Prateek Rath Thesis Book by Prateek Rath

UNTEMPLE

Prateek Rath

Bachelor of Architecture May 2018

UNTEMPLE A thesis presented to the Faculty of the Department of Architecture, Cornell University in partial fulfillment of the requirements for the Degree of Bachelor of Architecture.

Prateek Rath B.ARCH May 2018

Ithaca, New York Advisors: Lily Chi Katharina Kral

ACKNOWLEDGEMENT

To my advisors Lily Chi and Katharina Kral, whose advice, guidance, and insights helped make this thesis project possible. It was a privilege to learn from and work with both of you. To my parents, who provided me with utmost support, encouragement, and motivation throughout the semester and the past five years. Thank you for believing in me and inspiring me to follow my dreams. To my amazing friends and family, for being patient with me and helping me in every possible way. This largely rewarding and enriching experience would not have been possible without your presence in the journey.

CONTENTS

INTRODUCTION

2. RESEARCH

3. ANALYSIS

4. INTERPRETATION

MAPPING THE CITY

113

GENERATIVE DESIGN PROCESS

139

MATERIAL EXPLORATIONS

171

8. DESIGN SOLUTION 183 9. BIBLIOGRAPHY 223

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INTRODUCTION

INDIA

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ODISHA

BHUBANESWAR

BACKGROUND

In India, there is a “City of Temples”, in which the vocabulary of architecture is deeply embedded in its context, region and traditions. The city in consideration is Bhubaneswar, located in the state of Odisha. Having a deep heritage of architecture with temples from different centuries, the city is the perfect convergence of religions and beliefs. However, the city is facing rapid urbanization, modular modernization and dispersed modular settlements, resulting in loss of identity. Like many other Indian cities, the city is on its way to become a “smart city”.

Introduction

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PROBLEM STATEMENT

In the approach of the Smart Cities Mission in India, the objective is to promote cities that provide core infrastructure and give a decent quality of life to its citizens, a clean and sustainable environment and application of ‘Smart’ Solutions. The focus is on sustainable and inclusive development and the idea is to look at compact areas, creating a replicable model which will act like a light house to other aspiring cities. This is the problem, since every state and city in India has a different culture, history, and tradition. While they are united as a country, every region in India is so different that there has to be a localized and contextual approach to the smart city mission, unlike the “replicable model” idea which is being pursued by the government. With a focus on the cities in a macro as well as a micro level, the solution would be to investigate the carriers of intelligence embedded in every city.

Introduction

BHUBANESWAR “City of temples”

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THESIS STATEMENT

The thesis attempts to re-imagine the traditional Indian temple complex, analyzing its conception historically and interpreting it in the contemporary urban context. Critiquing the idea of modern smart cities by investigating temple complexes as alternative models of intelligence embedded in the city, the goal is to generate integrated spaces to realize a future for the past, while translating these complexes to unite context and traditions. With every developing Indian city trying to become â&#x20AC;&#x153;smartâ&#x20AC;?, it is worth investigating the implications of these aspirations from an urban standpoint. By investigating the relationship between the Temple City and its smart mission, the attempt will be to expose and develop a specific regionalism embedded in Bhubanswar, while addressing a more global system of physical, social, ecological, and cultural synergies.

Introduction

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CRITICAL POSITION

The smartness of the city would emerge and evolve from the historic public temple and will be used to unite context, history, culture, traditions, and new technology, juxtaposing the cultural past of the city, and its technological future spatially, phenomenologically, and metaphorically. Temples have always been multifarious spiritual cores designed as an amalgamation of spaces that were mostly public, and historically extended to and influenced their surroundings, including and becoming outdoor plazas, performance spaces, exhibition centers, educational institutions and even commercial hubs. This contemporary interpretation of the temple takes a localized approach to the Smart City Mission, creating models of inhabitation in Bhubaneswarâ&#x20AC;&#x2122;s Town Center District, which facilitate commerce, and include spaces for recreation, education hubs and other public spaces interconnected with the Temple City.

Introduction

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RESEARCH

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BHUBANESWAR

Known as the “Temple City of India”, Bhubaneswar has a unique position by virtue of the ability to seamlessly integrate its rich cultural heritage with a strong regional economic base. Founded during the Kalinga empire over 3,000 years ago, Bhubaneswar today boasts of a cluster of magnificent temples, constituting a complete record of Odisha temple architecture from its early beginnings to its culmination. Post-Independence, the modern city of Bhubaneswar, designed by German architect Otto Konigsberger in 1946, was established to shape the city in serving as an administrative center for the state. Today, the city is an emerging hub for education, health, and information technology. The word Bhubaneswar in its literal sense means the ‘God’s World’, which highlights the walk down centuries of temple architecture. The capital city of Odisha, Bhubaneswar has many ancient temples that are renowned for their architectural finesse and artistic beauty. It is the place where the temple building activities of the Orissan style flowered from its very inception to its fullest culmination extending over a period of over one thousand years. Bhubaneshwar, the ‘city of temples’, named after Tribhuvaneswar, ‘Lord of Three Worlds’, still preserves over 500 of India’s finest temples, around which the religious life of the city revolves. Research

47.1 %

1 .2 % 17

[ 460,643 ]

Youth under Y 18 years

[ 516, 632 ]

Senior Citizen 60+ years

974, 000 52.9 %

19 [2

8.13%

1..9M

nnual Tourist Flow

Protected Monuments

Total Parks

19 %

Recreational Space

Annual Events

Forest Cover

36 %

67 PPH

355, 000 Slum Dwellers

Population Density

P E O P L E

72%

19 [4

20 [6

Increase in Population

Traffic Congestion

20 [8

90m

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6 60m 0m

45m

30m

41km 15km 5km

7km

24m

18m

12m

9m & Below

25km

146km

203km

623km

60% crease Area

50 %

16 %

Public Transport

G R O W T H

SMART CITY - BHUBANESWAR

The objective of being a smart city is to promote cities that provide core infrastructure and give a decent quality of life to its citizens, a clean and sustainable environment and application of â&#x20AC;&#x2DC;Smartâ&#x20AC;&#x2122; Solutions. The focus is on sustainable and inclusive development and the idea is to look at compact areas, create a replicable model which will act like a light house to other aspiring cities. The core infrastructure elements in a smart city would include: i. ii. iii. iv. v. vi. vii. viii. ix. x.

adequate water supply, assured electricity supply, sanitation, including solid waste management, efficient urban mobility and public transport, affordable housing, especially for the poor, robust IT connectivity and digitalization, good governance, especially e-Governance and citizen participation, sustainable environment, safety and security of citizens, particularly women, children, and the elderly, and health and education.

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EVOLUTION OF BHUBANESWAR

11TH CENTURY

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15TH CENTURY

18TH CENTURY

20TH CENTURY

21ST CENTURY

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CULTURE IN THE CITY Traditional Indian culture, in its overall thrust towards the spiritual, promotes moral values and the attitudes of generosity, simplicity and frugality. Some of the striking features of Indian culture that pervade its numerous castes, tribes, ethnic groups and religious groups and sects are as follows 1. A Cosmic Vision The framework of Indian culture places human beings within a conception of the universe as a divine creation. It is not anthropo-centric (human-centric) only and considers all elements of creation, both living and non-living, as manifestations of the divine. Therefore, it respects Godâ&#x20AC;&#x2122;s design and promotes the ideal of co-existence. This vision thus, synthesizes human beings, nature, and God into one integral whole. This is reflected in the idea of satyam-shivam-sundaram. 2. Sense of Harmony Indian philosophy and culture tries to achieve an innate harmony and order, and this is extended to the entire cosmos. Indian culture assumes that natural cosmic order inherent in nature is the foundation of moral and social order. Inner harmony is supposed to be the foundation of outer harmony. External order and beauty will naturally follow from inner harmony. Indian culture balances and seeks to synthesize the material and the spiritual, as aptly illustrated by the concept of purushartha. 3.Tolerance An important characteristic of Indian culture is tolerance. In India, tolerance and liberalism is found for all religions, castes, communities, etc. Many foreign cultures invaded India and Indian society gave every culture the opportunity of prospering. Indian society accepted and respected Shaka, Huna, Shithiyan, Muslim, Christian, Sikh, Jain, Buddhist cultures. The feeling of tolerance towards all religions is a wonderful characteristic of Indian society. 4. Continuity and Stability The principles of Indian culture are today also that much in practice, as they were initially. A special characteristic of Indian culture is â&#x20AC;&#x201C; its continuous flow. Since, Indian culture is based on 8 values, so itâ&#x20AC;&#x2122;s development is continuous. Many centuries passed by, many changes occurred, many foreign invaders were faced, but the light of Indian culture today also is continuously glowing. The situations and government could not remove them completely. The stability of Indian culture is unique within itself, even today. Indian culture has always favored change within continuity. It is in favor of gradual change or reform. It does not favor abrupt or instant change. Therefore, most changes in thought have come in the form of commentaries and interpretation and not in the form of original systems of thought. In matters of behavior also synthesis of old and new is preferred over replacement of old by the new. 26

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5. Adaptability Adaptability has a great contribution in making Indian culture immortal. Adaptability is the process of changing according to time, place, and period. It is an essential element of longevity of any culture. Indian culture has a unique property of adjustment, as a result of which, it is maintained till today. Indian family, caste, religion, and institutions have changed themselves with time. Due to adaptability and co-ordination of Indian culture, its continuity, utility, and activity is still present. 6. Receptivity Receptivity is an important characteristic of Indian culture. Indian culture has always accepted the good of the invading cultures. Indian culture is like an ocean, in which many rivers come and meet. In the same way all castes succumbed to the Indian culture and very rapidly they dissolved in the Hindutva. Indian culture has always adjusted with other cultures its ability to maintain unity amongst the diversities of all is the best. The reliability, which developed in this culture due to this receptivity, is a boon for this world and is appreciated by all. 7. Spirituality Spirituality is the soul of Indian culture. Here the existence of soul is accepted. Therefore, the ultimate aim of man is not physical comforts but is self-realization. 8. Religious Dominance Religion has a central place in Indian culture. Vedas, Upanishads, Purana, Mahabharata, Gita, Agama, Tripitak, Quran and Bible affect the people of Indian culture. These books have developed optimism, theism, sacrifice, penance, restraints, good conduct, truthfulness, compassion, authenticity, friendliness, forgiveness, etc. 9. Karma and Reincarnation The concept of Karma (action) and Reincarnation have special importance in Indian culture. It is believed that one gains virtue during good action and takes birth in higher order in his next birth and spends a comfortable life. The one doing bad action takes birth in lower order in his next birth and suffers pain and leads a miserable life. Upanishads say that the Principle of fruits of action is correct. A man gets the fruits as per the action he does. Therefore, man needs to modify his actions, so as to improve the next birth also. Continuously performing good actions in all his birth, he will get salvation, i.e. will be liberated from the cycle of birth and death.

Research

THE DIFFERENT FORMS OF TEMPLE COMPLEXES

VITHALASWAMI TEMPLE, HAMPI 28

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BRIHADEESWARA TEMPLE, THANJAVUR

KANDARIYA MAHADEV TEMPLE, KHAJURAHO

KESHAVA TEMPLE, SOMNATHPUR Research

LAKSHMANA TEMPLE, KHAJURAHO 30

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VIRUPAKSHA TEMPLE, PATTADAKAL

MEENAKSHI SUDERESHWARA TEMPLE, MADURAI

LINGARAJA TEMPLE, BHUBANESHWAR Research

DEVELOPMENT OF THE PLAN OF HINDU TEMPLE

PARVATI TEMPLE, NACHNA 6TH C.

VISHNU TEMPLE, DEOGARH 7TH C.

SURYA TEMPLE, MODHERA 11TH C.

KANDARYA MAHADEV TEMPLE, KHAJURAHO 11TH C. 32

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DEVELOPMENT OF THE SHIKHARA OF HINDU TEMPLE IN PLAN

ADINATH TEMPLE, KHAJURAHO 9TH C.

PARASWANATHA TEMPLE, KHAJURAHO 9TH C.

KANDARYA MAHADEV TEMPLE, KHAJURAHO 11TH C. Research

PART TO WHOLE RELATIONSHIP: REPETITION OF TOWERS AND THEIR ELEMENTS IN THE SHIKHARA CREATING CONTINUOUS UPWARD EYE MOVEMENT

PEAKS OF ALL SELF SIMILAR TOWERS FOLLOW THE GOLDEN RATIO

PART TO WHOLE RELATIONSHIP: DEVELOPMENT OF SHIKHARA THROUGH SCALAR REPETITION

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EVOLUTION OF THE PLAN AND SHIKHARA FROM THE VASTU PURUSHA MANDALA

PLAN OF SHIKHARA: DEVELOPMENT OF THE MUTIPRATITI SHIKHARA OF KANDARIYA MAHADEV TEMPLE FROM UNIPRATITI BY THE PROCESS OF ITERATION PLAN OF SHIKHARA: DEVELOPMENT OF THE MUTIPRATITI SHIKHARA OF KANDARIYA MAHADEV TEMPLE FROM UNIPRATITI BY THE PROCESS OF ITERATION

DEVELOPMENT OF MULTIPRATITI SHIKHARA AS THE MULTI-SQUARE PRISMS FROM A SINGLE SQUARE PRISM BY REPEATING THE SMALLER SCALED SELF SIMILAR PRISM OUTWARDS DEVELOPMENT OF MULTIPRATITI SHIKHARA AS THE MULTI-SQUARE PRISMS FROM A SINGLE

Research

THE DIFFERENT COMPONENTS OF A TYPICAL TEMPLE COMPLEX

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A TYPICAL TEMPLE SCHEME

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AXIS DETERMINED BY CARDINAL DIRECTIONS

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INCREASING DEGREE OF ENCLOSURE, DECREASING INTENSITY OF LIGHT, AND INTIMACY OF SCALE AND SPACE

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ASCENDING PLINTHS

RISING SHIKHARAS

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DISPARATE VISUAL AND PHYSICAL AXIS

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MOVEMENT PATH AS DERIVATIVE OF PERSONAL AND INTUITIVE EXPERIENCE

DRAWING THE DIFFERENT COMPONENTS COMPRISING A TYPICAL TEMPLE COMPLEX

GARBHAGRIHA: WOMB CHAMBER

MANDAPA: PORCH / PAVILION

GOPURAM: GATEWAY

Research

ARCHITECTONICS OF TEMPLE COMPLEXES

The Hindu Temple is scientific as much as it is religious. Understanding the Hindu Temple will lead to the realisation that, the Hindu Temple has a traditional method for planning and construction. Throughout time sacred monuments have provided spaces to facilitate a dialogue between man and God. The simplicity and the functional character of the monuments as well as the deliberate arrangement of architectural elements helped to create a holy atmosphere through the manipulation of light. Techniques such as light reflected from the walls creating mysterious shadows, subdued light filtering through the openings, light used as a focal point, etc, were some of the ways that natural light was used to represent itself as a fundamental connection to god. Thus, natural light was used as an important part of religious symbolism.

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VIRUPAKSHA TEMPLE

DURGA TEMPLE

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LINGARAJ TEMPLE

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SHORE TEMPLE

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USES OF A TEMPLE COMPLEX

The central shrine, a dark chamber is called the garbhagriha or the house of the womb, germ or embryo. The stone statue or emblem of the main deity of the temple is in this innermost cell, and behind or beside this chamber there may be a second chamber to house the consort of the deity. Above the central shrine rises the main tower of the temple and it is called the sikhara (summit) and has a stupi (finial) on the top. The word vimana (well measured, well proportioned) is also applied to the tower above it, but is used also to designate both the central shrine and the tower above it or the entire temple itself. The door of the garbhagriha opens mostly. to the east and into another rectangular chamber called the antarala or vestibule. This in turn opens into a pillared hall called the mandapa, which is where worshippers gather. Entrance to this hall is through a smaller pillared porch known as the ardhamandapa or half mandapa. If there is a transept on either side of the central hall the whole is called a mahamandapa. An ambulatory passageway around the sanctuary is the pradakshinapath (processional path). Subsidiary buildings are the natmandir or hall of dancing, for the female temple dancers; the bhogmandir or hall of offerings; and shrines for associated lesser deities. An enclosing wall may surround large temples, and here there may be additional cells facing the temple. Furthermore, the temple is provided by a wealth of carvings both inside and outside, showing the lives of the gods and the people, making the entire structure a vast sculpture. 48

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The Hindu religion focuses highly on the temple and its rituals of worship. The Hindu temple was not only a monument providing shelter to the image and the worshippers, but was the cosmos itself. Starting from a cave, onto a hut or a modest abode of timber, the temple gradually evolved into a substantial structure embellished with decorative moldings and ornaments and meaningful sculpture. The ancient scriptures and the religious beliefs dictated the architecture of the temples. The use of the square as the basic unit in Indian temple architecture was chiefly a matter of religious significance. The square was the mystical and absolute form, which did not permit any variation in the course of construction. The Indian architect was solely concerned with the religious significance of the grid he used and could not modify these basic geometric figures. As the centuries passed, he kept to the ancient forms and repeated them, using completely different materials. The ground plan of the temple was that of a square grid. Each of the squares was thought to be the abode of a deity, and the location of the square within the ground plan accorded with the importance attached to the deity. The square in the center of each building was the seat of Brahman.

PRIEST RESIDENCE

COMMUNITY KITCHEN

STUDENT RESIDENCE

PERFORMANCE SPACE SUPPLIES STORE

SHRINE

TEMPLE OFFICE

ASSEMBLY HALL

FOOD HALL

TEMPLE SCHOOL

TEMPLE STORE

MANUSCRIPT LIBRARY

DANCING HALL

TEMPLE EXHIBITION

TEMPLE SCHOOL

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FUNCTIONS OF A TEMPLE COMPLEX GATHER

EAT

COOK

SELL

STUDY

STAY

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WORSHIP

BELIEVE

ARCHIVE

PERFORM

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ANALYSIS OF TRADITIONAL TEMPLE DESIGN

PROXIMITY

Closeness to the settlements, government, palace, forsts and water was a major component of choosing the site for a temple. Habitable regions depend on perennial sources of water and the types of supportive vegetation. A building is always built near the source of water and vegetation for food and other sources.

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Analysis of traditional temple design

SOIL CONDITIONS

Soil is classified according to its colour, white, yellow or at least red in colour. The combination of white and red soil is said to bring prosperity to the dwellers. The taste recommended is sweet or the most, slightly salty. Black soils and sandy soils are bad for constructions. Black soil has poor thermal insulation and it holds and stores heat during daytime. The directly penetrated solar energy emanates out in the shadow period of night, resulting in very uncomfortable environment throughout the day. High absorption of solar energy which also disrupts the magnetic flux lines in the zone leading to complete cosmic disorder. The buried materials can be examined by making a small hole, about a foot deep and a foot wide should be dug in the Northeast of the plot. If the soil contains any of the buried materials that would bring bad luck, the plot is unsuitable. The hole than is filled with water and milk. If after twenty minutes the water remains stagnant in the hole, the plot is suitable for construction. If the water drains, the land is unsuitable. The hole than filled up with the dug out earth. If the earth is just enough to fill the hole or excess it is considered auspicious. If the earth is not sufficient, it is not suitable and will bring problems during construction.

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Analysis of traditional temple design

SQUARE GRID DEPICTING THE UNIVERSE

The geomagnetic field is used to determine the shape of a site and even the position of the Hindu Temple in a village or town. The shape of a good or ideal plot for any building constructions are square or rectangle. All other shapes are considered dynamically unbalanced and are considered useless. The shape of the land with either protruded or depressed areas have certain geometric implications on the locations.

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Analysis of traditional temple design

REPRESENTATION OF GOD

Vastu Purusha or Maha-Bhutas are actually the cosmic force and other constitutional vibrations of pre-mordial elements - earth, water, fire, air and sky, responsible for various cosmic manifestations. Vastushastra enables the correct placement of men for absorption of maximum of these Bhutas (energy of the five natural elements) in the most benefic manner. It is used to ensure a balance of the forces and energy for enhanced health, wealth, peace and prosperity. The gods assigned to particular directions, and names signify their characters which are the different images and projections of the sun and the moon in their daily traverse through the sky. Vastu Purusha Mandala is the metaphysical plan of a temple incorporating course of the heavenly bodies and supernatural forces. This Mandala square is divided into (8Ă&#x2014;8 =64) 64 metaphysical grids / modules or pada for temples. (For dwelling places 9x9=81 metaphysical grids / modules or pada). At this square Vastu Purusha is shown lying with his chest, stomach and face touching on the ground - his head is shown at Ishanya (north-east) and his legs shown at Nairutya (south west). The center point is known as Brahmasthana and at this vital energy point Lord Brahma presides over the temple site and protects it.

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Analysis of traditional temple design

SOLAR PATH

The energy levels and radiation from sunrays are not the same all over the surface of the earth. Vastu Purusha Mandala is made to determine the Pranic and Jaivic energy. Pranic : solar energy or the cosmic energy, the intensity varies with the relative position of the sun with respect to the earth. Jaivic : electromagnetic flux or the organic energy, refers to the North-South geomagnetic flux. These field lines orient and fix energy centres in living organisms. This eternal unindirectional flow defines, propagates and directs the â&#x20AC;&#x2DC;existenceâ&#x20AC;&#x2122; at cellular level in all living entities. East-South-West is the solar kingdom. West-North-East is the lunar kingdom. The dark portion of the solar disk indicates the relative intensity of solar flux (Pranic Urja) received by the earth from the South direction the earth receives the maximum amount of solar energy.

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W EQUINOX SUNSET WINTER SOLSTICE SUMMER SOLSTICE SUNSET SUNSET

WINTER SOLSTICE SUMMER SOLSTICE SUNRISE SUNRISE EQUINOX SUNRISE E

Analysis of traditional temple design

CARDINAL DIRECTIONS

There is a close relationship between the planners and icons according to ancient Hindu tradition. Planet (graha) means that, which receives. Icon (vigraha) means that which transmits power that has been received from Graha. According to Hindu Astrology, the nine planets rule the eight directions. It is proved that each icon, which receives power from its concerned planet, radiates only the concerned directional power. The combined power of the idol in the eight directions is called Akhilandeswari or Adi-para-sakti. The shape of each idol, as ruler of a particular direction, is that of one sub-atom. The rectangle and square in geometry have an important place in Vastu Shastra. The temple site, which is the shape of only a petal of the Octagon and the sign of only a sub-atom, should be in the form of a square.

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Analysis of traditional temple design

CALCULATIONS FROM MOVEMENT OF STARS

The heavenly bodies in the celestial space influence the activity on the surface of the earth. The heavenly bodies refer to the planets, moon and the sun, which makes The Solar System. The movement of the Solar System in The Milky Way around the Universe. Each of the movements produce and affect other energies and in the end has infuence on the earth. This is explained further in Astronomy and Astrology.

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E NS W

Analysis of traditional temple design

MAGNETIC FIELD

The magnetic fields between the North and South poles of the earth affect the bioorganisms. The magnetic field also creates sensitive spots on the earthâ&#x20AC;&#x2122;s surface, which were used to advantage. The earthâ&#x20AC;&#x2122;s rotation, gravity, geomagnetism, electromagnetic radiation (visible light, ultraviolet light, infrared light, etc.), solar wind, temperature differentials were thoroughly examined by the seers codyfying Vaastushastra principles, to arrive at definite solutions for human dwellings in tune with cosmic environment.

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Analysis of traditional temple design

ENERGY CENTERS

When a structure is built on earth or space, it is said to have created a micro space. When four walls are erected on the earth, it builds a cube. This three dimensional cube contains trapped energy. The space vibrates into life. (Please also refer on the karu and the Dance of Siva under Mayan). Micro space is the building, which is considered to be a living organism, just like humans and emits patterns of energy-waves from within. This Micro space will have eternal life and benefit the dwellers if it is made according to Vaastu. The end products of Vaastu technology are microcosms, organism that pulsate into life with a well defined structural form that is replicated and magnified into building forms in actual practice.

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Analysis of traditional temple design

RELATIONSHIP WITH HUMAN BODY

Hinduâ&#x20AC;&#x2122;s believe that god created the universe and then he created human body as representation of the universe. God resides in every human body as the soul. Therefore an analogy is made between the components of temple and the human body. The top of the temple is the head, the moolasthanam is the neck, the front mandapam is the stomach, the pirakaaram walls are the legs, the gopuram is the feet and the idol or God is the soul. Thus every part of the temple is conceived as the body of the God and considered as sacred.

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Analysis of traditional temple design

TEMPLE AS A HUMAN BODY IN SECTION

The human body is the temple for the indwelling Spirit of God (Antaryamin). Various parts of the temple structure correspond to various parts of the human body. The temple is the physical body (sthoola sarira) which houses the presence of Divine. So the actual building of the temple itself is a symbol of the presence of the Divine in the world. The whole of the temple starting with the main entrance and the outermost prakaram is the body of the Lord. Hence you do not enter the temple with your foot wear on. Sreekovil is the head. Inner Prakaram, where digpalakas and saptamatrukas are installed is the face. Wall outside the inner prakaram called the Antahara is the chest of the God. The namaskara mantapa in between is the neck. Generally the main priest does poojas here also. Outside the Nalambalam, is the agnimandala called madyahara. Lamps are lit around this wall. The outside prakaram where Balipeetham is installed forms the waist of the God. Main entrance with gopuram is the feet of the god. Sthula sarira or the gross body is the material physical mortal body that eats, breathes and moves (acts).

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HAIR FACE

CHEST

ABDOMEN

KNEE

FEET

Analysis of traditional temple design

TEMPLE AS A HUMAN BODY IN PLAN

“Everything is governed by one law. A human being is a microcosmos, i.e. the laws prevailing in the cosmos also operate in the minutest space of the human being.” Hindu Temples take their cue from the structure of Human body. The vast Hindu canonical literature on Agamic texts, Devalaya Vastu (Temple Vastu astrology) and sacred geography describe the temple as a cosmic man, the ‘Purusha’ (cosmic man). The legend of the ‘Vastu Purusha’ states that Vastu Purusha blocked the heaven from the Earth and Lord Brahma along with many other Gods trapped him to the ground.

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SHRINE

ASSEMBLY HALL

FOOD HALL DANCING HALL

SHRINE

HEAD

HEART

STOMACH

ASSEMBLY HALL

FOOD HALL

DANCING HALL

KNEE

Analysis of traditional temple design

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INTERPRETATION IN CONTEMPORARY CONTEXT

PROXIMITY : ACCESSIBILITY / ADJACENCY TO CITY / PEOPLE

Closeness to the city and the people living in it would make the site functional and usable, since it would create value for the users.

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Interpretation in contemporary context

PROXIMITY : ACCESS TO TRANSPORTATION

Closeness to various modes of transportation would create a major node in the city, becoming the site of maximum activity.

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CAR TRUCKS

METRO BUS

BRT

TRAIN

MOTORCYCLE

BIKE AIRPLANE

AUTO RICKSHAW Interpretation in contemporary context

SOIL CONDITION : RECLAMATION OF UNUSED LAND TO ACTIVATE A PLACE

Using a space that lies unused, or lacks an important use would create habitable surrounding conditions, activating the place and adding programs for the city.

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Interpretation in contemporary context

GRID DEPICTING UNIVERSE : ANALYSIS OF URBAN ORGANIZATION AND ITS RELATIONSHIP TO THE SITE

Analyzing the urban connections and movement to reflect it on the site would create an optimal site for development.

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Interpretation in contemporary context

REPRESENTATION OF GOD : BEING DEMOCRATIC, BY BECOMING ACCESSIBLE TO ALL RELIGIONS AND CASTES

By becoming accessible and open to people from all religions and castes, the site needs to become an urban oasis of people from all beliefs.

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CHRISTIAN HINDU

JAIN MUSLIM

SIKH

BUDDHIST

Interpretation in contemporary context

REPRESENTATION OF GOD : BEING INCLUSIVE, BY BECOMING AVAILABLE TO ALL CLASSES OF PEOPLE, BOTH SOCIAL AND ECONOMIC

By becoming accessible to all classes of people, in terms of social and economic considerations, the site should be situated within communities of all types. Becoming central to everyone in the city, the site should create a new social environment for the users.

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PRIVATE HOUSES

MIXED USE RESIDENTIAL / APARTMENTS

SLUMS

GOVERNMENT QUARTERS

Interpretation in contemporary context

SOLAR PATH : RELATION OF THE SITE TO THE SUN AND ITS EFFECTS ON THE SURROUNDING CONTEXT, DIFFERENTIATING BETWEEN THE INSIDE AND THE OUTSIDE

Understanding the movement of the sun, the direction of winds and the orientation of the land, the site should create an experience of light and shadow, blurring the difference between the inside and the outside.

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Interpretation in contemporary context

SOLAR PATH : RELATION OF THE SITE TO ITS IMMEDIATE CONTEXT CONSIDERING BUILDING HEIGHTS

The site should have a relationship to its surrounding context, considering building heights in the modern urban context. With a distinct understanding of light and shadows from surrounding buildings, the site should create habitable conditions.

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70 40 40

30 20

50 60 40 20 20

Interpretation in contemporary context

MOVEMENT OF STARS : WALKABILITY, DETERMINED BY THE INTERSECTION, GATHERING AND WAITING POINT OF PEDESTRIANS

The degree of engagement in the site can be determined by the location of the site in relationship to pedestrian access. Becoming the intersection, gathering and waiting point for pedestrian, the site could potentially engage them and create an experience for them.

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Interpretation in contemporary context

MOVEMENT OF STARS : PASSAGE, DETERMINED BY THE REGULAR CROSSING, GATHERING AND STOPPING POINTS OF VEHICLES

The degree of engagement in the site can be determined by the location of the site in relationship to vehicular access. Becoming the passage and the point of convergence of all traffic, the site could benefit from the activity. By being the point of regular crossing, gathering and stopping point for vehicles, the site could potentially engage them and create an experience for them.

Untemple

Interpretation in contemporary context

MOVEMENT OF STARS : LAYERS OF ACCESS, OR SCREENING

The screening effect in the site would not only create varied experiences, but would also generate activity and programs based on public and private, accessible and inaccessible, open and closed, and solid and void. By creating layers of access and manipulating the movement through it, the site could become a smart entity.

100

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Interpretation in contemporary context

101

MAGNETIC FIELD : LINKING ALL THE CENTRAL SITES OF THE CITY

Creating a field of sites with the potential to create opportunities in the city, a link could be created by connecting these sites. Taking from the way the city functions, this could inform the activity and usage of different areas and localities, which could further determine the intervention.

102

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Interpretation in contemporary context

103

MAGNETIC FIELD : STREETS AND ACCESS ON ALL SIDES, FOLLOWING HIERARCHY

104

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Interpretation in contemporary context

105

MAGNETIC FIELD : RESPONSIVE, BY IMPROVING PERFORMANCE AND EFFICIENCY FOR USER ENGAGEMENT

The degree of responsiveness of the site could depend on its relationship with the civic bodies of the city, where site could be the attractor of all the amenities in the city. By inproving efficiency for user engagement and increasing its performance, the site could potentially attract the population.

106

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DRAINAGE LINES

ELECTRICITY LINES

WATER SUPPLY

Interpretation in contemporary context

107

CARDINAL DIRECTION : ORIENTATION OF SITE TO DETERMINE THE DEGREE OF ENGAGEMENT; ZONING

The orientation of the site, which would then determine its interaction with the different sides around it, is important to create a suitable development. The degree of engagement would be determined by the orientation of the site, which in contemporary context would refer to the zoning and building uses surrounding the site.

108

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Interpretation in contemporary context

109

RELATIONSHIP TO HUMAN BODY : TYPE, FREQUENCY AND TIME OF USE; DIRECTION OF MOVEMENT

The siteâ&#x20AC;&#x2122;s relationship to human body can be determined by analyzing the type of program around it, which could either be public, semi-private, or private. It could also be determined by documenting the frequency and time of use of programs around it, which could be during the morning, day, night, or continuously. It could also be based on the direction of movement on and around the site, which could be both horizontal and vertical.

110

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CONTINUOUS

PUBLIC

VERTICAL MOVEMENT

H M OR O IZO VE N M TA EN L T

MORNING

DAY SEMI-PRIVATE NIGHT

PRIVATE

Interpretation in contemporary context

111

112

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MAPPING THE CITY

113

THE CITY AND THE SITES

Analyzing the city fabric of Bhubaneswar based on the analysis and interpretation exercises, four sites have been identified around the city, each having its own set of operations. While the sites create a field around the city, each site serves its context independently, deriving its need and usage based on the region it is located in. While two sites are located near major transportation hubs in the city, the other two sites are located near civic bodies and the major populated areas of the city.

114

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Mapping the city

115

LAND OWNERSHIP MAP

116

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POPULATION ZONES MAP

Mapping the city

117

SLUMS DISTRIBUTION MAP

118

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LAND USE MAP

Mapping the city

119

120

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SELECTED SITES IN BHUBANESWAR

SITE 1

SITE 2

SITE 3

SITE 4

Mapping the city

121

SITE 1 : JAYDEV VIHAR

Located in close proximity to a lot of green open space, the site sits between residential developments of different scales on all sides. Located near the only sports stadium in Bhubaneswar on one side, it is close to a commercial market area on the other side. Its location right next to the national highway makes it easily accessible from every place in the city, making the site suitable to become a public icon.

122

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Mapping the city

123

SITE 2 : BARAMUNDA

Located in close proximity to the City Bus Terminal, the site sits between educational developments of different scales on all sides. It is close to a government planned housing area on one side, and a private housing colony on the other. Its location right next to the national highway makes it easily accessible from every place in the city, making the site suitable to become a public icon and urban cultural attractor.

124

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Mapping the city

125

SITE 3 : PATIA

Located in close proximity to a lot of green open space, the site sits between official and industrial developments of different scales on all sides. Located near the only technology park in Bhubaneswar on one side, it is close to a commercial market area and a residential area on the other side. Its location right next to educational hubs and offices makes it suitable to become an urban generator, attracting the public by creating interventions that are absent in the area.

126

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Mapping the city

127

SITE 4 : MASTER CANTEEN SQUARE

Located in close proximity to a lot the City Railway Station, the site sits between markets, offices, educational hubs, food places, government bodies, and recreational areas. Located centrally in Bhubaneswar, it is the perfect union of the society, becoming the most well connected and visible site in the city. Easily accessible by car, train, bus, and foot, the site has the potential to not only become smart, but also to make the city smart by implementing the alternate intelligence embedded in the city.

128

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Mapping the city

129

MASTER CANTEEN SITE AND ITS IMMEDIATE CONTEXT

130

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Mapping the city

131

ANALYSIS OF SELECTED SITE : MASTER CANTEEN SQUARE

FIGURE GROUND

132

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GREEN SPACES

TRANSPORTATION AND CONNECTIVITY

LAND USE

Mapping the city

133

ATTRIBUTES OF SELECTED SITE : MASTER CANTEEN SQUARE

SCATTERED PROGRAM AROUND THE SITE

134

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POTENTIAL TO CONSOLIDATE PROGRAMS

CENTRALITY AND LOCATION IN CITY

RELATIONSHIP BETWEEN SUN AND SITE

Mapping the city

135

VEHICULAR CONNECTIONS

136

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PEDESTRIAN CONNECTIONS

GREEN COVER

USES AROUND SITE

Mapping the city

137

138

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GENERATIVE DESIGN DEVELOPMENT

139

ITERATION 1 : MASSING STUDY

PLAN

< N

Using squares as a generative device to aggregate and grow into the form of the structure and create solid and void.

140

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SOUTH

WEST

NORTH

EAST

Generative Design Development

141

ITERATION 2 : MASSING STUDY

PLAN

< N

Using squares as a generative device to aggregate and grow into the form of the structure and create solid and void.

142

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SOUTH

WEST

NORTH

EAST

Generative Design Development

143

ITERATION 3 : MASSING STUDY AND FORM GENERATION

PLAN

< N

Using squares as a generative device to aggregate and grow into the form of the structure and create solid and void, further adapting to the surrounding context.

144

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SOUTH

WEST

NORTH

EAST

Generative Design Development

145

ITERATION 4 : MASSING STUDY AND FORM GENERATION

PLAN

< N

Using previous iterations to engage with public and private uses around the site, creating a passage into a large multi-use open space needed by the city.

146

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SOUTH

WEST

NORTH

EAST

Generative Design Development

147

ITERATION 5 : MASSING STUDY AND FORM GENERATION

PLAN

< N

Creating vertical as well as horizontal connections to the surrounding context, understanding user experience and interaction with the space.

148

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SOUTH

WEST

NORTH

EAST

Generative Design Development

149

ITERATION 6 : MASSING STUDY AND FORM CONSOLIDATION

PLAN

< N

Adapting the form based on usage on all four sides of the site, while creating spaces based on public and private uses.

150

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SOUTH

WEST

NORTH

EAST

Generative Design Development

151

ITERATION 7 : MASSING STUDY AND FORM REFINEMENT

PLAN

< N

Refining the form to adapt to its surrounding context and create an interaction with the existing cityscape. With a focus on engaging the pedestrians and the surrounding commercial activity, the form is symbolic of an occupiable precinct wall.

152

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SOUTH

WEST

NORTH

EAST

Generative Design Development

153

ITERATION 8 : MASSING STUDY AND FINAL FORM

PLAN

< N

154

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SOUTH

WEST

NORTH

EAST

Generative Design Development

155

ITERATION 9 : EXTERIOR WALL STUDY

PLAN

< N

Understanding the exterior surface as a wall, and how it encloses and opens the space on the inside to the existing conditions on the outside.

156

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SOUTH

WEST

NORTH

EAST

Generative Design Development

157

ITERATION 10 : WALLS AS VERTICAL PLANES

PLAN

< N

Exploring the final form as a series of vertical planes, that break and move and slide to create openings and passages. By understanding walls as the generative principle of temple design, these individual walls create enclosed and open spaces, while dictating the way one moves through them.

158

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SOUTH

WEST

NORTH

EAST

Generative Design Development

159

ITERATION 11 : WALLS AS VERTICAL PLANES

PLAN

< N

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SOUTH

WEST

NORTH

EAST

Generative Design Development

161

ITERATION 12 : WALLS AS CONTINUOUS VERTICAL PLANES

PLAN

< N

Exploring the final form as a series of continuous vertical planes, that break and move and slide to create openings and passages. By understanding walls as the generative principle of temple design, these individual walls create enclosed and open spaces, while dictating the way one moves through them. 162

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SOUTH

WEST

NORTH

EAST

Generative Design Development

163

ITERATION 13 : WALLS AS CONTINUOUS AND RESPONSIVE PLANES

PLAN

< N

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SOUTH

WEST

NORTH

EAST

Generative Design Development

165

ITERATION 14 : WALLS AS HORIZONTAL PLANES

PLAN

< N

Exploring the form as a series of horizontal planes, that create openings and enclosure, this iteration is a way to understand the relatonship between the vertical and the horizontal.

166

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SOUTH

WEST

NORTH

EAST

Generative Design Development

167

ITERATION 15 : CONVERGENCE OF VERTICAL AND HORIZONTAL WALLS

PLAN

< N

Analyzing the vertical and horizontal planes and understanding their relationship, this iteration consolidates the architecture both formally and structurally, dealing with the surrounding context and the concept of “inside” amd “outside”.

168

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SOUTH

WEST

NORTH

EAST

Generative Design Development

169

170

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MATERIAL EXPLORATIONS

171

172

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BRICK UNDERSTANDING BRICK AS WALLS

Using brick as a structural and experiential material to create walls and openings, allowing for flexibility with light and shadow, porosity and opacity, and public and private uses. Studying the connection of bricks to create walls that further become meshes, screens, projections, voids, openings, masses, and columns.

Material Explorations

173

TYPES OF BRICK JOINTS

FIRST COURSE

BRICK BOND SECOND COURSE 174

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SECOND COURSE

FOURTH COURSE Material Explorations

175

FIRST COURSE

SECOND COURSE 176

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FIRST COURSE

BRICK BOND SECOND COURSE Material Explorations

177

TRANSLATION OF THE MATERIALITY AND THE ELEMENTS OF TEMPLE COMPLEXES

The Portal is a boundary archetype. At any scale, the appropriate use for the form recalls a place at an end or edge. Conceptually it presents itself as a place for the city dweller to reflect, both looking out and looking in as one identifies with a spatial end point or beginning point in a journey. The Arcade is a formal archetype with multiple implications depending on how it is used within the streets and walls of the city. It can provide a series of niches if placed against a wall, or a series of views and a focused, intentional perspective if placed in the open. It provides shelter and direction. In religious architecture the arcade along a nave in a cathedral promotes and delineates a path. The Room considers and confronts scale, enclosure and intersection. The placement, order and orientation of the room can be determined by an intersection or a point where corridors cross and convene. The room provides an opportunity and invitation to be inside, and to dwell. The form asks for a program that encourages a sanctuary. The city dweller might find themselves retreating to refuge within the room. The translation in the city could be equated to a bus shelter, another element in the urban realm where the city dweller is tempted to stop, a time to be in transition. 178

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Material Explorations

179

TRANSLATION OF THE MATERIALITY AND EXPERIENCE IN A TEMPLE COMPLEX

The Courtyard is a room of a larger scale and can provide a space to walk through in the urban realm. It is a public plaza or square for the city dweller to engage with in a basic and fundamental way. The courtyard can also provide a sanctuary and refuge off of the public street. With a cleared space in the urban fabric it encourages and enables light to reach the ground. Public seating invites the city dweller to stop and encounter what the courtyard has to offer. The Tower is a way-finding instrument and a marker in the skyline of the dense urban tower system. The form represents a point in the journey to ascend, the purpose being to climb up through a series of spaces, and continually experience new perspectives at new levels in order to engage with the city in a dynamic way. Once at the top of the tower a vista is provided for the city dweller. A new vantage point is given and a unique perspective of the city is established. Each interpretation based on its form, scale and how it is situated stimulates a certain situation and use. The Arcade and the Colonnade are path definers. The Monument, and the Portal create points, and have a centre. The Courtyard and The Room are also points with defined gates or openings. They provide a centre within an enclosed space. The Tower is an amalgamation of all of these ideas, being a point, moment or centre in the sky. What exists in between is the critical formal idea being a vertical path. 180

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Material Explorations

181

182

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DESIGN SOLUTION

183

SITE PLAN

The proposal interacts with the streets on all four sides of the site, while taking into account the programs and uses along each street. Depending on whether the programs across the streets are public or private, the proposal creates spaces and openings, while providing an extension to the existing progrms. Creating distinct outer and inner experiences, the proposal activates the crowded area with the inner plaza, which becomes the center of every activity. Establishing a visual connection with the state assembly government building, the proposal sits along a vertical axis with the civic body. By engaging with the railway station on the East, the markets on the South, the civic body on the West, and the offices and food areas on the North, the proposal builds on the idea of the “inside” and the “outside”, shaping its functions and uses based on the position of the site.

< N 184

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Design Solution

185

GROUND LEVEL PLAN

Consisting of a floor plan with distinct inside and outside orientations, both the facets of each side have covered colonnades and cantilevered corridors for public access. With a market to the South-West, and a food mandap with a community kitchen on the North-West, the major public uses are focused at the places of maximum public interaction. With the educational areas on the North and North-East, and the museum on the East, the icons of the project are placed near the railway station, serving as an iconic entry to the city, along with being a place to display and exhibit the culture of the â&#x20AC;&#x153;temple cityâ&#x20AC;?. The amphitheater on the South-East becomes an attractor, moving people from the existing populated regions to the more private regions. With a continuous covered circulation path on the inside and the outside, the plan provides strategic circulation on all sides, creating an enclosed plaza with the potential for adapting to every public need. Focusing on every cultural need of the public, the design accomodates and integrates programs without borders and boundaries. 186

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ER DISP OUT

OUTER DISPLAY BOARD

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TUTO

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< N Design Solution

187

FIRST LEVEL PLAN

RIAL

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WASH AREA

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W.C

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W.C

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CORRI

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R.S

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HOUSEKEEPING

STAIRC

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W.C W.C

SHAF

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W.C

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STAIRC

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WORK TABLE CHINESE

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WORK TABLE

RESTAURANT

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R.S

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188

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R.S

SHOP

R.S

SHOP

HALL

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SECUR

R.S

W.C

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TOILET

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SHOP

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R.S

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R.S

MULTIPURPOSE HALL

SHOP

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TERRACE

R.S

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OFFICE HALL-II

R.S

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HALL-II REHABILITATION CENTER

TUTORIAL

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SHOP SHOP

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< N

Design Solution

189

THIRD LEVEL PLAN

D ITATION MED HALL

ASE STAIRC

ER PRAY HALL

TERRACE

LIFT

GENTST TOILE S LADIE T TOILE

VOID

W.C W.C W.C W.C W.C W.C W.C W.C

SHAF

TERRACE D

TERRACE

< N

190

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SQUARES AS GENERATIVE ELEMENTS

Design Solution

191

NORTH ELEVATION

WEST ELEVATION

192

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EAST ELEVATION

SOUTH ELEVATION

Design Solution

193

SOUTH ELEVATION AND BRICK FACADE STUDY

194

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Design Solution

195

SECTION AA

196

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Design Solution

197

198

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Design Solution

199

200

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EVOLUTION OF DESIGN THROUGH MASSING

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EVOLUTION OF DESIGN THROUGH SURFACES

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RELATIONSHIP BETWEEN VERTICAL AND HORIZONTAL WALLS

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COMBINATION OF VERTICAL AND HORIZONTAL WALLS CREATING FINAL FORM

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RELATIONSHIP BETWEEN MASSING, VERTICAL, AND HORIZONTAL WALLS

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FINAL FORM

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BIBLIOGRAPHY

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Pandva, Yatin. Concept of Space: in Traditonal Indian Architecture. Mapin Publishing Pvt Ltd, 2005. Ronner, Heinz, et al. Louis I. Kahn: Complete Work 1935-1974 BirkhaI User, 1990. Rykwert, Joseph. Louis Kahn. Harry N. Abrams Inc., 2001 Scully, Vincent J. Louis-I-Kahn. Prentice Hall International (UK) Ltd, 1962 Sharr, Adam. Heidegger for Architects. Routledge, 2010. Shirazi, Muhammad Riza. Towards an Articulated Phenomenological Interpretation of Architecture: Phenomenal Phenomenology. Routledge, Taylor & Francis Group, 2014. Thiis-Evensen, Thomas. Archetypes in Architecture. Norwegian Uni. Press, 1987. Zumthor, Peter Atmospheres: Architectural Environments, Surrounding Objects. 8irkhzI user, 2015. Sudarsan, J. (2017). Temple Architecture and Sculpture - Hindu, Buddhist and Jain (Indian Culture Series â&#x20AC;&#x201C; NCERT) - Clear IAS. Retrieved from https://www.clearias.com/temple-architecture-sculpture/ North Indian temple architecture | architectural style. Retrieved from https://www.britannica.com/topic/NorthIndian-temple-architecture Hinduism - The arts. Retrieved from https://www.britannica.com/topic/Hinduism/The-arts#ref303933 Huke, R., & Das, M. Odisha | state, India. Retrieved from https://www.britannica.com/place/Odisha#ref1030526 Temple Architecture of India. Retrieved from http://www.historydiscussion.net/history-of-india/templearchitecture-of-india/3028 Minz, S. (2016). 5 Temples Reflecting Odishaâ&#x20AC;&#x2122;s Architectural Finery. Retrieved from https://www.makaan.com/ iq/living/5-temples-reflecting-odishas-architectural-finery Kalinga Style Architecture. (2014). Retrieved from http://www.heritageodisha.com/temple_architecture.html

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Prateek Rath