic
Assignment 3 Cultural Immersion
Prayer Wheels There are small cylindrical boxes attached to a holding stick and with a beaded thread hanging from it. Usually, the cylinders are carved in metal. There are prayer scrolls that are kept inside the cylinder. That are supposed to send good energy into the air when the wheel is rotated. Damru It is a two-headed drum with beads attached to the center that hit the drum when shaken. The small bead hanging from the hourglass-shaped instrument goes back and forth on both surfaces at the rhythm with which your wrist moves.
Prayer Wheels
Sensitize
Accessories Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Exercise 2 Week 3 & 4
Butter Lamps
Butter Lamps They are lamps made of silver or bronze with wider hinged lid, elevated with support and a base. They are ornamented with floral petals representing lotus. It is believed to dispel the darkness of our own ignorance, giving rise to clarity and wisdom. Traditionally, it is also dedication to the dead in order to guide them.
Cymbals
Cymbals It is a pair of plates with a depression in the center. They have a cloth handle on the outside for better grip. They are used to play different melodies by clashing, rolling, rotating and muting techniques. They ae kept in fabric casings.
Longhorn It is a trumpet that measures twelve feet in length and is generally played in pairs. For portability they are designed in five to six section that slide within each other. As they occupy a comparatively large space they are placed at the side bays and never at the central bay.
Longhorn Group Name: Buddhist Monastic
Assignment 3 Cultural Immersion
Dorjee Bells It is a brass club with ribbed round head. It is the weapon of Indra, the god of rain and thunder and symbolises union of powers.
Dorjee Bells
Sensitize
Accessories
Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Exercise 2 Week 3 & 4
Standing Drums
Standing �rums There are two basic types of drums, one with a base wooden pedestal and the other fixed in a wooden frame. These drums are beaten with wooden sickle shaped stick with a handle and its top tightly wrapped with fabric.
Bhumba
Bhumba It is a metal container to store water during rituals. It is a flask shaped jar with an ornamente handle and spout. It is covered with a metal cap with peacock feather at the tip. Often placed at the altar, offering table or at the table of the higher lama. Conch Shells It represents religious sovereignty and the Buddha teachings of dharma. It is ornamented with brass foil inlay work attached with a brocade fabric flap or sometimes symbols carved directly on the shell body. Its fundamental classification is by the spiral scales on the shell body.
Conch Shells Group Name: Buddhist Monastic
Assignment 3 Cultural Immersion
Shehnai It is made from hardwood and decorated with gilded copper. It has a bell shaped trumpet mouth and a small mouth pipe on the opposite end.
Shehnai
Sensitize
Accessories Group Members: Anusha, Isha, Manav B.
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
ANALYSE
SYNTHESIZE
Synthesize
Exercise 4 Week 7 - 10
Assignment 5 Conceptual sketch
Conceptual Artwork- ‘Duality of a tree and human’ The concept revolves around the ideology of a relationship formed between a human and a tree. A tree being a filtrant unit of impure carbon dioxide and providing clear, clean and healthy oxygen to humanity is a very kind approach to the life cycle chain. A tree being a universal donor silently gives shelter, food, and energy to the human without taking anything in return. Similarly, the hotel will be based on common grounds connecting the basis of thematic values in a spiritual realm. Also, the black and white theme has evolved from the idea of activated carbon or a charcoal which filters the dirt, and absorbs all the harmful ingredients in a solution. This is a direct relationship in dissolving the human egos coming from different places and environments inside a common platform of hospitality to relax and achieve peace. The hotel will have a similar vibe of absorbing individual people’s thoughts, accomodating their varied and diverse lifestyles and providing them a unified atmosphere of love, compassion and joy. Other supporting elements like fengshui, yin-yan, reiki and many more will act as boosters to help develop the concept further. Some interlinking elements displayed like the atom bonding supports the concept by linking the relationship formed by chemical bonding or atomic theories of joining of two or more atoms forming a compound. Since the bond formed by the guests is mutual and interdependent a chemical bonding in order to serve a fruitful service is must. The people coming to the hotel will psychologically explore varied methods to be at tranquil, peace and serenity. The busy street or citylife will be easily forgotten and they will have a very spiritual experience connecting emotionally and intellectually into the provided context.
Name: Manav Budhani
Roll No.: UI4217
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Synthesize
Exercise 4 Week 7 - 10
Assignment 5 Conceptual sketch
Conceptual Artwork- ‘Duality of a tree and human’ 1. What are the factors that will impact or influence the concept?
Some of the factors like urban dense neighbourhood, slopy roads to reach the hotel, a lot of hotels in proximity, the local significance, the tourism industry and the buddhist monastries with respect to all of them will be majorly affecting the concept. Integrating them into the evolution of the concept will truly translate contextual application by doing justice to the hotel and the visitors coming.
2. What role does the context play in developing the concept? The context rationally supports the concept to develop in detail by having the tree as the hotel and the visitors as the person in relation to it. The tree being an energy source invites the visitors to intellectually connect and spiritually purify their souls by dissoving their egos in the process of immmediate exchange of thoughts, emotions, ideas and expressions. The context of the Namnung Junction with beautiful mountaineous views, buddhist monastries, densely packed streets, level difference in the front and back entry, inclined roadways and the subtle weather narrates the concept of the hotel to spread like a tree in order to be seen from far off locations, accomodate different functions growing and spreading itself bridging the different levels. 3. How do you consider the context? The context of the sikkimese or buddhist monastic architecture will narrate the hotel to adapt itself into the immediate underlying context dwelving itself into the roots of cultural significance. The roots of the hotel will act like an art museum where a person will get to exprience all the buddhist artworks, paintings artefacts and antiques representing the heritage. Further the spaces will be having spritually connecting back of the house services in the middle like the branches and the rooms at the top like the leaves, spreading themselves like the foilage of a tree. 4. How does one integrate contextual references in the concept? The art museum at the lower level will facilitate the contextual refrences very inately thereby integrating all the rich buddhist significance in a very subtle blend of spiritual and modern style. Name: Manav Budhani
Roll No.: UI4217
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
Synthesize
Exercise 4 Week 7 - 10
Assignment 5 Brand Concepts
‘Mercedes’ tagline-DIP(Dissect, Identify, Present) The current Mercedes-Benz slogan is “The best or nothing”. This phrase helps represent what Mercedes-Benz as a brand stands for. It means the highest engineering standards are followed to build the brand. The tagline exemplifes the brand’s long-standing core values of “perfection, fascination, and responsibility”. The Mercedes car is the best performance vehicle in the world ever created for the consumer because there is no compromise in its production. The company promises to deliver “the best or nothing” through everything they do and also vows to be the best in every aspect of its vehicles which includes innovation, performance, design, safety and environment. They key ideas behind these characteristics are: Innovation: Mercedes-Benz never stops developing new ways to realize the potential of the road head. Performance: As a brand, Mercedes-Benz unites all facets of performance to engineer something you can’t get from a spec sheet. Design: Mercedes-Benz combines artistry and engineering to develop vehicles that are visionary from the tip to the tail end. Safety: Mercedes-Benz continues each year to create technology that helps protect from and prevent collisions. Environment: As a company, Mercedes-Benz respects the planet and knows the impact the automotive industry has on it, for that and many other reasons, they work hard to reduce their negative impact on the environment.
Name: Manav Budhani
Roll No.: UI4217
E2/W3-4 Tutor: Prashant Pradhan, Co-tutor: Bharat P, TA: Jaydev Parikh
THANK YOU!