Architectural Thesis - Spiritual Psychonautic Center | Osho Dham

SPACE TO SOUL

PSYCHONAUTIC CENTER OSHO DHAM Sonipat YUGANTAR HANDA GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN SONIPAT 131001

THESIS REPORT Janurary 2019

SPACE TO SOUL : PSYCHONAUTIC CENTER Osho Dham Sonipat

SUBMITTED BY : Yugantar Handa GCAD/14/340

GUIDED BY : Ar. Ravi Kakar

!

GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

DECLARATION

I, Yugantar Handa , Roll Number GCAD/14/340 hereby declare that the thesis titled Space To Soul: Psychonautic Center submitted by me, in partial fulfilment of the requirement of the curriculum of Bachelor of Architecture as per the university norms, to Gateway College of Architecture and Design, is a record of my original work with credits given for information collected from any other source.

Yugantar Handa

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GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

CERTIFICATE

This is to certify that the Thesis titled Space to Soul: Psychonautic Center, submitted in partial fulfilment of the requirement of the curriculum of Bachelor of Architecture is the work of Yugantar Handa, Roll Number GCAD/14/340, who carried out research work under our supervision in Gateway College of Architecture and Design, Sonipat, Haryana.

We recommend that the thesis report be placed before the examiners for their consideration.

______________________________

______________________________

(Ar. Ravi Kakar)

(Ar. Bikramjit Chakraborty)

Guide

Coordinator

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GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

DEDICATION

‘This thesis is honourably dedicated to my lovely family’ .

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GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN

ACKNOWLEDGMENT

I would like to express my deepest appreciation to my beloved supervisor Ar. Ravi Kakar not only for his insightful criticisms and sage advices but also for his patience, encouragement, and continuous supports and in one word perfect morality that is and always will be in my mind for good.

Furthermore, I would also like to acknowledge with much appreciation for the crucial role of my dissertation coordinator Ar. Bikramjit Chakraborty for his guidance and helping me understand the process of research better.

Moreover, I would like to thank and appreciate all members of staff of Gateway college of Architecture and Design. Lastly and absolutely not least, I would like to express my utmost appreciation to my director Prof. Anil Kumar whose substantial supports was always an encouragement for my life.

And finally I would like to thank my family and my friends for their intense support and for having had hours of informal discussions and showing interest in my thesis.

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TABLE OF CONTENTS DECLARATION ………………………………………………………………………(iii) CERTIFICATE ……………………………………………………………………..…(iv) DEDICATION …………………….………………………………………….…..……(v) ACKNOWLEDGMENT ………………………………………………………………(vi) TABLE OF CONTENTS ……………………………………………….…..…..…….(vii) TABLES AND FIGURES ……………………………………..…………..…………(xvi)

CHAPTER 1 : INTRODUCTION …………………………………………………..…. 2 1.1 Description ………………………………………………………………………….. 3 1.1.1 Background …………………………………….…………………………..…. 4 1.1.2 Foreground …………………………………………………….…………..…. 8 1.1.2.1 The Spiritual ……………………………………………..…………… 8 1.1.2.2 The Architectural ………………………………………………..…… 9 1.1.2.3 Spirituality ………………………………………………………..….. 10 1.1.2.4 Spirituality and Architecture ……………………………………….. 11 1.1.2.5 Spiritual Architecture …………………………………..………….. 12 1.2 Overview …………………………………………………………………….…….. 14 1.2.1 Psyconautics ………………………………….………………….………..…. 15 1.2.2 Osho ………………………………….………………………………………. 19 1.2.2.1 Youth - Enlightenment - University studies: 1931-1957 .…………… 19

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1.2.2.2 Travel all over India - lecturing, teaching: 1957 - 1974 ………………20 1.2.2.3 Bhagwan in Poona 1: 1974 - 1981 ……………………………………21 1.2.2.4 Rajneeshpuram: 1981 - 1985 …………………………………………21 1.2.2.5 Worldtour: 1985 - 1986 …………………….…………………………22 1.2.2.6 Osho in Poona 2: 1986 - 1990 …………..….…………………………22 1.2.2.6 Osho in Poona 3: 1990 …………..….…………………………………24 1.3 Project Interpretation …… ……………………………………..………………….. 25 1.4 Validity of the Project …………………………………………..………………….. 27 1.4.1 Mental Evolution & Well Being ………………………….….……….…..….. 27 1.4.2 Enlightenment ……………………………………….….…………….….….. 28 1.4.3 Author’s Interest …………………………………………………………….. 28 1.4.4 Cultural Need ……………………………………….……………...……….. 29 1.5 Areas of Study …………………………………………………………………….. 31 1.5.1 Constituents of Spirituality………………………………………………….. 31 1.5.1.1 Consciousness ………………………………………………………. 32 1.5.1.2 Altered States of Consciousness …………………………….………. 33 1.5.1.3 Enlightenment ………………………..………………………….……35 1.5.1.4 Sacredness……………………………………………..………….….. 36 1.5.1.5 Transcendental Reality…………………………………..…….….….. 37 1.5.1.6 Mysticism……………………………………………….…………… 38 1.5.1.7 Shamanism…………………………………………………..………. 39

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1.5.1.8 Music…………………………………………………………….….. 40 1.5.1.9 Spiritual Metaphysics……………………………….………….…..

42

1.5.1.10 Kundalini……………………………………………………….….. 43 1.5.1.11 Chakras…………………………………………………………….. 44 1.5.1.12 Elements of Nature …………………………………………….….. 46 1.5.1.13 Dharma…………………………………………………………….. 47 1.5.1.14 Spiritual Energy/Power……………………………………..….….. 48 1.5.1.15 Euphoria………………………………………………………..….. 49 1.5.1.16 Ecstasy…………………………………………………………….. 50 1.5.1.17 Sacred Geometry …………………………………..………….….. 52 1.5.1.18 Vastu Shastra…………………………………………………..….. 53 1.5.1.19 Cosmos………………………………………………………..….. 54 1.5.1.20 Phenomenology……………………………………..……….…… 55 1.5.2 Constituents of Architecture………………………..……………..……….. 56 1.5.2.1 Structure and Form……………………………..….………..….….. 57 1.5.2.2 Form and Space……………………………………………..….….. 58 1.5.2.3 Space and Light……………………………………….………..….. 62 1.5.2.4 Colours and Materials…………………………………………..….. 66 1.5.3 Osho’s Ideology………………..…………………..……………..……….. 69 1.6 Scope …………………………………………………………….…….……..….. 70 1.7 Aims and Objectives ……………………………………………….…….……..….. 72

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1.8 The Client ……………..………..………………………………….…….……..….. 72 1.9 The Site ……………………………………………….…….…………….……….. 73 1.10 Methodology …………………………………………………….…….……..….. 74

CHAPTER 2 : ANALYSIS OF ENVISAGED ACTIVITY ………………….…….…. 75 2.1 Identification of the activities ………………………………………………….….

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2.1.1 Primary activities……………………………………………………………

76

2.1.2 Secondary activities…………………………………………………………

78

2.1.3 Tertiary activities…………………………………………….……………… 79 2.2 Description of activities at different levels……………..……………….……….

80

2.2.1 Meditation……………………………………………………….….………

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2.2.2 Yoga………………………………………………………………..….……

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2.2.3 Dance…………………………………………….……………………….…

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2.2.4 Rejuvenation………………………………………………….…….………

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2.2.5 Recreation………………………………………………………..…………

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2.3 Nature (Inherent Qualities) of the activity………..………………………..……. 100 2.3.1 Meditation…………………………………………….…………………… 100 2.3.2 Yoga…………………………………………….…………………….…… 101 2.3.3 Dance…………………………………………………………….………… 103 2.3.4 Rejuvenation…………………………………………………….………… 105 2.3.5 Recreation…………………………………………….…………………… 106

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2.4 Characteristics (Physical Manifestations) of the activity………..………………. 107 2.4.1 Meditation…………………………………………….………………….… 107 2.4.2 Yoga…………………………………………….………………………..… 108 2.4.3 Dance…………………………………………….……………………….… 109 2.4.4 Rejuvenation and Recreation……………………………………….……… 110

CHAPTER 3 : THE ENVISAGED USER PROFILE ……………………….…….… 111 3.1 Identification of users………..…………………………………….………….… 112 3.2 Classification of users………..…………………………………………………. 113 3.2.1 Masters…………………………………………….……………………… 113 3.2.2 Functionaries……………………………………………………………… 114 3.2.3 Practitioners………………………………………………………..……… 115 3.2.4 Support staff……………………………………….……………………… 117 3.3 Study of different aspects ………..…………………………….………………. 118 3.3.1 Social aspect……………………………………………………….……… 119 3.3.2 Religious aspect…………………………………………..……….……… 119 3.3.3 Cultural aspect……………………………………………………..……… 120 3.3.4 Spatial and Sensory aspect………………………………………………… 121

CHAPTER 4 : THE STANDARDS AND GENERAL SYSTEMS……..……..….. 123 4.1 Anthropometric Standards used in the envisaged activities…………..…..……… 124

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4.1.1 Proxemics……………………………………………………….….……… 124 4.1.2 Human Dimensions………………………………………………..……… 126 4.1.3 Accommodation…………………………………………….……………… 127 4.1.4 Bathroom……………………………………………………..…….……… 129 4.1.5 Kitchen…………………………………………………………..………… 131 4.1.6 Dining Area……………………………………………………..………… 135 4.1.7 Training Center…………………………………………….……………… 136 4.1.8 Library………………………………………………………….….……… 137 4.1.9 Shops……………………………………………………………….……… 141 4.1.10 Food Courts…………………………………………….…………..…… 142 4.1.11 Storage Space…………………………………………….……………… 143 4.1.12 Utility Room………………………………………………….….……… 144 4.1.13 Swimming Pool……………………………………………….………… 145 4.1.14 Changing Rooms………………………………………………..….…… 147 4.1.15 Gardens……………………………………………………….………… 148 4.1.16 Power Station…………………………………………….………..…… 150 4.1.17 Security…………………………………………………….………..…

151

4.1.18 Parking……………………………………….…………………..….…

152

4.2 Environmental Conditions ……………………………………………………

158

4.2.1 Acoustics…………………………………………….……………..……

158

4.2.2 Ventilation……………………………………………………..……..…

158

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4.2.3 Illumination……………………………………………………………

158

4.2.4 Aesthetics and Materials……………………………………….………

159

4.2.5 Orientation and Geometry……………………………………..………

159

4.3 Site Requirements ………………………………………….…………..……

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CHAPTER 5 : LITERATURE STUDY…………………………..…..……..….. 162 5.1 Philosophies and theories……….………………………….…………..……

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5.1.1 Phenomenology of Place ………….……………………………….…

164

5.1.2 Critical Regionalism ….………….……………………………….…

165

5.1.3 Place theory and Sacred Architecture….…………….…………….…

166

5.1.4 Nature and Sense of Place ………….……………….…………….…

167

CHAPTER 6 : CASE STUDIES …………………………..……..………..….. 168 6.1 Need of Case studies …….…….………………………….…………..……

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6.2 Secondary Case studies …….…….……………………….…………..……

170

6.2.1 Maitrimandir, Auroville …………..……………………………….…

170

6.2.2 Osho International Resort, Pune ………………………………….…

181

6.2.3 Shreyas Retreat Center, Banglore ..……………………………….…

191

6.2.4 Kamadhenu Meditation & Yoga Studio, Columbia ……………….…

200

6.2.5 Jetavana, Maharastra ..………………………………..………….…

209

6.2.6 Isha Yoga Center, Coimbatore ……….………………..………….… 217

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6.2.7 Observations & Conclusions from Secondary Studies ..………….… 226 6.3 Primary Case studies …….…….……………………….…………..……… 228 6.3.1 Lotus Temple, Delhi …………..……………………………….…..

228

6.3.2 Osho Dham, Delhi …………..………………………………….….. 245 6.3.3 Analysis of Data from Interviews ……………………………….….. 263

CHAPTER 7 : SITE ANALYSIS …………………………..……..………..….. 265 7.1 Location …….…….……………………….……………….………..……… 266 7.2 Site Surroundings ….…….…………………..…………….………..……… 268 7.3 Site Connectivity ….…….………………………………….………..……… 269 7.3.1 Micro Level …………..………………………………………….…..

269

7.3.2 Macro Level …………..………………………………………….…..

270

7.4 Site Area & Dimensions ….…..…………………………….………..……… 271 7.5 Site Photographs ….…..…………………………………….………..……… 272 7.6 Development Controls ….…..………………………………………..……… 274 7.7 Climatology & Solar Data …………………………………………..……… 275 7.8 Topographical Data …………………………………………..……………… 281 7.8 Physical Features ……………………………………………..……………… 283 7.10 Environment Features ……………………………..………..……………… 284 7.11 Urban Design Aspects ……………………………..………..……………… 286 7.12 S.W.O.T Analysis ……………………………..………..………..……… 287

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7.13 Interpretive Sketches ……………………………..………..……..……… 288 7.14 Analytical Conclusion ……………………………..………..…………… 290

CHAPTER 8 : BRIEFS ……………………………….…..……..………..….. 291 8.1 Client’s Brief …….…….……………………….………………..…..……… 292 8.1.1 Client’s Vision …………..……………………………………….…..

292

8.1.2 Tangible Requirements…..……………………………………….…..

293

8.2 Architect’s Brief …….…….……………………….……………..…..……… 294 8.2.1 Architect’s Vision …………..…………………………………….…..

294

8.2.1 Architectural Brief ………..………..…………………………….…… 295

PLAGIARISM CHECK REPORT…….………………………………………..300 BIBLIOGRAPHY ………………………………………………………………..302 APPENDICES ………………………………………………………….……….. 305 1.1 Interview Questions …………..…………………………………….….…. 306 1.2 Interview of Respondent 1 .…..…………………………………….….…..307 1.2 Interview of Respondent 2 .…..…………………………………….….…..309 1.2 Interview of Respondent 3 .…..…………………………………….….…..312 1.2 Interview of Respondent 4 .…..…………………………………….….…..314 ANNEXES ………………………………………………………………………. 317 1.1 No Objection Certificate……..…………………………………….….…. 318

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TABLE AND FIGURES

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Figure 1.1.1 Finding Soul in space

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2. Figure 1.1.1.1 Firmitas, utilias and venustas

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3. Figure 1.1.2.1.1 Waking on a spiritual path, Suma Varughese

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4. Figure 1.1.2.3.1 What is spirit, Juan Carlos Valenzuela

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5. Figure 1.2.1 The Psychonautic Buddha

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6. Figure 1.2.1.1 Psychonautics

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7. Figure 1.2.1.2 The Psychonautic Path

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8. Figure 1.2.1.3 Altered Experiences

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9. Figure 1.2.1.4 Inward Exploration

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10. Figure 1.2.2.1 Rajneesh Chandra Mohan Jain (OSHO)

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11. Figure 1.5.1.1.1 What is Consciousness, David A Oakley And Peter Halligan

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12. Figure 1.5.1.2.1 Altered States of Consciousness

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13. Figure 1.5.1.2.2 Levels of Altered States of Consciousness

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14. Figure 1.5.1.3.1 Enlightened Buddha, Alex Sean

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15. Figure 1.5.1.4.1 Woman opened to the sacredness and Divine truth of herself.

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16. Figure 1.5.1.5.1 Into Transcendental Reality

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17. Figure 1.5.1.6.1 Oneness : Mysticism

38

18. Figure 1.5.1.7.1 Everyday Shamanism

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19. Figure 1.5.1.8.1 Musicity, Mary De Laye

40

20. Figure 1.5.1.8.2 Music and the brain

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21. Figure 1.5.1.9.1 What is metaphysics, Spiritual Universe

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22. Figure 1.5.1.10.1 Kundalini Awakening

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23. Figure 1.5.1.11.1 The seven chakras

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24. Figure 1.5.1.11.2 Cosmic cycle of chakras

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25. Figure 1.5.1.13.1 What is Dharma, Shukavak N. Dasa

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26. Figure 1.5.1.14.1 Spiritual Energies

48

27. Figure 1.5.1.15.1. Euphoria Experience

49

28. Figure 1.5.1.16.1. State of ecstasy

50

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29. Figure 1.5.1.16.2 Everything is in your mind

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30. Figure 1.5.1.16.3 Positive Vibrations

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31. Figure 1.5.1.17.1 Sacred Geometries

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32. Figure 1.5.1.18.1 Vastu Shastra Chart

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33. Figure 1.5.1.19.1 Cosmos

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34. Figure 1.5.1.20.1 Spiritual Phenomenology

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35. Figure 1.5.2.1.1 Example of Structure and Form : Pieterjan Gijs and Arnout Van Vaerenbergh's Church in Borgloon, Belgium

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36. Figure 1.5.2.2.1 Example of form and space : MONTAĂ‘A DE TIDAYA. Eduardo Chillida, 1966

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37. Figure 1.5.2.3.1 Example of space and light : The National Art Center, Tokyo, Tadao Ando

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38. Figure 1.5.2.4.1 Example of colours and materials : Farewell Chapel

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39. Figure 1.5.3.1 Osho’s Famous Quote

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40. Figure 2.2.1.1 The art of meditation

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41. Figure 2.2.1.2 Meditative Buddha

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42. Figure 2.2.1.3 Meditation : A state of pure Consciousness

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43. Figure 2.2.1.4 Into a Meditational State

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44. Figure 2.2.2.1 The Art of yoga

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45. Figure 2.2.2.2 The Art of yoga

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46. Figure 2.2.2.3 The Art of yoga

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47. Figure 2.2.2.4 The Art of yoga

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48. Figure 2.2.2.5 Sharing is Caring : Free Yoga

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49. Figure 2.2.2.5 Into the State of Yoga

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50. Figure 2.2.3.1 The art of Dancing

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51. Figure 2.2.3.2 The act of Trance

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52. Figure 2.2.3.3 The Sense of Mindfulness

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53. Figure 2.2.3.4 Into Higher Consciousness, Osho Ashram

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54. Figure 2.2.3.5 Trance : The dance of joy

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55. Figure 2.2.3.6 The Cosmic Dance of Shiva

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56. Figure 2.2.4.1 Mind Body Spirit Method

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57. Figure 2.2.4.2 Mind Body Soul

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58. Figure 2.2.5.1 Recreation Therapies, Maslow

98

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59. Figure 6.2.1.1 Maitrimandir, Auroville

170

60. Figure 6.2.1.2 Description

171

61. Figure 6.2.1.3 The Golden Sphere

172

62. Figure 6.2.1.4 Transpersonal Psychology

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63. Figure 6.2.1.5 The Construction

173

64. Figure 6.2.1.6 The Mother’s Symbol in Colour

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65. Figure 6.2.1.7 Sacred Geometry

176

66. Figure 6.2.1.8 Site Plan

177

67. Figure 6.2.1.9 Sections

178

68. Figure 6.2.1.10 Sections

178

69. Figure 6.2.2.1 Osho Center, Pune

181

70. Figure 6.2.2.2 The Osho International Meditation Centre

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71. Figure 6.2.2.3 The Pyramid

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72. Figure 6.2.2.4 The Zen Garden

184

73. Figure 6.2.2.5 The Disco’s

185

74. Figure 6.2.2.6 Site Plan

186

75. Figure 6.2.2.7 Land Use Plan

187

76. Figure 6.2.2.8 Zoning

188

77. Figure 6.2.2.9 Movement Pattern

189

78. Figure 6.2.3.1 Shreyas Retreat, Banglore

191

79. Figure 6.2.3.2 Retreat within a retreat

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80. Figure 6.2.3.3 The Inspiration

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81. Figure 6.2.3.4 The Design

194

82. Figure 6.2.3.5 The Landscape

195

83. Figure 6.2.3.6 Plans

196

84. Figure 6.2.3.7 Section

197

85. Figure 6.2.3.8 Built Form Development

198

86. Figure 6.2.3.9 Views

199

87. Figure 6.2.4.1 Kaamdhenu Studio, Columbia

200

88. Figure 6.2.4.2 The Studio

201

89. Figure 6.2.4.3 Spaces

202

90. Figure 6.2.4.4 Outdoor Patio

203

91. Figure 6.2.4.5 Indoors

203

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92. Figure 6.2.4.6 Austere Environment

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93. Figure 6.2.5.1 Jetavana, Maharastra

209

94. Figure 6.2.5.2 Buddhist Learnng Center

210

95. Figure 6.2.5.3 Center Valley

211

96. Figure 6.2.5.4 Local Community

212

97. Figure 6.2.5.5 Plans

213

98. Figure 6.2.5.6 Sections

214

99. Figure 6.2.5.7 Prespective

215

100. Figure 6.2.5.8 Sketches

216

101. Figure 6.2.6.1 Isha Yoga Center, Coimbatore

217

102. Figure 6.2.6.2 Isha Foundation, Coimbatore

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103. Figure 6.2.6.3 Spanda Meditation Hall

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104. Figure 6.2.6.4 The Dhyanlinga Center

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105. Figure 6.2.6.5 The Gateway

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106. Figure 6.2.6.6 The Dome

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107. Figure 6.2.6.7 The Stability of Dome

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108. Figure 6.2.6.8 Construction Sequence

223

109. Figure 6.2.6.9 Construction Details

224

110. Figure 6.2.6.10 Site Plan

225

111. Figure 6.3.1.1 Lotus Temple

228

112. Figure 6.3.1.2 Description

230

113. Figure 6.3.1.3 Building and Concept

232

114. Figure 6.3.1.4 Site Plan

235

115. Figure 6.3.1.5 Zoning Plan

236

116. Figure 6.3.1.6 Movement Pattern

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117. Figure 6.3.1.7 The Structure

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118. Figure 6.3.1.8 Geometric Structure

238

119. Figure 6.3.1.9 Outer Petals

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120. Figure 6.3.2.1 Osho Dham, Delhi

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121. Figure 6.3.2.2 Meditation Hall, Osho Dham, Delhi

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122.Figure 6.3.2.3 Spiral Path

250

123. Figure 6.3.2.4 Site Images

252

124. Figure 6.3.2.5 Site Images

253

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125. Figure 6.3.2.6 Site Images

254

126. Figure 6.3.2.7 Inside of the Meditation Hall

255

127. Figure 6.3.2.8 Adjacent pathway leading to meditation hall

255

128. Figure 6.3.2.9 Landscape Area

256

129. Figure 6.3.2.10 The Spiral pathway

256

130. Figure 6.3.2.11 Site Plan

258

131. Figure 6.3.2.12 Zoning Plan

259

132. Figure 6.3.2.13 Open Built Relationship

260

133. Figure 6.3.2.14 Movement Pattern

261

134. Figure 7.3.2.1 Site accessibility Chart

270

135. Figure 7.7.1 Temperature Study

275

136. Figure 7.7.2 Humidity Study

276

137. Figure 7.7.3 Rainfall Study

276

138. Figure 7.7.4 Wind Direction Study

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139. Figure 7.7.5 Sun Path Diagram

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140. Figure 7.7.6 Sun Path Diagram on Site

280

141. Figure 7.8.1 Topography Map of Sonipat

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142. Figure 7.8.2 Contour Map of Site

282

143. Figure 7.13.1 Sun & Wind Analysis of Site

288

144. Figure 7.13.2 Connectivity Analysis of Site

289

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SPACE TO SOUL

CHAPTER- 1

INTRODUCTION


1.1 Description

“Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.�

- Arthur EricksonFigure

Figure 1.1.1 Finding Soul in space Source : https://www.deviantart.com/arisechicken117/art/Path-to-Infinity-mids=121

3

1.1.1 Background The earliest surviving writing on the subject of architecture is Vitruvius’ De architectura from the 1

st

century BCE. The Roman architect’s ideas were highly influential in the

Renaissance period and shaped the development of Western architecture as we know it today. According to Vitruvius, a good building should satisfy the three principles of firmitas, utilitas and venustas. 1 Translated, firmitas relates to the ability of a structure to stand up robustly and remain in good condition, utilitas that it should be useful and fulfil its purpose, and venustas, that is should delight people and raise their spirits. A somewhat prosaic but more concise translation of the three principles is strength, commodity and beauty. The first two principles, durability and utility are straightforward and rational objectives. They relate to the practical requirements that a building should meet in order to shelter and protect its inhabitants. It is the third principle, beauty, which appears to be more complex and raises some interesting architectural, psychology and philosophical significance.

Figure 1.1.1.1 Firmitas, utilias and venustas Source : https://www.markify.com/images/ctm/originals/006302574.JPG

1 Vitruvius Pollio, Vitruvius: Ten Books of Architecture (New York: Cambridge University Press, 1999) 26

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Venustas, relates to the ability of a building to ‘delight people and raise their spirits’ and appears as a much more complex architectural objective when compared to the practical nature of firmitas and utilitas. Norberg-Schulz acknowledges the more complex aspects of our life-world in his statement:

Our everyday life-world consists of concrete ‘phenomena’. It consists of people, of animals, of flowers, trees and forests, of stone, earth, wood and water, of towns, streets and houses, doors, windows and furniture... But it also comprises more intangible phenomena such as feelings.2

Delight is an emotion, a feeling, and hence an ‘intangible phenomenon’. Vitruvius was referring to the intangible, psychological and emotional effect that architecture can have on the human spirit. The task of an architect to achieve delightful buildings raises questions of perception, as experience is subjective. The ability of a building to induce an emotional reaction will of course depend on the individual inhabitant, as some people may be more susceptible to such experiences than others. The degree to which a building or space can reach out to psychologically affect the most disengaged of visitors, is perhaps a way to measure the quality of the architecture.

Architecture that appeals to the emotions appears to be a complex design ambition.

According to Pallasmaa, “an impressive architectural experience sensitises our whole physical and mental receptivity. It is difficult to grasp the structure of the feeling because of its vastness and diversity.” 3 The issue of subjective experience relates to the th

philosophical field of research known as phenomenology. In the late 20 century, Norberg Schulz proclaimed, “After decades of abstract scientific theory, it is urgent that we return to a qualitative, phenomenological understanding of architecture.”4 Aravot, who stresses the importance of phenomenology in contemporary architectural discourse, describes phenomenology as “a core field of philosophy” that is “rooted in the first person perspective and seeks inter subjectivity, the shared cognition that shapes our ideas and 2 Christian Norberg‐Schulz, Genius Loci: Towards a Phenomenology of Architecture (New York: Rizzoli, 1980) Juhani Pallasmaa, “The Geometry of Feeling” in Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965‐1995, ed. Kate Nesbitt (New York: Princeton Architectural Press, 1996) 453 3

4

Norberg‐Schulz, Genius Loci.

5

relationships with the world surrounding us.”5 Today there are numerous contemporary architects who are recognised for their phenomenological approach to architecture, which is based around the concept of ‘the body in space.’ Jonathan Hale refers to the work of Tadao Ando in Japan, Herzog and De Meuron in Europe and Steven Holl in America and notes their “desire to articulate material qualities, in order to heighten our perceptual awareness of the encounter between the body and the world of things.” 6

Most architecture is designed to be inhabited and hence it is inevitably experienced. The poet Jorge Luis Borges wrote, “The taste of the apple lies in the contact of the fruit with the palate, not in the fruit itself; in a similar way poetry lies in the meeting of poem and reader, not in the lines of symbols printed on pages of a book.” 7 A comparable statement by Pallasmaa reads, “The artistic dimension of a work of art does not lie in the actual physical thing; it exists only in the consciousness of the person experiencing it.”8 Like the apple, the poem and the work of art, the same principles surely apply to a work of architecture. Does the expression of a piece of architecture lie in the physical building or in the consciousness of the person experiencing it ? On the subject of experience Holl stated, “A real architectural experience is not simply a series of retinal images; a building is encountered it is approached, confronted, encountered, related to one’s body, moved about, utilised as a condition for other things, etc.”9 Experience is the act of apprehending by means of the senses. In his writing Holl refers to the importance of buildings that acknowledge all the senses. He expresses his concern for contemporary design that has become solely about the visual sense, “The architecture of our time is turning into the retinal art of the eye instead of experiencing our being in the world, we behold it from outside as spectators of images projected on the surface of the retina.”10 The traditional five senses proposed by Aristotle are sight, hearing, touch, smell and taste. However, in Questions of Perception an Iris Aravot and Eran Nueman, Invitation to ArchiPhen: Some Approaches and Interpretations of Phenomenology in Architecture (Bucharest: Zeta, 2010) 5

6

Jonathan Hale, Building Ideas: An Introduction to Architectural Theory (New York: Wiley 2000)

7 Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses (London: Wiley 2005) 8

Pallasmaa, Theorizing a New Agenda for Architecture, ed. Kate Nesbitt

Seven Holl, Juhani Pallasmaa and Alberto Perez‐Gomez, Questions of Perception: Phenomenology in Architecture (San Francisco: William Stout Publishers, 2006) 9

10

Holl, Pallasmaa and Perez‐Gomez, Questions of Perception

6

additional two senses are proposed. Pallasmaa suggests that we have in fact seven senses and that muscle and bone are also involved in human cognition: Similarly, an architect internalises a building in his body; movement, balance, distance and scale are felt unconsciously through the body as tension in the muscular system and in the positions of the skeleton and inner organs. As the work interacts with the body of the observer the experience mirrors these bodily sensations of the maker. 11

His argument for the additional two senses is based on the idea of the human body as a dimensioning and proportioning tool. Muscle and skeleton serve as the devices for the intricate movements of the body and therefore measure and evaluate spatial proportions and relationships.

11

Ibid

7

1.1.2 Foreground Architects such as Pallasmaa and Barragan have acknowledged the disconcerting lack of spiritual and emotionally rich architecture that seems to characterise modern trends.

According to Pallasmaa: The buildings and townscapes of our time commonly lack a spiritual and emotional content. The sense of emptiness, distance and rejection they do possess derives from the inability of modern settings to resonate with the unconscious sensibilities of the human mind. The progress of modern architecture has normalised human emotions, and consequently is unable to reflect emotional extremes such as ecstasy and melancholy. 12

Barragan holds a similar point of view that is enforced by his statement “I believe in an ‘emotional architecture’. It is very important for humankind that architecture should move by its beauty; if there are many equally valid technical solutions to a problem, the one which offers the user a message of beauty and emotion, that one is architecture.” 13

Pallasmaa acknowledges that “At the turn of the millennium, the great challenge for architects is the re - sensualisation, re - mythologisation and re - poetisation of the human domicile.” 14

1.1.2.1 The Spiritual The meaning of the word spiritual has developed over time and today has numerous meanings and connotations. Traditionally it was associated with religion, religious experience and the Holy Spirit. However, the modern day, secular and broader meaning of the word refers to a sense of otherworldliness. It has become a word that is also commonly used as way to describe intangible things that lack a straightforward explanation.

12

Juhani Pallasmaa, Encounters: Architectural Essays, ed. Peter MacKeith (Helsinki: Rakennustieto, 2005)

13

Emilio Ambasz, The Architecture of Luis Barragan (New York: Museum of Modern Art, 1976)

14

Juhani Pallasmaa, Encounters

8

Figure 1.1.2.1.1 Walking on a spiritual path, Suma Varughese Source : http://www.freepressjournal.in/weekend/walking-the-spiritual-path/109550

It is generally accepted that spirituality can be found in music, nature, art, poetry, in many other areas of life and of specific relevance to this paper in that it can be found in architecture.

1.1.2.2 The Architectural Architectural is a scientific expression or an art of making structure express ideas.

Architecture is the triumph of human imagination over materials, methods, and men to put man into possession of his own earth. Architecture is man's great sense of himself embodied in a world of his own making. It may rise as high in quality only as its source because great art is great life. The mission of an architect is to help people understand how to make life more beautiful, the world a better one for living in, and to give reason, rhyme, and meaning to life.15

15

Frank Lloyd Wright

9

1.1.2.3 Spirituality The word ‘spirituality’ derives from ‘spirit’. Spirit is often considered as opposed to matter.

‘Spirits’ are immaterial beings without a body. So in this sense, what is not material would be something without a body and would be considered spiritual, according to Casaldáliga.16 Something is spiritual if it has the presence of spirit in it. Spirituality is said to be a dimension that is vulnerable to certain measures. People can be truly spiritual if there is a sign of a marked activity of spirit in them. 17 The soul has the potential to attain altered states consciousness after being through innumerable animal and human lives. The process of cleansing the mind from all impressions, wrong education and habits is called the spiritual practice. The latter enables the individual to live eternally as a spirit. This state can be achieved if one lives in harmony with the laws of nature.18

Figure 1.1.2.3.1 What is spirit, Juan Carlos Valenzuela SOURCE :https://fineartamerica.com/featured/divine-spirit-juan-carlos-valenzuela.html

16

Casaldáliga (1994)

17

Ibid

18

Swami Paramananda, 2005

10

Sri Aurobindo says "Man does not arrive immediately at the highest inner elevation and if it were demanded of him at once, he would never arrive there. At first he needs lower supports and stages of ascent, he asks for some line of thought, dogma, worship, image, sign, and symbols, some indulgence and permission of mixed half natural motive on which he can stand while he builds up in him the temple of spirit.�19 Man's quest of truth, reality and peace has been unending. Overawed with the infinite nature, whatever he could not comprehend he attributed that to the glory of nature. Man's intellect cannot accept anything that is unknown, unseen and has no fixed shape or form. Thus to satisfy his intellectual curiosity man gave physical form to the divine being.

1.1.2.4 Spirituality and Architecture Architecture is a phenomenon that defines the quality of the built environment whilst accommodating various functions. The quality of the spatial and functional arrangements in a given dimension provides character to a place. 20 Pallasmaa points out that architecture is multi-sensory bringing the users closer to things. The experiential value of architecture is serene and is accentuated with the interaction of the senses through movement and action in an environment.21 Norberg-Schulz, states that architecture relates to the spirit of a place, an environment where man engages for his daily activities. Such a place can be defined by cosmic, spiritual and natural qualities such as light, sound, air, water bodies, green landscape, open-to-sky spaces and climatic conditions.22

Spirituality and architecture are interlinked where different layers lead to the creation of a holistic environment. The tactile and sensory nature of architecture enables man to integrate with the built environment physically, psychologically and visually. 23 These qualities of architecture can be expressed as space that evokes and invokes spiritual responses in people. These qualities can therefore be used to establish a spiritual place.

19

Sri Aurobindo, Indian Spirituality and Life, 1919

20

Norberg-Schulz, 1980: 8

21

Shirazi, 2011

22

Norberg-Schulz, 1980

23

Pallasmaa, 2005: 31-32

11

India is a multi-cultural country. At various events, people integrate socially and culturally.

However, there is a lack of spiritual engagement in the environment. Spirituality is aimed at all cultures and people of all communities are approached to embark on that journey.

Spiritual architecture therefore serves the wider community in that all cultures come together at one place to conduct spiritual practices. According to Swami Paramananda, spiritual practices are undertaken by an individual to develop his inner and divine qualities to attain eternal happiness and bliss. They are carried out to increase one’s spiritual growth towards the experience of a state of Godliness better known as altered states of consciousness. A spiritual awakening is important so that people become aware of their actions. Spirituality or Psychonautics is a means by which such transformation in an individual is possible.24 Therefore, architecture is not limited to space and functions only; it also addresses various aspects such as culture, nature, society and people.

1.1.2.5 Spiritual Architecture Spiritual architecture refers to any building system that facilitates this awareness. It is an act of highlighting or bringing forth the self, not by rejecting matter but by manifesting it in matter, at various levels and in multiple forms. E.V. Walter, defines spiritual space as a specific environment of phenomena that are expected to support the imagination, nourish spiritual experience, and convey spiritual truth"25.

Spiritual spaces can be found in nature or they can be a constructed space. A spiritual space found in nature is a place designated by individuals or groups as such a place. It is a distinct space, a place whose character sets it apart from its surroundings. They are distinct from typical or commonly found places. The designation of a place as spiritual comes from the human need to establish a connection with inner truth. A place that is spiritual to one person or group of people may not be spiritual to others.

Architecture of a space can invoke all the senses, help one concentrate one's positive energies to calm a disturbed mind and take a peaceful stable mind beyond the physical. It is 24

Swami Paramananda, 2005: 2

25

Walter,E.V., Placeways: A Theory of the Human Environment, 75

12

an inevitable part of life. It attempts to reflect man's source and the reason of being in several varied ways. Architecture is more than mere physical shelter or symbolic artefacts.

They are catalyst towards our "dwelling", between our being and the world. Architecture, together with the other arts, has, since time immemorial, been one of the most powerful means to pursue and realize this quest and give it physical-symbolic expression: how to create an identity and a place for our being from within the vast, shapeless and infinite extent of time and space; how to affirm our presences and gain a foothold, in the universe.26

Successful architectural expression is one, which is able to do both; provide an enriching experience and an unforgettable image. It becomes more important while expressing spirituality in material to provide for an experience of, both the form and the formless, one perceptible by the senses and other beyond senses. Since sacred spaces are separate from everyday places in a designated precinct, value is placed on the journey and arriving at the sacred place. The path and the ritual journey are part of the sacred experience. It is a universal goal of mankind to seek or to create spiritual spaces.

26

Gunter Dittmar, Upon the Earth, Beneath the Sky: The Architecture of Being, Dwelling & Building, 2001

13

1.2 Overview “I’ll try to be around and about. But if I’m not, then you know that I’m behind your eyelids, and I’ll meet you there.”

- Terence McKenna

Figure 1.2.1 The Psychonautic Buddha SOURCE :https://www.pinterest.co.uk/pin/371828512983019586/

14

1.2.1 Psychonautics Psychonautics refers both to a methodology for describing and explaining the subjective effects of altered states of consciousness, including those induced by meditation, yoga, dance or recreation. It can also refer to a research paradigm in which the researcher voluntarily immerses themselves into an altered mental state in order to explore the accompanying experiences. 27

Figure 1.2.1.1 Psychonautics SOURCE :https://www.pinterest.co.uk/pin/732679433101248037/

A psychonaut is someone who explores altered states of consciousness, unique states of mind and possibilities outside the mind altogether. "Psychonaut", the word itself, is a combination of the Greek words "psyche", meaning "spirit/mind," and "nautes", meaning "sailor/navigator". Therefore, a psychonaut is someone who navigates and explores the

27 Newcombe, Russell (2008). "Ketamine Case Study: The Phenomenology of a Ketamine Experience"

15

spirit or mind. Alternatively, it could be used to refer to someone who explores other states of existence by using their spirit or mind as a means of travel.28

Psychonaut is a word deserving of an expanded definition and broader application.

Psychonauts are explorers of mystical territory, of realms and states of existence other than our usual five-sense, four-dimensional reality. While there may not be a universal consensus on where exactly where it is that psychonauts go, what unique states of mind are involved, there are nevertheless ancient and widely-practiced methods that seem to achieve the effect of expanded awareness.

Figure 1.2.1.2 The Psychonautic Path SOURCE :https://www.pinterest.co.uk/pin/848858229735541151/

Basically psychonauts are those who utilize spiritual tools such as meditation, yoga, mantras, prayer as well as dance to reach the altered states. Throughout history, in the East and the West, there have been those who have plunged into altered states of consciousness

28 Carroll, Peter J. Liber Null. (1978) and Psychonaut. (1982) (published in one volume in 1987).

16

by using deep states of meditation and prayer. Mahayana Buddhist sutras are a great example of the types of visions and experiences that are possible by proficient meditators.

There are many stories involving Saints, such as Saint Francis of Assisi, where deep prayer has resulted in unique experiences with reality. In fact, almost every religion in the world seems to have found some methods for achieving altered states of mind and/or breaking the grip of purely self centred material thing. There certainly is no shortage of accounts by mystics describing these states.29

Figure 1.2.1.3 Altered Experiences SOURCE :https://consciousreminder.com/2017/11/09/8-signs-experiencing-light-bodymerkaba-activation/

Furthermore, being the resourceful creatures that we are, humans quickly devised numerous other methods for having these types of alternative experiences once we realized that we were capable of them. Practices such as drumming, humming, starvation, sleepdeprivation, hypnosis, binaural beats, cranial electrotherapy stimulation and deep prayer have all been known to bring on altered states of consciousness. Many of these methods seem to create an expanded understanding of ‘reality’ that remains long after the method of stimulation has stopped.

29 Ibid

17

Figure 1.2.1.4 Inward Exploration SOURCE :https://www.pinterest.co.uk/pin/863917140989482008/

A psychonaut does not have to be a religious recluse with no ties to the ordinary world.

Neither does a psychonaut have to seek out the latest hallucinogenic to hopefully kick-start his/her alternative experiences of reality. Literally anybody can be a psychonaut, because everyone is capable of undertaking an inward exploration. Some people may be more prone to experiencing altered states of consciousness than others.The desire to experience and explore altered states of consciousness is argued by some to be a basic human impulse.

These altered states of consciousness do not need to be earth shattering. They can be small, simple, and yet powerful enough to shift our consciousness about what is true. Many in the spiritual community, from Christians to Buddhists to Agnostics, to native peoples have argued that if we do not seek out more than just this material world, then the alternative perspectives of ‘reality’ will make itself known, forcing an individual to at least explore alternative thinking and states of mind. If we naturally have this capacity to experience more than just everyday, material reality, then we should to be asking the question: "Why do we have this capacity to think ‘outside-the-box’ and experience possible paranormal events if not to push the boundaries of who we are and explore beyond a limited sense of what is real?"

18

1.2.2 Osho One of the such Psychonaut was Rajneesh Chandra Mohan Jain latter known as Osho. A spiritual teacher, saint, mystic, great philosopher and a enlightened master who answered various questions relating to spirituality and states of consciousness. Osho presented meditation and dance not just as a practice but as a state of awareness to be maintained in every moment, a total awareness that awakens the individual from the sleep of mechanical responses conditioned by beliefs and expectations.

Figure 1.2.2.1 Rajneesh Chandra Mohan Jain (OSHO) SOURCE :https://www.osho.com

1.2.2.1 Youth - Enlightenment - University studies: 1931-195730 Born in Kuchwada, Madhya Pradesh, India on December 11, 1931, Osho says of his parents, "I had chosen this couple for their love, their intimacy, their almost one-ness."

Growing in an atmosphere of tremendous love, freedom and respect, Osho was an intuitive and adventurous child with the knack of penetrating to the very heart of a situation.

Exploring life fearlessly and intensely, he insisted on experiencing life for himself rather than acquiring beliefs or knowledge given by others. When he was seven years old, his 30 https://www.satrakshita.com/osho_biography.htm

19

maternal grandfather died with his head in Osho′s lap as they traveled in the back of a bullock cart on the long journey to reach the nearest doctor. This had a profound effect on his inner life, provoking in him a determination to discover that which is deathless. "I learned much in that moment of his silence...," Osho said later, "I started on a new search, a new pilgrimage." This, and other stories in Glimpses of a Golden Childhood, give rich insight into Osho′s early years, and the innocent spirit of the flame of rebellion and playfulness he brought to every endeavour in his life.

At the age of twenty one, Osho became enlightened. "For many lives I had been working on myself, struggling, doing whatsoever can be done - and nothing was happening. The very effort was a barrier... Not that one can reach without seeking. Seeking is needed, but then comes a point when seeking has to be dropped... And that day the search stopped... it started happening. A new energy arose... It was coming from nowhere and everywhere. It was in the trees and in the rocks and the sky and the sun and the air - and I was thinking it was very far away. And it was so near..." A full account of his enlightenment can be found in his book The Discipline of Transcendence. After his enlightenment on March 21, 1953, Osho graduated from the University of Sagar with first class honours in philosophy. While a student, he won the All-India Debating Championship. He was a professor of philosophy at the University of Jabalpur for nine years.

1.2.2.2 Travel all over India - lecturing, teaching: 1957 - 197431

Osho (then called Acharya Rajneesh) traveled throughout India giving talks, challenging religious leaders in public debate and meeting people from all walks of life. He read extensively, everything he could find to broaden his understanding of the belief systems and psychology of contemporary man. Osho had now begun to develop his unique dynamic meditation. Modern man, he said, was so burdened with the outmoded traditions of the past and the anxieties of modern-day living that he must go through a deep cleansing process before he could hope to discover the thought-less, relaxed state of meditation. He began to hold meditation camps around India, giving talks to the participants and personally conducting sessions of the meditations he had developed.

31 Ibid

20

In 1962 Osho opens his first Meditations Centres known as Jivan Jagruti Kendras (Life Awakening Centres), and names his movement Jivan Jagruti Andolan (Life Awakening Movement). As of 1967 he started to initiate people into sannyas. In 1969 followers of the Maharishi Mahesh Yogi invited Osho to talk to them. This was the first occasion on which Osho addressed a western audience, and the first time he talked publicly at length in English. In 1970 Osho decided to stop traveling and settled in Bombay where he continued to give regular public lectures. By the following year, he had begun to attract a small Western following, and these early Westerners enjoyed personal and close relationships with their master. Among their number was a shy twenty-two-year-old English woman named Christine Wolff. Taking on the name Ma Yoga Vivek, she became Osho′s constant companion.

1.2.2.3 Bhagwan in Poona 1: 1974 - 198132 For more than thirty-five years Osho worked directly with people who came to him, sharing his vision of a "New Man" aka "Zorba the Buddha", and inspiring them to experiment with a life based in meditation. Bridging the ancient truths of simpler times with the current reality of man, he created numerous meditation techniques which give seekers an avenue to experience the ultimate. Seeing that the complexities of life needed to be addressed, he worked closely with many prominent therapists from the West to create new therapies based in meditation. Terence Stamp is one of the many who took sannyas from Osho in 1976. Slowly Osho builds up what he calls a Buddhafield.

1.2.2.4 Rajneeshpuram: 1981 - 198533 After his initial work in India, Osho was invited to America where a bold communal experiment to translate his vision into a living reality began. Ma Anand Sheela, Osho′s private secretary at the time, and a few other women were in charge. Thousands of Osho′s disciples poured their love into a barren piece of land and began to transform it into a

32 Ibid 33 Ibid

21

flowering oasis in the desert. But Osho′s presence and the success of the commune revealed the hypocrisies inherent in the beliefs and prejudices of the current age, particularly in the religious and political establishment. The antagonism of these groups toward Osho and the commune mounted, and after only four years, after a short stay in an American prison, he was forced to leave America. This is described in a book by Max Brecher called A Passage to America. Read more about it here. The inhabitants of a nearby little town, called Antelope, were glad that Osho and his people were gone, as is clear from a plaque at the base of the Antelope post office flagpole, to mark that time.

1.2.2.5 Worldtour: 1985 - 1986 34 Osho then began a World Tour. He is refused entry by 21 countries. In the midst of this campaign of worldwide persecution orchestrated by the US Government, Osho responds with characteristic humor and uncompromising honesty, publicly challenging his persecutors and at the same time showering his love unconditionally, giving some of his most intimate talks to disciples who gathered around him wherever he went.

While Osho went on a World Tour, many sannyasins left the USA and spread all over the world. A substantial part of them landed in Ibiza. Anthropologist Anthony d′Andrea, aka Techno Tony, has spent recent years investigating club/rave centres around the World, researching a PHD thesis on ′Club Cultures′. He writes that sannyasins became a crucial bridge between Ibiza′s 60s counterculture and the 90s electronic dance subculture.

1.2.2.6 Osho in Poona 2: 1986 - 199035 Finally, Osho returned to Poona, India, giving talks twice a day. Thousands of seekers from around the world came together again to be in the presence of this rare buddha and mystic, and a new commune grew around him. It was during this time that Osho announced that he did not want to be called Bhagwan again: "Enough is enough! The joke is over." In these 34 Ibid 35 Ibid

22

years of his final discourses, Osho gradually began to withdraw from public activities. His fragile health often prevented him from giving discourses, and the periods of his absence grew longer. He introduced a new element into his discourses, guiding his audience into a three-stage meditation at the end of each sitting. Eventually he delivered his last discourse series, answering questions and commenting on Zen sutras.

After his failing health had caused him to stop giving discourses, a message came that the name Rajneesh was also being dropped. Many of his disciples had already collectively decided to call him Osho. He has explained that the word ′Osho′ is derived from William James′ expression ′oceanic experience′ which means dissolving into the ocean. "Oceanic describes the experience," says Osho, "but what about the experiencer? For that we use the word ′Osho′."

In the following months, whenever his health permitted, he would appear in the evening to sit with his disciples and friends in a meditation of music and silence, after which he would retire to his room while the assembly watched one of his videotaped discourses. These sittings together with Osho are called White Robe Brotherhood Meetings.

In the last year of his life, Osho organised an administration of his closest disciples to take care of his work after he had left his body. Osho himself chose the 21 members of this inner circle who could contribute in the administrative work and who had different areas of expertise. This committee was to make decisions unanimously. Members of the inner circle were for life, only to be replaced after death by the remaining members. After a while, the required unanimity making quick action impossible according to some, a group of 6 people formed within the inner circle, called "The Præsidium", which, over time, became decisive in policy making; this led to struggles within the inner circle whereupon many members left. Nowadays only three people take care of the management of Osho′s legacy, three people of non-Indian descent, which contributes to disagreements between leading Indian and non-Indian disciples.

23

1.2.2.7 Osho in Poona 3: 199036

On 19 January 1990 Osho leaves his body after a long sickness due to his poisoning by the US- Government in 1985. His body was brought to Buddha Hall the same evening so that his Sannyasins could give him a send off. Later on his body was carried to the burning ghat at the river near the ashram and cremated in a large celebration with all his Sannyasins.

Just a few weeks before his demise, Osho was asked what would happen to his work when he was gone.

He said: "My trust in existence is absolute. If there is any truth in what I am saying, it will survive. The people who remain interested in my work will be simply carrying the torch, but not imposing anything on anyone. I will remain a source of inspiration to my people. I want them to grow on their own - qualities like love, around which no church can be created, like awareness, which is nobody′s monopoly; like celebration, rejoicing, and remaining fresh, childlike eyes. I want my people to know themselves, not to be according to someone else. And the way is in.�

"If you have loved me, I will live with you forever. In your love, I will live. If you have loved me, my body will disappear but I cannot die for you...

Even if I am gone I know you will search for me. Yes, I can trust you will hunt for me in every stone and flower, in every eye and star... And I can promise you one thing: if you hunt for me, you will find me - in every star and every eye - because if you have really loved a Master, you have moved into eternity with him. The relationship is not of time; it is timeless. There is going to be no death.

My body will disappear, your body will disappear - that will not make any change. If the disappearance of the body makes any change, it simply shows that love had not happened. Love is something beyond the body. Bodies come and go, love remains. Love has eternity in it timelessness, deathlessness." 

36 Ibid

24

1.3 Project Interpretation Psychonautic spirituality is an ultimate or an alleged immaterial reality. The essence of spirituality is the search to know our true selves, to discover the real nature of consciousness ie altered states of consciousness. In other words, it is a constant discovery of the incredible, our real self, and a quest of our true being, why we are, who we are and where we belong. This has been a part of the eternal quest of man from times immemorial.

These questions have been answered differently by many but are subject to one's own belief interpretation and perception.

Osho Dham is a kind of psychonautic center cum spiritual resort acting as a self sufficient commune, comprising various spiritual spaces to assemble people of different backgrounds to tread on an inner journey to discover their inner potentials, strengths and weaknesses.

The center primarily focuses different methods of meditation, yoga, dance, rejuvenation and recreation to maintain a balance between body and soul.

The center will have the responsibility to spread awareness and to invite people for their basic treatment. To provide calmness and stability in human mind, architecture will play a major in demonstrating the elements that evoke the sense of spirituality and peacefulness on human body. The psychonautic center will work on the philosophies of Osho. It will focus on development of human potential, bringing harmony into human relationships and changing the attitudes and outlook of people to promote the spirit of brotherhood, love and co-operation. The institution is open to all irrespective of caste, creed, age and social, economic or political status. It will have various weekend courses of meditation, dance and yoga. People from all around the world will come just to practice great meditation techniques explained by Osho. It is opened 24X7, 365 days.

People look for help from a divine power in order to find themselves, in order to make sense of the world, or in order to make sense of their own lives when chaos surrounds them. People search for peace in their world, but that has to start with peace from within.

To find peace within, those in search of answers ask for help from a spiritual source. In most cases, that means gathering to a church or a wellness center to find people that can

25

assist with gaining answers. The buildings themselves typically have little impact on people looking for spiritual guidance.

Those in need of spiritual help, can gather in this built environment, the architecture of this center will invoke all senses, help one concentrate one's positive energies to calm a disturbed mind and take a peaceful stable mind beyond the physical. Since sacred spaces are separate from everyday places in a designated precinct, value is placed on the journey and arriving at the sacred place. The path and the ritual journey are part of the sacred experience. It is a universal goal of mankind to seek or to create spiritual spaces. And for people searching for solutions that can help with their personal demons, this architectural language could speak the answers they are wishing and/or needing to hear.

26

1.4 Validity of the Project “Spirituality is a brave search for the truth about existence, fearlessly peering into the mysterious nature of life.�

- ELIZABETH LESSER, The New American Spirituality

1.4.1 Mental Evolution & Well-being Man has been evolving from the last 1 million years and he is what he is today because of this process. However, the rate of evolution in human beings especially is slowing down gradually. The reason is this evolution is the child of nature and time. As and when animals faced a problem, nature came to their aid and evolved them (their body and mind) to adapt to its surroundings in such a way that the problem ceases to be so. For example, the Giraffe has a long neck that support its survival by enabling it to reach for the leaves that are usually several feet above the ground. Similarly, snakes lost their legs as they proved to be more or less useless during their chase or flight. However, when it came to human beings, we limited our physical evolution when we started fiddling with the nature. We never evolved ourselves to suit the environment, rather we modified the environment to suit us.

In other words, we stopped being natural and started to build an artificial world where we are comfortable. And this started slowing down the process of our physical and mental evolution.

Spirituality essentially means to return to that natural state of self where we are just a being without a shade of artificiality in us. When we start thinking and staying aware of our natural state, we start becoming spiritual. And then we also start evolving mentally, which leads to an enhanced state of perception and better understanding of reality. Spirituality essentially leads you to perceive the reality as it is and thereby maintaining you in an eternal state of mental wellbeingness.

27

1.4.2 Enlightenment The reason to pursue evolving one’s consciousness isn’t to do with one’s happiness or contentedness in life. There have been enlightened people who are the poorest of the poor as well as the very wealthy.The reason we should pursue enlightenment or spirituality or psychonautics is because we now have to evoke evolution through our own choosing.

Evolution itself has shifted from a slow physical, biological process to a mental evolution we see this everywhere the explosion of human creativity and ingenuity. Our evolution of thought has little physical restrictions. We are now on the next wave of evolution an even more infinite, more subtle evolutionary process, the evolution of our consciousness.

We have yet to see or experience the unrestricted nature of consciousness beyond the boundaries of our own self identity and self-interpretation.

1.4.3 Author’s Interest Spirituality has been a major interest in the life of the author from a younger age. As a spiritual seeker, the author has embarked on the spiritual journey that has led to a profound understanding of the mind, body and senses. In this research thesis, the intention is to discover the connection between architecture and spirituality. Spiritual knowledge is critical in understanding oneself and others in an environment. Architecture deals with spaces, people and their engagement in a place. Spiritual architecture is serene as it allows man to engage in nature and its immediate environment but with a strong sense of awareness of what he is surrounded with. However, authors experience reveals a lack of built space conducive for effective spiritual practice. In spiritual architecture, there is a sense of order, discipline, geometry, proportion and simplicity. These qualities can be seen in the works of Tadao Ando who attempts to create a space that unites the body and spirit.37

The reason for taking “ Space to Soul ” as a research thesis is to assemble people of different backgrounds to tread on an inner journey to discover their inner potentials, strengths, weaknesses - in fact being self-educated. With the influence of the material world, man has detached himself from his own roots and values. There is a need to 37

Wu, 2006

28

understand the architecture of one’s body and how each organ operates to function better in the individual and how the body responds to the outside world. The result of Spirituality and Psychonautics is proper reasoning, appropriate actions, refinement of one’s qualities and rational thinking. Meditation is a science on its own to study. 38 Architecture not only induces the essence the spirituality, but it also creates a spirit of the place. Architecture may lead to an appropriate expression of identity of spirituality.

India is a country of historical and cultural background. There exists a cultural mix of people who are not only engaged in religious practices but many of them are seeking beyond for personal spiritual connection. The existing spiritual centres in the country are proof to that. Spirituality is a universal doctrine and not community or religious based.

Spiritual knowledge can only be imparted through an enlightened spiritual master who will devise appropriate spiritual techniques for the individuals.39

The topic of spirituality offers an opportunity to explore various architectural approaches in the research study. The existing architecture is less associated with spirituality, in general. However, sacred architecture is based on spiritual qualities of elements that will enhance the spirit of place. This study will identify the qualities required to create a suitable place to conduct spiritual practices. Issues and problems will be identified with a thorough study to bring out possible recommendations towards a design solution.

1.4.4 Cultural Need With a country of high cultural mix, there is hardly a place that accommodates people of different cultures under one roof for one common interest, as in spiritual practice.

Architecture could afford the opportunity for cultural and social groups to be united.

Currently these groups function as smaller community groups rather than as a wider community of mixed socio-cultural groups and there is still a sense of segregation that occurs through religion and race at various levels. Architecture could become a medium to mediate and encourage a dialogue between different cultural and social groups.

38

Swami Paramananda, 2005: 2

39

Ibid

29

The problem arises out of a need for self-education towards creating a sane society devoid of conflicts and ills that have been the outcome of the abuse of education, lack of tolerance and respect for one another. The issues faced are determining the spiritual qualities that architecture can bring to create space for the engagement of socio-cultural groups. These spaces must be designed to accommodate the pragmatic requirements of spiritual practices by embracing the socio-cultural and environmental context.

Most places are not necessarily designed to induce the essence of spirituality. Spiritual practices require distinct environments where the metaphysical, physical, psychological and visual aspects form part of the design. Places of spiritual well-being lack architectural character and are similar to any other places. Consequently, there is no sense of identity of spirituality in architecture. Architecture has the potential to express the spirit of place as well as to invoke and evoke spiritual responses in people.

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1.5 Areas of Study

“To study the way is to study the self. To study the self is to forget the self. To forget the self is to be enlightened by all things.�

- Dogen

1.5.1 Constituents of Spirituality Many people speak about being spiritual, as opposed to being religious and adhering to a particular denomination or sect. But levels of spirituality, and understanding of it has been so varied, it seems useful to pinpoint the key factors that make one a spiritual being to provide a better comprehension of true spirituality.

The main belief of spirituality is of having an invisible spirit or soul which is enjoying an earthly experience, or journey, in a visible body. This spirit is timeless, with a lack of consensus on what happens to it when it completes its earthly journey. Some people subscribe to a reincarnation as something else, most likely as an animal; some to the notion that the spirit assumes a new body and starts the cycle all over again; while others believe the spirit roams freely in the ether after that, in common with many similar souls.

Whatever beliefs spiritualists subscribe to, it seems there are some major constituents that a true spiritual being should know:

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1.5.1.1 Consciousness

Consciousness is the state of being aware of something internal within the mind, or external within the physical or sensory world. It can be defined as an individual’s unique awareness of their thoughts, feelings, sensory experiences and environment.40

Figure 1.5.1.1.1 What is Consciousness, David A Oakley And Peter Halligan SOURCE : https://medicalxpress.com/news/2017-11-consciousness-human-mind.html

People use the term consciousness in different ways. There's the medical sense of losing consciousness which has to do with a patient's ability to respond coherently to the outside world. There's the sense of being conscious which refers to the state of paying attention.

There's the meaning of consciousness that has to do with developing psychic or spiritual potentials. Similarly, consciousness can mean social awareness; having an understanding of and compassion for other lives which may be threatened by various political conditions.

All of these are interesting topics, but they ultimately deal with aspects of human life. The more profound meaning of consciousness is also the most basic: Consciousness is all that is not absolutely unconscious. Every sensation, perception, experience, phenomenal quality etc is consciousness.

40 Yogapedia, 2017, https://www.yogapedia.com/topic/235/consciousness

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1.5.1.2 Altered states of consciousness Altered states of consciousness, sometimes called non-ordinary states, include various mental states in which the mind can be aware but is not in its usual wakeful condition, such as during hypnosis, meditation, hallucination, trance, and the dream stage. Altered states can occur anywhere from yoga class to the birth of a child. They allow us to see our lives and ourselves with a broader lens and from different angles of perception than the ordinary mind.41

Figure 1.5.1.2.1 Altered States of Consciousness SOURCE : https://in.pinterest.com/pin/862791241088759617/

41 Christa Smith Psy.D, 2015, https://www.psychologytoday.com/intl/blog/shift/201508/altered-states-consciousness

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A person is in an altered state of consciousness to the extent that these monitoring and controlling functions have been modified or distorted 42. For example, a person may be unaware of current or past events that nonetheless are affecting his or her experience, thought, and action; or a person may represent objects and events in a manner that is radically discordant with objective reality; or a person may be unable to exert ordinary levels of voluntary control over attention and behavior. Yet, in contrast, an individual in an altered state of consciousness may be more aware of events than usual or otherwise able to transcend the limits of normal voluntary control. In this respect, altered states of consciousness are relevant to enhancing human performance.

Figure 1.5.1.2.2 Levels of Altered States of Consciousness SOURCE : https://in.pinterest.com/pin/86264746359617/

42 Farthing, 1992; Kihlstrom, 1984, https://www.nap.edu/read/2303/chapter/14

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1.5.1.3 Enlightenment Enlightenment is regarded as the highest state in the spiritual field. Every spiritual aspirant longs for the attainment of enlightenment.43

Figure 1.5.1.3.1 Enlightened Buddha, Alex Sean SOURCE : https://buddhaweekly.com/pure-mind-person-speaks-acts-happiness-follows-like-never-departing-shadow-shakyamunibuddha-dhammapada/buddha-weekly-buddha-attains-enlightenment-buddhism/

Spiritual enlightenment is a concept mostly associated with Buddhism and Hinduism, but it also has unrecognized connections into most other religions as well. Enlightenment implies complete understanding of life and the universe, which usually is accompanied by a detachment of all things impermanent and a complete awareness of everything that is, at the moment that it is. The spiritual belief purports that non-enlightened life is full of suffering produced by desire and other emotions that attach the mind to worldly things; suffering is the inevitable result of attachment to these necessarily transitory things. A person thus becomes enlightened when they remain in the world yet becomes free of attachment to it. Enlightenment is considered the end of a being’s spiritual journey, be it within one life or across many.

43 Shri Bagawath, 2007,Don’t Delay Enlightenment

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1.5.1.4 Sacredness The Sacred is that which is the object of veneration and awe. The term comes from the Latin sacer meaning restricted or set off. A person may be designated as sacred, and so can an object or a place which is regarded as extraordinary or unique. The term sacer is closely related to numen meaning mysterious power or god. Numinous is used to describe the sacred to indicate its power. Various traditions around the world have a term which correlates with sacer. In Hebrew the term is qadosh, in Greek hagios, in Arabic muqaddas, and in Polynesian tapu. Correlates of numen are found in the Sanskrit word Brahman, in the Sioux wakanda, the Melanesian mana, and the old German word haminja meaning luck.44

Figure 1.5.1.4.1 Woman opened to the sacredness and Divine truth of herself.

SOURCE : http://www.thealchemyofawakening.com/the-power-of-a-woman-who-has-opened-to-the-sacredness-of-herself/

The presumption is that the divine or some supernatural or spiritual force is manifesting itself to the beholder, who feels privileged thereby. It may be suspected, however, that it is often the case that the beholder who, perceiving something mysterious (inexplicable), a strange vision or event outside the normal, 'explains' it in terms of the supernatural and invests it with the sacred.

44 Mircea Eliade (1907-1986), The Sacred and the Profane

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1.5.1.5 Transcendental Reality Transcendent Reality is a spiritual state which is experienced by the inner-self. It represents the real awareness of the self during a higher level of consciousness. Rare moments of selfpossession. 45

Figure 1.5.1.5.1 Into Transcendental Reality SOURCE : https://in.pinterest.com/pin/620300548653408765/

And it is a state of perception and awareness of the cosmos. Such awareness is as a result of tranquility of the thought process; the state of equilibrium of the inner-self, for it is an experience of the state of the manifestation of absoluteness. It is a triumphant moment of the reality of self in reaching realization of the cosmos.

45 Adill Hissan, 2007, “Katib� , https://katib.wordpress.com/2007/05/03/transcendence-reality/

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1.5.1.6 Mysticism Mysticism is the pursuit of communion with, identity with, or conscious awareness of an ultimate reality, divinity, spiritual truth, or God. The believer seeks a direct experience, intuition, or insight into divine reality/the deity or dieties. Followers pursue certain ways of living, or practices that are intended to nurture those experiences. Mysticism can be distinguished from other forms of religious belief and worship by its emphasis on the direct personal experience of a unique state of consciousness, particularly those of a peaceful, insightful, blissful, or even ecstatic character.46

Figure 1.5.1.6.1 Oneness : Mysticism SOURCE : https://peopleofshambhala.com/oneness-where-mysticism-and-morality-meet/

Such pursuit has long been an integral part of the religious life of humanity, pursued in private or group devotions, worship, rituals, as well as in the habits of everyday life. In many long-established religions, it has been explicitly pursued within monasticism, where rules governing the everyday life of monks and nuns provide an environment that encourages the cultivation of mystical states of consciousness. Practices particularly associated with mysticism are meditation and contemplative prayer. Mysticism may be dualistic, maintaining a distinction between the self and the divine, or nondualistic. Many religions teach new devotees to begin with a dualist approach, and then to work toward a fully unified experience, transcending the self to be at one with all of existence, and/or the diety or dieties. 47

46 Wikibooks, https://en.wikibooks.org/wiki/Mysticism/What_is_mysticism%3F 47 Ibid

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1.5.1.7 Shamanism Shamanism is an ancient healing tradition and moreover, a way of life. It is a way to connect with nature and all of creation. The word shaman originates from the Tungus tribe in Siberia. Anthropologists coined this term and have used it to refer to the spiritual and ceremonial leaders among indigenous cultures worldwide. The word shamanism can be used to describe the ancient spiritual practices of these indigenous cultures. Clearly, the countless similarities between various ancient traditions played a role in the continual generalization of the word.48

Figure 1.5.1.7.1 Everyday Shamanism SOURCE : https://quantumstones.com/everyday-shamanism-accessing-the-healer-within/

Over the past few decades, the term “shamanism� has been popularized throughout the western world, especially in new-age circles. Today, it can be difficult to distinguish between traditional forms of shamanism and modernized, often esoteric practices that utilize the term.

One could view shamanism as the universal spiritual wisdom inherent to all indigenous tribes. As all ancient spiritual practices are rooted in nature, shamanism is the method by which we as human beings can strengthen that natural connection.

48 Dance of the Deer Foundation, 2017, https://www.shamanism.com/what-is-shamanism

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1.5.1.8 Music Music is a collection of coordinated sound or sounds which can be produced through instruments, vocals, insects, animals, anything which can send vibrations in the medium.

True music is that which elicits strong emotional states of mind. These feelings can be enjoyed or suffered. Making music is the process of putting sounds and tones in an order, often combining them to create a unified composition.

Figure 1.5.1.8.1 Musicity, Mary De Laye SOURCE : http://www.medicinanarrativa.eu/neuroscience-and-ten-songs-that-reduce-stress-by-up-to-65

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Music is a powerful tool for cultivating community and a powerful drug that allows you to reach states of ecstasy without the come-down, writes Justin St. Vincent. 49 Music resonates within the human spirit. At the heart of humanity is a song of the soul. The spiritual significance of music can transcend communities, cultures, and creeds. It continues to inspire spiritual expression as sound reflects and affects faith and values. Beliefs and perceptions will transcend the very nature of music and lyrics.It also cultivates community, as sound creates communication and unity. Cultivation is a constant process that develops, encourages, and nurtures. Sound creates a spiritual connection between music-maker and music-lover. A song can give a unified voice that revolutionizes and revitalizes the spirit of a community. Music serves a social function with celebrations, clubs, dances, events, farewells, festivals, and parties.

Figure 1.5.1.8.2 Music and the brain SOURCE : https://drjockers.com/heal-adrenal-fatigue/

49 JUSTIN ST. VINCENT, (2009-2012), The Spiritual Significance of Music

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1.5.1.9 Spiritual metaphysics Spiritual metaphysics is the study of the nature of human experiences that are still considered "non-physical" or "spiritual" only because our physical senses, research and technology cannot as yet measure or detect them. Ancient spirituality and religions are systems of belief that attempt to explain the human spiritual experience. All religions arise from the illusion of separation, because that is the nature of human experience in the physical form. 50

Figure 1.5.1.9.1 What is metaphysics, Spiritual Universe SOURCE : http://spiritualuniv.org/home/what-is-metaphysics

Spiritual metaphysics takes humans closer to understanding and applying this information in their everyday lives.Spiritual Metaphysics is important to them because it helps to fill in the gaps where traditional religion and science fall short in their explanations of the human experience. But Metaphysics is the place where modern science and spirituality find some common ground. It is an all encompassing philosophy that explores the ultimate nature of consciousness and the principles by which consciousness leads to form, or in very simple terms, how "thoughts" become "things". Metaphysics is the study of the most general features of reality, such as existence, time, the relationship between mind and body, objects and their properties, wholes and their parts, events, processes, and causation.51 50 http://www.metaphysics-for-life.com/spiritual-metaphysics.html 51 Dr Anadi Sahoo, 2014, Https://Www.Speakingtree.In/Allslides/What-Is-Spiritual-Metaphysics

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1.5.1.10 Kundalini Kundalini is a Sanscrit term from ancient India that identifies the arising of an energy and consciousness which has been coiled at the base of the spine since birth, and is the source of the life force (pranic energy, chi , bio-energy) that everybody knows. Yogic science suggests that this energy triggered the formation of the child in the womb, and then coils 3 ½ times at the base of the spine to hold the energy field in stasis until we die, when it uncoils and returns to its source. 52

Figure 1.5.1.10.1 Kundalini Awakening SOURCE : https://www.healingenergytools.com/kundalini-awakening/

Kundalini may unravel and arise from the base of the spine (or sometimes from the feet) due to spiritual practices, or in response to life events, and when this happens it may move gradually, uncoiling like a snake, or quickly and explosively, into the gut, the heart or the head. This event can be startling and chaotic, frightening or blissful, and it usually triggers months and years of new sensations and changes in the person who awakens it. Kundalini awakening offers a profound opportunity for those called to follow a spiritual path. It gradually releases many patterns, conditions and delusions of the separate self. It can be threatening to the ego-structure because a person may feel a loss of interest in their old life and identity, and consciousness may go into unfamiliar expansive or empty states that are disorienting. It also makes people who are unfamiliar with it afraid they are ill or losing their minds. So understanding is important.53 52 Bonnie Greenwell, 2015, Http://Www.Kundaliniguide.Com/What-Is-Kundalini/ 53 Ibid

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1.5.1.11 Chakras The Sanskrit word Chakra literally translates to wheel or disk. In yoga, meditation, and Ayurveda, this term refers to wheels of energy throughout the body. There are seven main chakras, which align the spine, starting from the base of the spine through to the crown of the head. To visualize a chakra in the body, imagine a swirling wheel of energy where matter and consciousness meet. This invisible energy, called Prana, is vital life force, which keeps us vibrant, healthy, and alive. 54

Figure 1.5.1.11.1 The seven chakras SOURCE :https://in.pinterest.com/pin/293719206920913221/

54 Michelle Fondin, 2018, https://chopra.com/articles/what-is-a-chakra

44

First Chakra: The Muladhara is the chakra of stability, security, and our basic needs.

Second Chakra: The Svadhisthana chakra is our creativity and sexual center.

Third Chakra: The Manipura chakra means lustrous gem and it is the source of personal power.

Fourth chakra: The anahata is the spiritual chakra which serves as a bridge between our body, mind, emotions, and spirit Fifth Chakra: The Vishuddha chakra is the fifth chakra is the source of verbal expression and the ability to speak our highest truth.

Sixth Chakra: The Ajna chakra is referred to as the “third eye” chakra. Ajna is the center of intuition.

Seventh Chakra: The Sahaswara chakra or the “thousand petal lotus” is the chakra of enlightenment and spiritual connection to our higher selves, others, and ultimately, to the divine.

Figure 1.5.1.11.2 Cosmic cycle of chakras SOURCE :https://in.pinterest.com/pin/974573719206920913221/

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1.5.1.12 Elements of Nature According to Hindu mythology, every human body essentially are made from five elements which are Earth (bhumi), Water (jala), Fire (agni), Air (Vayu) and Space (aakash).

Hindus believe that, upon death, all these 5 elements of human body are dissolved to respective element of nature, so that it can balance the cycle of nature.55

Each of these five elements has its own functions and characteristic described below:

Earth (bhumi): The first element of panchamahabhuta is “Earth” which is translated at Bhumi in Sanskrit. This element is perceived by five senses that are Hearing, Smell, Taste, Touch and Sight. The physical body with muscles and bones refers to Earth.

Water (jala): The second most important element is “water”, jala in Sanskrit. This element has no odor (smell) but can be heard, felt, seen and tasted. In human body, blood and other fluid are refer to Water.

Fire (agni): The next higher element in human body is “fire”, agni in Sanskrit. In human body the temperature, jatharagni are refers the fire. It can be heard, felt and seen.

Air (pavan): The fourth element of panchmahabhuta is “air”, pavan in Sanskrit. Air can be felt and heard only; one cannot see the air. In human body, the oxygen and carbon dioxide in the body refers to Air. It is considered as one of the most important factor in Pranayama.

Sky (aakash): The fifth and last element of panchmahabhuta is “space” which is translated in Sanskrit at aakash. Space is the medium of sound but is inaccessible to all other senses.

And as in human body the Athma (Soul) refers to Space.

The combination of these 5 elements makes our body and will dissolve into respective element upon death.

55 Abhay Dhar, 2015, https://www.speakingtree.in/blog/what-are-the-5-elements-of-nature-panchamahabhuta

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1.5.1.13 Dharma Dharma refers to the underlying order in nature and human life and behavior considered to be in accord with that order. The word Dharma is used to mean nyaya (Justice), what is right in a given circumstance, moral values of life, pious obligations of individuals, righteous conduct in every sphere of activity, being helpful to other living beings, giving charity to individuals in need of it or to a public cause or alms to the needy, natural qualities or characteristics or properties of living beings and things, duty and law as also constitutional law. Dharma is the law that maintains the cosmic order as well as the individual and social order. Dharma sustains human life in harmony with nature. When we follow dharma, we are in conformity with the law that sustains the universe.

2

Figure 1.5.1.13.1 What is Dharma, Shukavak N. Dasa SOURCE : https://teachingsofmasters.wordpress.com/2013/08/22/what-is-dharma-by-shukavak-n-dasa/

Dharma is a Sanskrit expression of the widest import. There is no corresponding word in any other language. It would also be futile to attempt to give any definition of the word. It can only be explained. It has a wide variety of meanings. A few of them would enable us to understand the range of that expression. Hence dharma can be briefly said as "that which contains or upholds the cosmos."56

56 Veda, 2018, http://veda.wikidot.com/main:home

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1.5.1.14 Spiritual Energy/Power Spiritual energy is no less real than any other energy, like electricity for example, but is vastly more important. Spiritual energy is prana carried by pure love.

Figure 1.5.1.14.1 Spiritual Energies SOURCE : https://www.mushroom-magazine.com/psychedelic-art/

Spiritual energy is invoked by any true spiritual or humanitarian motive. Anyone who is following their higher aspirations, who is being of genuine service to others, who is coming closer to a realization of their own Divinity – is invoking this energy to some extent. One of the simplest and most potent ways of doing this is through prayer especially when done according to yogic principles.

48

1.5.1.15 Euphoria Euphoria is the experience or affect of pleasure or excitement and intense feelings of wellbeing and happiness. 57 Certain natural rewards and social activities, such as aerobic exercise, laughter, listening to or making music, and dancing, can induce a state of euphoria.58

Figure 1.5.1.15.1. Euphoria Experience SOURCE : https://www.mushroom-magazine.com/psychedelic-art/

It can also be defined as a strong feeling of great well-being or elation. An excited state of joy, intensely pleasurable. A feeling or activity characterized by its extreme intensity.

Elevated mood. Euphoria is a desirable and natural occurrence when it results from happy or exciting events. An excessive degree of euphoria that is not linked to socially acceptable behaviour is characteristic of an abnormal mental state. It can be associated with mood swings sometimes caused by intense religious experience, sexual pleasure, or drugs, etc, in which somebody is so dominated by an emotion that self-control and sometimes consciousness is lost.

57 Bearn J, O'Brien M (2015). ""Addicted to Euphoria" 58 Cohen EE, Ejsmond-Frey R, Knight N, Dunbar RI (2010). "Rowers' high: behavioural synchrony is correlated with

elevated pain thresholds".

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1.5.1.16 Ecstasy Ecstasy is a reported type of altered state of consciousness characterized by greatly reduced external awareness and expanded interior mental and spiritual awareness, frequently accompanied by visions and emotional (and sometimes physical) euphoria. 59

Figure 1.5.1.16.1. State of esctasy SOURCE : https://in.pinterest.com/pin/86056340019411476/

It can also be defined as an action–an act–that brings together a transcendental relationship consisting of images that are visible or invisible when looking at nature, human beings, plants, and animals; of things that are internalized, externalized and of audible and inaudible sounds and movements. Ecstasy reveals itself and makes itself felt at the moment that a relationship is felt and understood when confronted by the articulated elements of a work of art. In the history of art, this has always been concerned with things that are agreeable, beautiful, and/or sublime. Inasmuch as that which is sublime emerges in the relationship between comprehension/incomprehension and pleasantness/unpleasantness, it is related to an absolutism in which the figural in art has vanished: It is that which is supreme.

59 Marghanita Laski,1961, Ecstasy. A Study of Some Secular and Religious Experiences.

50

Figure 1.5.1.16.2 Everything is in your mind SOURCE : https://in.pinterest.com/pin/35345340019411476/

States of ecstasy operate outside specific experiences. Quite the contrary, they consist of inner experiments on the path of an “ignorance” that transcends knowledge and drives a person towards ecstasy by drawing him to a condition of feeling that is extra-momentary.60

Figure 1.5.1.16.3 Positive Vibrations SOURCE : https://in.pinterest.com/pin/796740019411476/

60 Banu Cennetoğlu, 2008, http://www.akbanksanat.com/en/exhibition/states-of-ecstasy

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1.5.1.17 Sacred Geometry Sacred geometry involves sacred universal patterns used in the design of everything in our reality, most often seen in sacred architecture and sacred art. The basic belief is that geometry and mathematical ratios, harmonics and proportion are also found in music, light, cosmology. This value system is seen as widespread even in prehistory, a cultural universal of the human condition.

Figure 1.5.1.17.1 Sacred Geometries SOURCE : https://in.pinterest.com/pin/753419411476/

Sacred geometry may be understood as a worldview of pattern recognition, a complex system of religious symbols and structures involving space, time and form. According to this view the basic patterns of existence are perceived as sacred. By connecting with these, a believer contemplates the Great Mysteries, and the Great Design. By studying the nature of these patterns, forms and relationships and their connections, insight may be gained into the mysteries - the laws and lore of the Universe.

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1.5.1.18 Vastu-shastra Vaastu is an ancient Indian science of architecture and buildings which helps in making a congenial setting or a place to live and work in a most scientific way taking advantage of the benefits bestowed by nature, its elements and energy fields for enhanced wealth, health, prosperity and happiness.

Figure 1.5.1.18.1 Vastu Shastra Chart SOURCE : http://smallhouseplansmodern.blogspot.com/2015/03/vatu-shatra-blog-photo.html

Vastu Shastra unifies the science, art, astronomy and astrology, it can also be said as an ancient mystic science for designing and building. Vastu Shastra helps us to make our lives better and will secure from things going wrong.

Vaastu is the science of directions that combines all the five elements of nature and balance them with the man and the material. Vaastu Shastra is creating a congenial settings or a place to live or work, in most scientific way taking advantages of the benefits bestowed by the five elements called "Paanchbhootas" of the nature thereby paving the way for enhanced health, wealth, prosperity and happiness in an enlightened environment.

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1.5.1.19 Cosmos The cosmos is the universe. Cosmos is used at times when the universe is regarded as a complex and orderly system or entity; the opposite of chaos.61 The cosmos, and our understanding of the reasons for its existence and significance, are studied in cosmology, which is a very broad term covering any scientific, religious, or philosophical contemplation of the cosmos and its nature, or reasons for existing. Religious and philosophical approaches may include in their concept of the cosmos various spiritual entities or other matters deemed to exist outside our physical universe.

Figure 1.5.1.19.1 Cosmos SOURCE : https://in.pinterest.com/pin/394768723581378687/

61 "cosmos". Dictionary.com. Retrieved 2017-06-01.

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1.5.1.20 Phenomenology Phenomenology is a philosophy of experience. For phenomenology the ultimate source of all meaning and value is the lived experience of human beings. All philosophical systems, scientific theories, or aesthetic judgments have the status of abstractions from the ebb and flow of the lived world. The task of the philosopher, according to phenomenology, is to describe the structures of experience, in particular consciousness, the imagination, relations with other persons, and the situatedness of the human subject in society and history.

Phenomenological theories of literature regard works of art as mediators between the consciousnesses of the author and the reader or as attempts to disclose aspects of the being of humans and their worlds. 62

Figure 1.5.1.20.1 Spiritual Phenomenology SOURCE : https://www.npr.org/sections/13.7/2014/09/10/347422469/science-and-spirituality-could-it-be

At the heart of the spirituality of every person and group, one can find experiences that are both personal and compelling, sometimes life changing in their impact. Because of this, a proper understanding of religion and spirituality must involve the study of experience.

Over the past century, scientists and philosophers have been refining the study of phenomenology, or the lived experience of human beings, and applying these new techniques and knowledge to the analysis and understanding of our spiritual life.

62 Michael Groden,1994, The Johns Hopkins Guide to Literary Theory and Criticism

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1.5.2 Constituents of Architecture st

As early as the 1 century BCE, Vitruvius had acknowledged with his third principle ‘venustas’ the psychological and emotional effect of good buildings. In recent years the phenomenologist Pallasmaa captured the essence of a spiritual space when he stated, “An impressive architectural experience sensitises our whole physical and mental receptivity. It is difficult to grasp the structure of the feeling because of its vastness and diversity.” 63

It can therefore be acknowledged that architectural spaces can be perceived as spiritual, but the question remains as to what qualities a space must encompass in order to induce such a response from its visitors. The Norwegian architect, Birgit Cold, has published her views on spirituality in architecture:

“Spirituality as well as beauty is created or comes to life when the constituents of architecture structure and form, form and space, space and light, colours and materials - interact as a piece of art, communicating with the intellect, the emotions, the spirit and the senses. As you see from these descriptions the beautiful, true and good are also interrelated in architecture with the sensuous aesthetic and vigorous quality.”64

Cold’s statement introduces the idea of four pairs of architectural constituents that when designed successfully to ‘interact as a piece of art’, can produce good architecture that is spiritual and beautiful. Thus, these four constituents must be researched and explored to begin to understand how ‘architectural spaces support our experiences and conceptions of the spiritual’.

63 Pallasmaa, Theorizing a New Agenda for Architecture, ed. Kate Nesbitt, 453.

64 Birgit Cold, “Beautiful, True and Good Architecture” in Architecture, Aesth/Ethics & Religion

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1.5.2.1 Structure and Form

The first pair of architectural constituents proposed by Cold is ‘structure and form’. The essential purpose of structure is to allow building elements to create space and form by overcoming gravity. Structural elements transport loads from the point of origin down to the ground and respond to such loads based on their geometrical and material properties.

The formal expression of structural components both individually and collectively, in terms of materiality and the loads that they carry will determine their unique tectonic language.

Bjorn Sandaker speaks of the relationship between aesthetics and structure, stating, “If we can aesthetically understand the structure’s visual appearance, we will appreciate it fully, both with our intellect and with our senses.”65 His statement points out the potential to instinctively understand the appearance of structure and he is hence referring to the notion of tectonic expression. In regards to tectonics, Niemeyer makes an interesting proposition on the ability of structure to exhibit beauty. According to Niemeyer, “The correct structural solutions are aesthetically the most satisfactory and, through a refinement of details, may possibly become a source of real architectonic beauty.”66 Here the idea of the authenticity of structure is reinforced. Niemeyer supports honest structural expression and the belief that the ‘correct’ structural solution will also be correct aesthetically. When Niemeyer mentions architectonic beauty, he also begins to hint at the intangible and emotive qualities that structure can possess.

If we consider architecture to have a structural language, perhaps structural details and joints are the points of interest for comprehending such a language. Frascari writes about the importance of the joint for ‘tectonic endeavours’ noting its value as the fundamental source and primary exhibitor of structural language. He recognises architecture as an art because of its concern for “putting together, spaces and materials, in a meaningful

65 Bjorn N. Sandaker, On Span and Space: Exploring Structures in Architecture (Abingdon: Routledge, 2008) 66 Robert Mark and David Billington, “Structural Imperative and the Origin of New Form” Technology and Culture, 30, no.2,

(1989)

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manner”. 67 He states, “the joint, that is the fertile detail, is the place where both construction and the construing of architecture takes place”.68

Figure 1.5.2.1.1 Example of Structure and Form : Pieterjan Gijs and Arnout Van Vaerenbergh's Church in Borgloon, Belgium

SOURCE :https://www.architecturaldigest.com/story/pieterjan-gijs-arnout-van-vaerenbergh-church-borgloon-belgium

67 Marco Frascari, “The Tell‐the‐Tale Detail” in Theorizing a New Agenda for Architecture: An Anthology of Architectural

Theory 1965‐1995, ed. Kate Nesbitt (New York: Princeton Architectural Press, 1996) 68 Ibid.

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Independently, Frascari, Niemeyer and Sandaker have proposed that architectonic beauty can be produced by authentic structural expression and will be articulated through the joint or detail. Kenneth Frampton takes this discussion an important step further and speaks of the spiritual value of such a detail:

“There is a spiritual value residing in the particularities of a given joint, in the thingness of the constructed object, so much so that the generic joint becomes a point of ontological condensation rather than a mere connection. We need only to think of the work of Carlo Scarpa to touch on a contemporary manifestation of this architecture.”69

Frampton suggests that the spiritual value of structure and the consequential form it produces comes from the ‘particularities’ of the joints and details. Carlo Scarpa’s work is used as an example to show how well- constructed components can result in a powerful and emotive architectural result. His suggestion of the spiritual value in the detail also brings to mind, the famous saying by Mies van der Rohe, “God is in the detail.”

Hence, although structure and form are concerned with the practical requirements of providing shelter, transporting loads and connecting parts, it is the thought and meaning that are infused into the solutions to such problems that allows an expressive formal language to develop. This language can be interpreted particularly well at joints and details and has the potential to add emotive and spiritual value to the building through its inherent architectonic beauty.

69 Kenneth Frampton, “The Case for the Tectonic” in Theorizing a New Agenda for Architecture: An Anthology of

Architectural Theory 1965‐1995,ed. Kate Nesbitt (New York: Princeton Architectural Press, 1996)

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1.5.2.2 Form and Space The second pair of architectural constituents proposed by Cold is ‘form and space’. The concept of space is a difficult topic to define, as there are no concrete answers as to whether space is an entity in its own right, a relationship between entities or rather part of a conceptual framework. Intriguingly, Cold pairs space with both form and light, encouraging the notion of a relationship between these entities.

Tschumi makes an interesting proposition on the concept of form and space. He proposes two systems for understanding the concept of space in architecture and describes these as the ‘labyrinth’ and the ‘pyramid’. According to Tschumi, the pyramid stands for “those trends which consider architecture a thing of the mind, as a dematerialised or conceptual discipline, with its linguistic or morphological variations”.70The labyrinth is “empirical research that concentrates on the senses, on the experience of space as well as on the relationship between space and praxis”. 71The pyramid is therefore concerned with the concept of space whilst the labyrinth is concerned with the experience of space. The pyramid is about language and the mind, while the labyrinth is about perception and the body. Tschumi points out the restrictions of the labyrinth, reminding us that within the labyrinth:

“One can participate in and share the fundamentals of the labyrinth, but one’s perception is only part of the labyrinth as it manifests itself. One can never see it in totality, nor can one express it.

One is condemned to it and cannot go outside to see the whole, the nature of the labyrinth is such that it entertains dreams which include the dream of the pyramid.”72

In the labyrinth, senses and feelings are enhanced and the moment of perception is the fundamental sensory experience. However, the space is not experienced in absolute terms, the experience is only a result of sensory data that is being perceived at each individual moment in time. Tschumi points out that whilst standing within a cube we may see “a

70 Bernard Tschumi, Questions of Space: Lectures on Architecture (London: E.G. Bond, 1990) 71 Ibid.

72 Ibid.

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corner, or a side, or the ceiling, but never all defining surfaces at the same time”. 73 Hence, through the body in space, we experience form, but only parts of a whole can be experienced. Tschumi sheds further light on the concept of space in his statement:

“Space is real, for it seems to affect my sense long before my reason. The materiality of my body both coincides with and struggles with the materiality of the space. My body carries in itself spatial properties and spatial determination: up, down, right, left, symmetry, dissymmetry. It hears as much as it sees. Unfolding against the projections of reason, against the absolute truth, against the pyramid, here is the sensory space, the labyrinth, the hole.” 74

Figure 1.5.2.2.1 Example of form and space : MONTAÑA DE TIDAYA. Eduardo Chillida, 1966 SOURCE : https://in.pinterest.com/pin/327707310383347482/

73 Ibid.

74 Ibid

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Tschumi’s ideas on space and form are of relevance to understanding human perception and hence are surely of importance to the formation of a spiritual architecture. It is somewhat difficult to make a judgement as to whether such an architecture should be that of the pyramid or the labyrinth. However it can be pointed out that many of the spiritual precedents that have relevance to this project, such as Ando’s Chichu Art Museum, Scarpa’s Brion Cemetery and Zumthor’s Thermal Baths all seem to portray characteristics that bear a resemblance to ‘the labyrinth’. Ultimately, what can be gained from Tschumi’s proposal is the understanding of the limitations of both approaches. Within the labyrinth, the absoluteness of the pyramid cannot be experienced but when experiencing the pyramid the intimateness of the labyrinth is absent.

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1.5.2.3 Space and Light The third pair of architectural constituents proposed by Cold is ‘space and light’.

Throughout history, light has played a primary role as the mechanism for the design of powerful and emotive spaces. Steven Holl mentions that it is unsurprising that some architects have “written that the entire intention of their work revolves around light”. 75 In the ancient cathedrals, churches and civic buildings, light was commonly used to draw the eye upwards connecting the observer to the sun, moon and stars. Light was traditionally used to represent the gods, the heavens and the metaphysical. In architecture today, signs of the human fascination with light are still visible; however, the metaphorical implications produced by such spaces have changed. Henry Plumer discusses how light is no longer used to represent “static and unchanging absolutes” but rather “a more liberating reality in which the only thing believed permanent is change – a reality ideally conveyed by a medium that is the essence of change”.76 Light grounds humanity by reminding us of the forces in this world greater than us and by representing space, time and the inseparable nature of light and time. Plumer remarks on the relationship between time, space and light: “Fluent energy and visible motion also provide a means to express the widespread belief, perhaps defining our age, that space can no longer be understood apart from time, and that reality includes a fourth dimension, a temporal one in which light and time are one and the same.”77

In the 21

st

century, the spiritual nature of light, for many, comes from delight at the

transient beauty of light and shadow in space. Movement indicates life and hence, space is brought to life as time passes and seasons change. The concept of ‘investing time in order to experience time’ is another engaging trend of contemporary architects. Steven Holl, Tadao Ando and James Turrell are just a few examples of the architects who frequently use light as a material or medium in their work and have designed spaces with rays of light that move and ‘mutate’ as time passes, reminding the observer of the past, present and likely future. Peter Zumthor expresses his fascination and gratitude for light and acknowledges its spiritual quality: 75 Holl, Pallasmaa and Perez‐Gomez, Questions of Perception, 63.

76 Plumer, The Architecture of Natural Light, 11.

77 Ibid.

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“Daylight, the light on things, is so moving to me that I feel it almost as a spiritual quality. When the sun comes up in the morning – which I always find so marvellous, absolutely fantastic the way it comes back every morning – and casts its light on things, it doesn’t feel as if it quite belongs in the world. I don’t understand light. It gives me the feeling that there’s something beyond me, something beyond all understanding. And I am very glad, very grateful there is such a thing.”78

Figure 1.5.2.3.1 Example of space and light : The National Art Center, Tokyo, Tadao Ando SOURCE : https://www.dezeen.com/2017/10/31/tadao-ando-full-scale-mock-up-church-of-the-light-exhibition-tokyo-national-artcenter/

Zumthor makes the connection between the mysteries of daylight and the spiritual. Tadao Ando, who often refers to his architecture as spiritual, is renowned for his clever use of light. His work tends to use light sparingly in a careful and appreciative manner and he often talks of the special qualities of spaces designed below the earth’s surface. He states, “Beneath the earth’s surface, light is reduced, the sense of depth increases, and darkness is born. I have long imagined space as something into which one descends, until light is gradually reduced and one is wrapped in the atmosphere of cool tranquillity.”79 James Turrell who worked with Ando on the Chichu Art Museum bases his work on the spiritual

78 Peter Zumthor, Atmospheres: Architectural Environments, Surrounding Objects (Basel: Birkhäuser, 2006) 79 Philip Jodidio, Tadao Ando at Naoshima (New York: Rizzoli, 2006)

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qualities of light. He states, “We have a spiritual relation to light...there is also the quality of light seen in a dream, this is the light that is not seen with the eyes.�80

Light allows us vision, but architecturally light can do many things and has been acknowledged for its spiritual qualities by various prominent architects. It can create movement in space, bringing architecture to life. It can illuminate and materialise, bringing out the intrinsic qualities of surfaces. It can be reflected, refracted and absorbed by different materials as well as revealing transparency levels in a surface. It can manipulate the atmosphere of space, changing moods and experiential qualities. It can highlight and hide different architectural elements and be used as a tool to direct visitors through a space.

It can remind us of the negligible part we play in the greater scheme of things, of the passing of time and of the past, the present and make us ponder the future. Each of these different qualities in turn can be used to achieve powerful architectural experiences and assist in the achievement of a spiritual architecture.

80 Ibid.

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1.5.2.4 Colours and Materials The last pair of architectural constituents proposed by Cold is ‘colours and materials’.

Materials and their colours play an important part in defining the ways in which we perceive space. Although materials are experienced visually, the supporting power of the tactile, aural and olfactory qualities must not be underestimated. The way a space feels in terms of both the hardness and texture of the material, the degree to which sound moves and reflects off its surface, and the smell and taste of the air surrounding it, also make a strong contribution to the sensory qualities of a space.

Zumthor, who is highly regarded for his honest use of materials, speaks of his belief in expressing the inherent qualities of a material in conjunction with its architectural context, “We must constantly ask ourselves what the use of a particular material could mean in a specific architectural context. Good answers to these questions can reveal both the way in which the material is generally used and its own inherent sensuous qualities.”81 The exhibition of a material’s inherent qualities or the ‘honest’ use of materials is a design philosophy that was prominent in the Modern Movement. It was based on the idea that materials should be celebrated for what they are, rather than disguised as something they are not. Perhaps one of the most renowned modernist architects who is remembered for his authentic use of materials is Frank Lloyd Wright. Anne-Catrin Schultz comments, “Wright develops the ideal that every material must be used in accordance with its nature on the basis of a characteristic grammar that honours the material and its own striving for form.

Characteristics such as grain, structure and colour determine design and use.”82

Pallasmaa also refers to the importance of tectonics and the honest use of materials in his writing. On the topic of materiality, he points out the strong sensory qualities that are possessed by natural materials. He states, “Natural materials – stone, brick and wood – allow our vision to penetrate their surfaces and they enable us to become convinced of the veracity of matter. Natural materials express their age and history, as well as the story of

81 Peter Zumthor, Thinking Architecture (Baden: Lars Muller, 1998) 82 Anne‐Catrin Schultz, Carlo Scarpa Layers (Stuttgart: Edition Axel Menges, 2007)

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their origins and their history of human use.”83 Holl, who has closely linked views to Pallasmaa, communicates his disappointment in modern materials such as “sheets of glass, enamelled metal and synthetic materials” that fail to convey their “material essence or age”.84 He does not condemn such materials altogether but encourages treatments such as “sand-blasting, bending and acid oxidation” to increase the surface colour and texture.

Such statements show Holl’s desire for materials that have substance, texture and depth and his appreciation of materials that portray their age and gain character as time passes and they become weathered by the elements.

Figure 1.5.2.4.1 Example of colours and materials : Farewell Chapel / OFIS Arhitekti SOURCE : https://www.archdaily.com/25453/farewell-chapel-ofis-arhitekti

The Dutch artist, Theo van Doesburg, suggested that the inner energy of a material is heightened by its proper use, “When reinforced concrete was first used correctly, the tension, the energy of the concrete came into its own in such a way that architecture was unintentionally, without aesthetic ulterior motives, enriched by a new kind of beauty.” 85

83 Pallasmaa, The Eyes of the Skin 84 Holl, Pallasmaa and Perez‐Gomez, Questions of Perception 85 Schultz, Carlo Scarpa Layers

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Holl takes the concept of intrinsic energy one step further by suggesting the power created between two contrasting materials, using the allegory ‘feather and stone’ as an example, “A phenomenal architecture calls for both the stone and the feather. Sensed mass and perceived gravity directly affect our perceptions of architecture.”86 In reference to Sigurd Lewerentz’s St. Mark's Church outside of Stockholm he states, “A duality exists in the bricks’ weight pressing in on the dim light. The power and soul of this place would be erased if the space was built in lightweight metal construction.” 87 Holl emphasises his belief in the power of the expression of the contrasting elements of ‘mass and gravity’ and the influential effect of this type of tectonic language.

It is possible to conclude that the views on authentic material use that became prominent in the Modern Movement are still regarded highly by many architects today. Zumthor encourages the expression of the inherent sensuous qualities of materials in their rightful context. Pallasmaa believes in the beauty of natural materials because they reveal their age and history. Van Doesburg emphasises the inner energy of materials that can be heightened by their proper use. Holl expresses his desire for substance, texture and depth and makes an interesting proposition on the concept of the ‘stone and feather’ a metaphor for materials whose own qualities can be made greater through contrast. Thus, through authentic material expression, the inner beauty of the material and its true colour is brought to life and the overall effect can contribute to beauty and the spiritual nature of the architecture.

86 Holl, Intertwining 87 Ibid

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1.5.3 Osho’s Ideology

Figure 1.5.3.1 Osho’s Famous Quote SOURCE : https://www.thequint.com/news/india/osho-7-beautiful-life-lessons-by-the-philosopher-and-preacher

Swami Rajneesh is known for his radical and unconventional thinking. He has shown to millions of people the way to live life in a joyous, rejoicing way. Here are ten commandments from the maroon-robed guru explaining his ideology 88 :

1. Never obey anyone’s command unless it is coming from within you also.

You can hear out what anyone has to say, but in the end it is up to you to decide whether or 88 Radhika Ravi Rajan, https://www.speakingtree.in/blog/ten-thoughts-from-osho

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not you should actually listen to and obey them. The only person in this world that can make decisions for you is yourself. What you think is the only thing that matters, everyone else’s thoughts are just opinions.

2. There is no God other than life itself.

Life is so wonderful BECAUSE we know that we are going to die someday. Remember what Achilles said in Troy: “The gods envy us. They envy us because we’re mortal, because any moment might be our last. Everything is more beautiful because we’re doomed. You will never be lovelier than you are now, and we will never be here again.”

3. Truth is within you, do not search for it elsewhere.

Life never gets any better, only your perspective of it does.If you look to the external for answers, you have already taken the wrong step. Life is so simple, yet, we as humans still manage to find ways to spoil it.

4. Love is prayer.

Our thoughts actually have an impact on the reality around us. Your thoughts manipulate your DNA, which then manipulate vibrating light particles in your surroundings. Thoughts such as love and compassion cause your DNA strands to expand and be free to affect others in a positive manner, while thoughts such as hatred and envy cause the strands to scrunch up and contract into each other.

5. To become nothingness is the door to truth. Nothingness itself is the means, the goal and attainment.

“I think, therefore I am not. It is only when the mind is silent that I am.” Clearing your mind is the basis of all meditation. You are not your thoughts, and it is not healthy to be constantly thinking 24X7. How can you truly listen to your inner voice if you never give it the chance to speak because your mind is always drowning it out ?

6. Life is now and here.

There is no past, and there is no future. These two things simply do not exist. Have you ever experienced a moment that was not NOW? I didn’t think so. NOW is where you live every moment of your life, and leaving the now to dwell on past hurts or future worries

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is not good for your mental health. Thinking about past mistakes so that you can correct them, and setting goals for the future are exceptions, but you should always be aware that life happens now.

7. Live wakefully.

We should find joy in every moment of our lives.

8. Do not swim, float.

If you were dumped out in the middle of the ocean and tried to swim to shore, you would get exhausted and drown. However, if you floated, you would expend a lot less energy and probably last a lot longer. It would be more likely that a boat or airplane would pass by to save you. Life works in the same manner; don’t resist the current of life, simply float and let everything be. Trust that life will carry you in the right direction and it will.

9. Die each moment so that you can be new each moment.

Moments from the past do not exist; I am not the same person I was a mere second ago.

The only moment that does exist is NOW, which is why you should ‘die’ to each moment, so that you are not held to your past or worried about the future.

10. Do not search. That which is, is. Stop and see.

The truth lies within you. This is a perfect summarization of all the previous commandments. Do not search for external answers, and do not resist the flow of life. Take a moment to watch an animal in the wild. Do they seem to care about anything or have any problems outside of survival and enjoying their lives? We should take note of this and mimic their attitude towards life. In this day and age, survival is already taken care of for most of us and we do not have to worry about it. This is why we create ‘problems’ to keep our minds occupied. Sometimes it is best to just ‘stop and smell the flowers.’

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1.6 Scope The scope of the project will cover all the tangible and intangible requirements provided by the client including support facilities, landscaping and detailing of the indoor areas with respect to all the principals of client’s master Osho.

1.7 Aims and Objectives The aim of the project is to develop a built environment that is not only spiritual because the outdoor signage says so, but because the architecture itself is spiritual. The main focus is to design a architectural language that serves not only as a catalyst, but as a channel for conversation between human soul and universal energy, the built environment will carry occupants to a greater spiritual existence. Architecture that is spiritually connected to the earth will then transfer the energy of the universe into the soul of the occupant, and vice versa, creating spiritual wholeness, which results in internal peace within their mind, body, and soul.

1.8 The Client Mr. Dharmender Kumar is the client and the owner of the site. Following Osho’s philosophy since teenage has uplifted his ideology resulting in proposing of this project.

Presently he is a Osho sanyasi and a prime member of OshoDhara, Sonipat. (Annexure 1.1)

In an interview with him, he wishes to introduce a Psychonautic Center based on his Spiritual Master OSHO that will set out to provide an environment for spiritual seekers, willing to learn and experiment. He expects a design fulfilling all the requirements of a Osho Dham including a library and museum.

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1.9 The Site - Location : The site is located in Larsouli, Sonipat, Haryana, 131039. The site is approximately 50 km away from delhi and 0.5 km inside from Grand Trunk road.

- Major Surrounding Road: National Highway 1.

- Landmarks : • Opposite to Sheesh Mahal Restaurant and Kanak Garden Resort.

• Behind the PWD rest house.

- Land / Soil type : Upland plains / Fine Loamy.

Site

NH 1

Pwd Rest House

Agriculture Area

- Total Site Area : 7.27 Acres or 29420.65 sqm.

- Rough Dimensions : 130.42(N), 141.84(S), 211.55(W), 205.70 (E) in mts.

- Present Status : Only foundation of accommodation block is constructed.

- Shape : Irregular quadrilateral.

- Access and Connectivity : • The adjacent road connects to the National Highway 1.

• Road access through all four sides along with several raw pathways.

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1.10 Methodology 01 • • • •

DEFINE THE PROBLEM

RESEARCH OBSERVE UNDERSTAND ANALYZE

04

BRAINSTORM/ANALYSIS

• ANALYZE • THINK • CONCLUDE

05

• Analyze the literature, live, desktop case studies.

• Finally concluding the analyzed data.

DEVELOP SOLUTIONS

• INFERENCE • SCOPE

08

• Brief knowledge about the project.

• Understanding of the project.

• Understanding the aims and objectives.

• Draw inferences from the case studies.

• Define the scope of the project and work.

FINAL DESIGN

• DEVELOPED • APPROVED

• Finalizing the design.

• Presenting the approved design.

02

DEFINING THE SITE

• SITE STUDY • SITE SURVEY & ANALYSIS

03

• • • • • •

DATA COLLECTION

• COLLECT INFO • PRIMARY CASE STUDY • SECONDARY CASE STUDY

06

• • • • • •

Zoning Circulation Bylaws Study of spaces Live case study Desktop case study

CONCEPTUAL DESIGN

• THINK • IDEAS • NOTE

07

Site area study.

Access.

Site Context Surroundings.

Climate.

Connectivity

• Work on the conceptual level of the design.

• Conceptual layout.

DEVELOP

• PRELIMINARY DESIGN

• The development stage.

• Working on improvement of the design

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CHAPTER- 2

ANALYSIS OF ENVISAGED ACTIVITY

2.1 Identification of the activities 2.1.1 Pri mary activities

• Meditation Meditation has been used in the East for thousands of years. It is a way of life which is not dependent on place and time and has a direct effect on health, happiness, sleep, and longevity. Meditation is not just about improving the mind’s state; there are possible results which are quite beyond expectations. The definition of meditation in the modern dictionary states that it is a form of “contemplation”, which is related to thinking. In meditation, personal concerns, plans, fears, and other thoughts that continually pass through the mind are contained and brought to a halt. This objective is challenging to achieve as simply stopping the mind from thinking is not an easy task.

• Yoga Yoga means union. Etymologically, it is connected to the English word, yoke. Yoga means union with God, or, union of the little, ego-self with the divine Self, the infinite Spirit.Yoga is not a system of beliefs. It takes into account the influence on each other of body and mind, and brings them into mutual harmony. So often, for instance, the mind cannot concentrate simply because of tension or illness in the body, which prevent the energy from flowing to the brain. So often, too, the energy in the body is weakened because the will is dispirited, or paralyzed by harmful emotions.It works primarily with the energy in the body, through the science of pranayama, or energy-control. Prana means also ‘breath.’

Yoga teaches how, through breath-control, to still the mind and attain higher states of awareness.

• Dance Dance can be defined as patterned and rhythmic bodily movements, usually performed to music, that serve as a form of communication or expression. Human beings express

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themselves naturally through movement. Dance is the transformation of ordinary functional and expressive movement into extraordinary movement for extraordinary purposes. In other words it is the transformation of internal energy into external movements. Peoples of different cultures dance differently and for varying purposes; their varied forms of dance can reveal much about their way of life.

• Rejuvenation Rejuvenation is the action or process of making someone or something look or feel better, younger, or more vital. It can be called as a act of wellness. Wellness is not just defined as being free from an illness but also as a state of emotional well-being, that may foster spiritual development. Happiness plays an important role in wellness and different people have different ideas about how to achieve it. Healing places are real spaces where people find ways to become happier and find support in reducing the stress induced by various causes.


• Recreation Recreation is an activity of body and mind which gives relief from tension and fatigue.

When we continue doing a work or performing an activity regularly and continuously for some hours, it gives us physical and mental fatigue and strain. Recreational activity relieves us of the feeling of fatigue, restores our energy and promotes a sense of joy.

Without recreation, life would be dull and miserable. Leisure is that time which man has acquired for himself, in which he has the freedom to do as he pleases.

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2.1.2 Secondary activities

Habitation The act of living in a space.

Cooking The practice or skill of preparing food by combining, mixing, and heating ingredients.

Dining The activity of eating a meal.

Reading A cognitive process that involves decoding symbols to arrive at meaning. Reading is an active process of constructing meanings of words.

Shopping The action or activity of buying goods from shops.

Swimming The sport or activity of propelling oneself through water using the limbs.

Smoking The action or habit of inhaling and exhaling the smoke of tobacco or something else.

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2. 1. 3 Tertiary activ i t i e s

Thinking The process of considering or reasoning about something.

Learning The acquisition of knowledge or skills through study, experience, or being taught.

Creating The act of making something new, or inventing something.

Relaxing The effect of making a person feel calm

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2.2 Description of activities at different levels

2.2.1 Meditation “Meditation means being meditative, silent, peaceful, with no thoughts in the mind and it is consciousness without content. When a mirror is not reflecting anything, it is meditation�, said Gautam Buddha.89

Figure 2.2.1.1 The art of meditation SOURCE : https://in.pinterest.com/pin/470415123562277772/

89 Beckett 2008

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The word mediation is derived from two Latin words: meditari (to think, to dwell upon, and to exercise the mind) and the mederi (to heal). It is originally from Sanskrit word “medha” which means wisdom. Buddha is one of the biggest proponents in the meditation history. Buddha has been also known as one of the biggest meditation representations around since 500 B.C.90

Figure 2.2.1.2 Meditative Buddha SOURCE https://in.pinterest.com/pin/789959590867546843/

It has also been said that meditation has originated from shamatha, which is the Sanskrit term for the basic foundation of calm and relaxed bare attention. Such calm acknowledging is the essential and fundamental step, a ‘’letting go’’ that allows the meditator to access the next stages.91

In other words, meditation is a systematic way of making our minds quiet so that we can contact our true identity self, which is the source of constant joy, bliss and peace.92 90 Jones 2008 91 Austin 2006, 11 92 Meditation Corner, 2004

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According to Osho, meditation is a state of no-mind. Meditation is a state of pure consciousness with no content. The vision of Osho explains :

“Ordinarily, your consciousness is too full of rubbish, just like a mirror covered with dust. The mind is a constant traffic: thoughts are moving, desires are moving, memories are moving, ambitions are moving it is a constant traffic! Day in, day out. Even when you are asleep the mind is functioning, it is dreaming. It is still thinking; it is still in worries and anxieties. It is preparing for the next day; an underground preparation is going on.�93

Figure 2.2.1.3 Meditation : A state of pure Consciousness SOURCE https://in.pinterest.com/pin/279223245624431054/

93 Swami Anand Veetmoha , The Orange Book, 2001

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Modern man is a very new phenomenon. No traditional method can be used exactly as it exists because modern man never existed before. So, in a way, all traditional methods have become irrelevant. Osho uses chaotic methods rather than systematic ones because a chaotic method is very helpful in pushing the center down from the brain. The center cannot be pushed down through any systematic method because systemization is brainwork. Through a systematic method, the brain will be strengthened; more energy will be added to it. Through chaotic methods the brain is nullified.

The chaotic methods include94 :

• OSHO DYNAMIC MEDITATION This meditation is a fast, intense and thorough way to break old, ingrained patterns in the body & mind that keep one imprisoned in the past, and to experience the freedom, the witnessing, silence and peace that are hidden behind these prison walls. The meditation is meant to be done in the early morning, when as Osho explains it, “the whole of nature becomes alive, the night has gone, the sun is coming up and everything becomes conscious and alert.”

• OSHO KUNDALINI MEDITATION This “sister meditation” to the OSHO Dynamic is best done at sunset or in the late afternoon. Being fully immersed in the shaking and dancing of the first two stages helps to “melt” the rock-like being, wherever the energy flow has been repressed and blocked. Then that energy can flow, dance and be transformed into bliss and joy. The last two stages enable all this energy to flow vertically, to move upwards into silence. It is a highly effective way of unwinding and letting go at the end of the day.

• OSHO NADABRAHMA MEDITATION Nadabrahma is the humming meditation through humming and hand movements conflicting parts of the meditator start falling in tune, and he brings harmony to his whole being. Then, with body and mind totally together, he “slip out of his hold” and become a witness to both. This watching from the outside is what brings peace, silence and bliss.

94 http://www.oshomeditations.com/osho-meditations/

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• OSHO NATARAJ MEDITATION Nataraj is the energy of dance. This is dance as a total meditation, where all inner division disappears and a subtle, relaxed awareness remains.

• OSHO DEVAVANI MEDITATION The meditation lasts one hour and has four stages of 15 minutes each. In this meditation a gentle, unfamiliar language moves and speaks through the meditator, who becomes an empty vessel. It deeply relaxes the mind and creates inner peace. It can be done at any time of the day. If done last thing at night, it also creates a profound sleep.

• OSHO GOURISHANKAR MEDITATION The meditation lasts one hour and has four stages of 15 minutes each.Osho says that if the breathing is done correctly in the first stage of this meditation the carbon dioxide formed in the bloodstream will make the meditator feel as high as Gourishankar (Mt. Everest).This “high” is carried into the subsequent stages of soft gazing, soft and spontaneous movement, and silent stillness.

• OSHO MANDALA MEDITATION This meditation lasts one hour and there are four stages of 15 minutes each. Every circle contains a center. In the first three stages of this energetic and powerful technique “centering” is the aim, through the creation of a circle of energy. Then, in the fourth stage, the relaxation.

• OSHO WHIRLING MEDITATION The meditation is best done on an empty stomach, on bare feet and wearing loose clothing.

It lasts one hour and there are two stages, whirling and resting. Whirling is an ancient Sufi technique. While the whole body is moving, the meditator becomes aware of his very being, the watcher at the center, which is unmoving. He learns to be an unidentified witness at the center of the cyclone.

• OSHO NO-DIMENSIONS MEDITATION The meditation lasts one hour and has three stages. In the first two stages the eyes are open but not focused on anything in particular. In the third stage the eyes are closed. The

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meditation is over when one hears the three gongs.This active centering meditation is based on Sufi techniques, further developed and expanded by Osho. Using the breath and a series of coordinated body movements followed by whirling, energy becomes centered in the hara, the “life energy” center below the navel. From there one can watch the mind and experience awareness and wholeness, the body moving in all directions, the center unmoving.

• OSHO CHAKRA SOUNDS MEDITATION In this meditation vocal sounds open, harmonize and bring awareness to the chakras or energy centers. It can bring you into a deep, peaceful, inner silence. You can make your own vocal sounds, or just listen to the music and feel the sounds within you. The meditation is to be done with its specific OSHO Chakra Sounds Meditation music, which indicates and energetically supports the different stages.

• OSHO CHAKRA BREATHING MEDITATION This active meditation uses deep, rapid breathing and body movement to open and bring awareness, vitality and silence to each of the seven chakras and into one’s life. The meditation is best done on an empty stomach.

Figure 2.2.1.4 Into a Meditational State SOURCE https://in.pinterest.com/pin/4572324568976054/

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2.2.2 Yoga Yoga is basically a spiritual discipline which is based on an extremely subtle science that concentrates on bringing harmony between mind and body. It is a science and an art of healthy and sound living. The word 'Yoga' is derived from the Sanskrit word 'Yuj', signifying 'to join' or 'to combine' or 'to unite'. According to Yogic sacred writings the act of Yoga prompts the union of individual consciousness with that of the Universal Consciousness, showing an ideal congruity between the mind and body, Man and Nature.

Yoga is believed to balance the three doshas i.e Vata , Pitta & kapha. 95

Figure 2.2.2.1 The Art of yoga

Figure 2.2.2.2 The Art of yoga

SOURCE https://in.pinterest.com/pin/4785686976054/.

SOURCE https://in.pinterest.com/pin/48975697654/

Figure 2.2.2.3 The Art of yoga

Figure 2.2.2.4 The Art of yoga

SOURCE https://in.pinterest.com/pin/785765556647/

SOURCE https://in.pinterest.com/pin/764785646453/

95 https://www.dabur.com/in/en-us/about/science-of-ayurveda/yoga/what-is-yoga-and-types-of-yoga

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As indicated by modern scientists, everything in the universe is only an appearance of a similar quantum atmosphere. One who experiences this oneness of existence is said to be in yoga, and is named as a yogi, having achieved a state of freedom alluded to as Mukti, Nirvana or Moksha. Therefore, the prime objective of Yoga is Self-realization, to overcome all types of sufferings prompting 'the state of salvation' (Moksha) or 'freedom' (Kaivalya).

Living with freedom in all aspects of life, health and harmony is the primary focus of yoga practice. "Yoga" likewise alludes to an inward science including an assortment of strategies through which people can understand this union and accomplish authority over their destiny.

Figure 2.2.2.5 Sharing is Caring : Free Yoga SOURCE https://in.pinterest.com/pin/54657566575/

Yoga, being generally considered as an ‘Immortal cultural outcome’ of Indus Saraswati Valley civilization – going back to 2700 B.C., has substantiated itself taking into account both material and spiritual upliftment of humanity.Basic humane values are the very Identity of Yoga Sadhana.

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Types of Yoga96:

• Hatha Yoga: This is one of the oldest forms of yoga which includes the practice of asanas (Postures) and pranayama (breathing exercise) which brings peace to mind and body, and helps prepare the body for deeper spiritual practices such as meditation.

• Vinyasa Yoga: An active and athletic style of yoga adapted from the traditional ashtanga system in the late 1980s. It essentially means movement synchronized with breath and is a vigorous style based on the rapid flow through sun salutation. It also refers to the continuous flow from one posture to another.

• Ashtanga Yoga: Ashtanga is a system of yoga that was brought to the modern world by Sri K. Pattabhi Jois.

This form of yoga includes six series and each series is a set sequence of asanas, always in the same order. It is typically fast-paced, vigorous and physically challenging.

• Power Yoga: Power yoga is described as vigorous, vinyasa-style yoga. Power yoga's popularity has spread across the globe and is now taught everywhere. Because the style can vary, it is recommended that you consult the individual instructor before performing it.

• Bikram Yoga: It consists of twenty-six postures and two breathing techniques. This style of yoga helps flush toxins, manage weight and allow performers to move more deeply into postures.

• Jivamukti Yoga: This style of yoga was created in 1984. Chanting, meditation, readings and affirmations are done in this style of yoga.

96 Ibid

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• Iyengar Yoga: Poses are held much longer in this form of yoga in an effort to pay closer attention to the precise musculoskeletal alignment within each asana. Another trademark of iyengar is the use of props, such as blocks, belts, bolsters, chairs and blankets, which are used to accommodate injuries, tightness or structural imbalances, as well as teach the student how to move properly into a posture.

• Anusara Yoga: The anusara style is a new system of hatha that teaches a set of Universal Principles of Alignment that underlie all yoga postures, while encouraging flowing with grace and following your heart. It is broadly categorized into three parts known as the three A’s and they include attitude, alignment and action.

• Sivananda Yoga: It typically begins with Savasana (relaxation pose), kapalabhati and anuloma viloma, followed by a few rounds of surya namaskara. Then it moves through Sivananda's twelve asanas, which together are designed to increase strength and flexibility of the spine.

Chanting and meditation can also be a part of it.

• Viniyoga: Viniyoga refers to an approach to yoga that adapts the various means and methods of practice to the unique condition, needs and interests of the individual. This style of yoga helps in self-discovery and personal transformation.

• Kundalini Yoga: Kundalini incorporates multiple movements or exercises, dynamic breathing practices, chanting, meditation and mantras. Each specific kundalini exercise, referred to as a kriya, is a movement that is often repeated and is synchronized with the breath. The practice is designed to awaken the energy at the base of the spine in order to draw it upward through each of the seven chakras.

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• Yin Yoga: Yin yoga is a slow-paced style in which poses are held for five minutes or longer. Even though it is passive, yin yoga can be quite challenging due to the long duration holds, particularly if your body is not used to it. The purpose is to apply moderate stress to the connective tissue - the tendons, fascia and ligaments - with the aim of increasing circulation in the joints and improving flexibility.

Figure 2.2.2.5 Into the State of Yoga SOURCE https://in.pinterest.com/pin/45647473275/

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2.2.3 Dance Dance is more than just a science or a activity. It is a wordless body language that expresses human emotions and feelings and represents an integral part of each culture.

Dance provides aesthetic satisfaction and admiration and brings health of body for those who deal with it. Every country and nation has its own national dance that is the implication of customs, traditions and cultural heritage. It is the pride of each folk and its symbol of unity and mentality character.It is practiced in many forms and for many reasons, including social, educative, political and therapeutic reasons.

Figure 2.2.3.1 The art of Dancing SOURCE https://in.pinterest.com/pin/4433432323275/

Dance is more than the exploring of different ways to make a shape or learning a series of steps to music; it is a way of moving that uses the body as an instrument of expression and communication. Through dance, one can learn teamwork, focus, and improvisational skills.

Dance awakens new perceptions which help them learn and think in new ways.97

The division of dance into types can be made on many different grounds. Function (e.g., theatrical, religious, recreational) is an obvious ground, but distinctions can also be made between tribal, ethnic, and folk dance, between amateur and professional, and above all between different genres and styles. But according to the requirements, only two further types have been discussed.

97 http://www.camarilloacademy.com/2011/09/why-dance/

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• Trance dance : Trance Dance is a unique blend of body movement, healing sounds, dynamic percussive rhythms, transformational breathing techniques and the innovative use of a blindfold or bandana – together stimulating a ‘trance’ state that promotes spiritual awakenings, mental clarity, physical stamina and emotional well-being.

Driven by unique musical soundtracks recorded specifically for this method of healing, Trance Dance takes participants on an ‘inner journey’ not limited to our normal perceptions of space/time. Ritual trance journeys have been a vital part of shamanic and eastern dance cultures for thousands of years. Our contemporary approach to Trance Dance brings together the richness of these ancient rituals with some startlingly effective modern techniques. 98

Figure 2.2.3.2 The act of Trance SOURCE https://in.pinterest.com/pin/486889975/

Trance Dance’s primary focus is on healing and spiritual evolution. By dancing within the seclusion of darkness participants discover parallel realities where solutions to seemingly unsolvable problems are possible. Through Trance Dance we disappear, becoming more

98 https://trancedance.com/about-trance-dance/

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like spirit, and simultaneously less attached to life’s ordinary difficulties, making it possible at these moments to let these problems go.

Figure 2.2.3.3 The Sense of Mindfulness SOURCE https://in.pinterest.com/pin/8769845768976875/

From the beginnings of recorded history we find evidence of dance. It seems that our original relationship to dancing was for the purpose of worship and healing. Animistic cultures viewed nature and all of its elements as an expression of Spirit. To duplicate or mimic nature through movement and sound was a powerful and effective way to connect with spirit. This was the origin of dance.99 Spiritual dancing is a cross-cultural phenomenon, a testament to its power and authenticity.

Cultures from every continent on this planet simultaneously embraced unique dance forms based on the animals and elements of nature present within their domain. Their purpose in dancing was to enter the consciousness or become the spirit of the sun, moon, and various animal and plant life. Through these dance rituals they believed that the spirits within nature could empower them with abilities such as courage and compassion, as well as reveal insights into the future.

99 Trance Dance International, 2018, https://trancedance.com/about-trance-dance/

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Figure 2.2.3.4 Into Higher Consciousness, Osho Ashram SOURCE https://in.pinterest.com/pin/867676576875/

For thousands of years spiritual dancing remained an integral part of how we maintained and enhanced our relationship to the earth. To `dance like nature’ was to vibrate at the same rate as the creator, much the same as any newborn child will mimic its environment out of love and appreciation for its existence. Dance was synonymous with what we would call prayer, a demonstration of reverence, and to dance regularly promoted spiritual and physical health and vitality.

Figure 2.2.3.5 Trance : The dance of joy SOURCE https://in.pinterest.com/pin/685778576875/

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• Cosmic dance : Cosmic dance known as Tāṇḍav is a divine dance performed by the Hindu god Shiva.

Shiva's Tandava is described as a vigorous dance that is the source of the cycle of creation, preservation and dissolution. While the Rudra Tandava depicts his violent nature, first as the creator and later as the destroyer of the universe, even of death itself; the Ananda Tandava depicts him as joyful. In Shaiva Siddhanta tradition, Shiva as Nataraja (lit. "Lord of dance") is considered the supreme lord of dance. 100

Figure 2.2.3.6 The Cosmic Dance of Shiva SOURCE https://in.pinterest.com/pin/686970545875/

The dance is a pictorial allegory of the five principle manifestations of eternal energy101 : •

Srishti - creation, evolution

•

Sthiti - preservation, support

•

Samhara - destruction, evolution

•

Tirobhava - illusion

•

Anugraha - release, emancipation, grace

Thus Tandava symbolizes the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death.

100 "Nataraja", Manas, UCLA 101 Ananda Coomaraswamy, cited at www.mahashivratri.org

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2.2.4 Rejuvenation Rejuvenation is the action or process of making someone or something look or feel better, younger, or more vital. Everyone wants to live healthier, stress free lives but end up taking for granted that they possess all of the resources necessary to accomplish these tasks. In an age where scientists and researchers are coming to recognize what religious and spiritual leaders have known for centuries: that humans are more than just body and mind; they see a greater movement toward wholeness and unity, with the spiritual dimension.

Currently, holistic-integrative medicine, and energy psychology are bringing forth invaluable information documenting the powerful effects that the spirits have on the healing of the other dimensions, namely, bodies and minds. The Mind-Body-Spirit is a rejuvenation method developed by Marie Dezelic and Gabriel.

Figure 2.2.4.1 Mind Body Spirit Method SOURCE : https://www.drmariedezelic.com/single-post/2017/05/29/MIND-BODY-SPIRIT-REJUVENATION-METHOD

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Ghanoum, depicted in a “Conceptual Pictograph” for simple techniques to reduce stress and improve health. It utilizes an easy-to-follow approach in a comprehensive format targeted to achieve a balance between the mind, body, and spirit.

Figure 2.2.4.2 Mind Body Soul SOURCE : http://sky-haven-lore.wikia.com/wiki/File:Mind-body-soul.jpg

Based on Viktor Frankl’s philosophy and theory of Logotherapy & Existential Analysis, the emphasis of this method is on the three dimensions of our being mind, body, and spirit and incorporates the Meaning Triangle, with creativity, experiences, and attitude. The focus of this process promotes accessing humans own resources, to produce a balanced healthy core.

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2.2.5 Recreation Recreation is considered primarily as a condition, sometimes referred to as a state of being, an attitude of mind or a quality of experience. It is distinguished by the individual's perceived freedom to act and distinguished from conditions imposed by necessity. It is assumed to be pleasurable and, although it may appeal because of certain anticipated benefits, it is intrinsically motivated: it is an end in itself and valuable for its own sake.102

Leisure or recreation consists of a number of occupations in which the individual may indulge of his own free will - either to rest, to amuse himself, to add to his knowledge or improve his skills disinterestedly or to increase his voluntary participation in the life of the community after discharging his professional, family and social duties. 103

Figure 2.2.5.1 Recreation Therapies, Maslow SOURCE : https://in.pinterest.com/pin/204491639304271477/

102 Grant Cushman and Allan Laidler (1990) Recreation, Leisure and Social Policy.

103 Jore Dumazedier (1960) Current problems of the sociology of leisure.

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Recreation is activity apart from the obligations of work, family, and society to which the individual turns at will, for either relaxation, diversion, or broadening his knowledge and his spontaneous social participation, the free exercise of his creative capacity.104

It can be perceived as releasing of physical or mental tension. Tension is the body's natural response to threat, part of the body's alarm or survival mechanism. It can be a very useful response, but a lot of the time, humans don't need this tension, so it's okay to learn to let it go, and learn some relaxation skills.It’s a great help to learn a recreation technique, to help the mankind, unwind and bring the tensions and anxiety under control.

104 Jore Dumazedier (1974) Leisure and the social system.

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2.3 Nature (inherent qualities) of the activity

2.3.1 Meditation Meditation is always without object and is never the result of an activity, but presence in the space of consciousness. This natural, effortless presence is meditation itself. The deeper dimensions of Alertness, the awakened Consciousness, the world of Silence, are beyond the mind. This silence is not forced by some concentration technique, but the indescribable and experienceable of living emptiness. Conscious existence in the space of Consciousness.105

In present, isolated state of consciousness, based upon the identification with ones illusionary self, spatial consciousness is not present in the life, so he or she is unable to experience consciousness free of forms. Due to reading a lot about this subject, humans wish to bring things beyond forms and shapes under the control of

ego, in order to

stabilize the ego and make it permanent.

To understand the nature of meditation in a better way, its essential to be conscious about its benefits beside spirituality. Some major benefits are :

• Greater Sense of Self-Awareness • Reduce Stress and Anxiety • Increase Mental Clarity and Focus • Emotional Intelligence • Trigger the Brain’s Relaxation Response Even some studies show that meditation changes brain physiology to slow aging.

“Cognition seems to be preserved in meditators,” says Sara Lazar, a researcher at Harvard University. Lazar adds that meditators also have more gray matter literally, more brain cells.106 105 Frank M. Wanderer, 2018 106 Sara Lazar, 2014, https://www.huffingtonpost.com/2014/09/19/meditation-benefits_n_5842870.html

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2.3.2 Yoga Yoga is a method that allows to wake up to who or what mankind really is and what life is all about. Anything that allows to be more aware of one-selves and to feel connected to spirit and life is a form of yoga. Everything one can do can become yoga if it is done with awareness. Awareness is the key to discovering the mysteries of who he or she truly is.

Yoga reveals the luminous intelligence and beauty that lies within humans.

The science of Yoga has its origin some thousands of years ago long before any religion and belief systems were born and the practice of Yoga is believed to have started with the very dawn of the civilization. In the yogic legend, Shiva is viewed as the main yogi or Adiyogi, and the principal Guru or Adi Guru. 107

The Number of seals and fossil remains of Indus Saraswati valley civilization with Yogic thought processes and figures performing Yoga Sadhana propose the presence of Yoga in ancient India. The phallic symbols, seals of idols of mother Goddess are suggestive of Tantra Yoga. Presence of Yoga is accessible in Folk traditions, Indus valley civilization, Vedic and Upanishadic heritage, Buddhist and Jain customs, Darshanas, sagas of Mahabharat and Ramayana, mystical customs of Shaivas, Vaishnavas, and Tantric customs.

Furthermore, there was a primordial or unadulterated Yoga which has been showed in mystical customs of South Asia.

To understand the nature of yoga in a better way, its essential to be conscious about its benefits beside spirituality. Some major benefits are :

Physical benefits : •

Increased flexibility

•

Increased muscle strength and tone

•

Improved respiration, energy and vitality

•

Maintaining a balanced metabolism

•

Weight reduction

107 Gaia Staff, 2014

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•

Cardio and circulatory health

•

Improved athletic performance

Mental benefits :

Aside from the physical benefits, one of the best benefits of yoga is how it helps a person manage stress, which is known to have devastating effects on the body and mind. “Stress can reveal itself in many ways, including back or neck pain, sleeping problems, headaches, drug abuse, and an inability to concentrate,” says Dr. Nevins. “Yoga can be very effective in developing coping skills and reaching a more positive outlook on life.”108

108 American Osteopathic Association, 2018, https://osteopathic.org/what-is-osteopathic-medicine/benefits-of-yoga

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2.3.3 Dance Dance is the hidden language of the soul and the body. It is very probable that human beings and their ancestors have practiced some sort of rhythmic movements for millions of years, even if they did not have bands and orchestras. Dancing is a very subtle way to communicate several important facts about one’s health and vigor to potential mates or enemies.

It has been said that dance is a potent form of communication. Although living beings dance to music, a skilled dancer needs no music to dance. It has also been said that martial arts such as Kung Fu are closely associated with dance. When he or she watches skilled martial artists perform katas, especially at slower paces as for Tai Chi, they can see the rhythmic movements that seem very dance like. In fact, if nobody knew nothing about the martial arts and saw a group of people practicing Tai Chi, they might well believe the martial arts people were performing a dance.

Dance requires balance, timing, strength, stamina, and knowledge or skill in putting sequences of steps together. Every movement in dance serves a purpose. Some moves are very romantic or sexual; some moves are asexual. power, speed, and agility.

Some moves demonstrate strength,

In competition dance styles often emphasize moves that, if

attempted on a crowded dance floor, would be unsafe and could lead to mishap or injury.

To understand the nature of dance in a better way, its essential to be conscious about its benefits beside spirituality. Some major benefits are : •

Improved condition of your heart and lungs

•

Increased muscular strength, endurance and motor fitness

•

Increased aerobic fitness

•

Improved muscle tone and strength

•

Weight management

•

Stronger bones and reduced risk of osteoporosis

•

Better coordination, agility and flexibility

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•

Improved balance and spatial awareness

•

Increased physical confidence

•

Improved mental functioning

•

Improved general and psychological wellbeing

•

Greater self-confidence and self-esteem

•

Better social skills.

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2.3.4 Rejuvenation “Everybody needs beauty as well as bread, places to play in and pray in where nature may heal and cheer and give strength to the body and soul. Keep close to Nature’s hear and break clear away, once in awhile, and climb a mountain or spend a week in the woods. Wash the spirit clean.”109

In the cities and suburbs, it is easy to lose what is truly important. The world begins to seem as if it really does revolve around the tiny world. And there are few truly quiet moments in this madcap life. In the car one is just listening to music or talk radio, at work he or she is focused on the task at hand, and when they get back home, turn on the tv and zone out. Getting lost in nature allows quiet, unstructured space in which to sort out the problems, think through what’s been going on in life, and plan goals for the future.

Rejuvenating under the stars and beneath the trees, it is easier to see what really matters.

Mountain peaks, rolling rivers, and radiant sunsets will make the problems seem properly small.

To understand the nature of rejuvenation in a better way, its essential to be conscious about its benefits beside spirituality. Some major benefits are : •

Eliminate toxins and toxic conditions from the body and mind.

•

Restore the constitutional balance improving health and wellness

•

Strengthen the immune system and become more resistant to illness

•

Reverse the negative effects of stress on the body and mind

•

Enhance self-reliance, strength, energy, vitality and mental clarity

•

Bring about deep relaxation and sense of well-being

109 John Muir

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2.3.5 Recreation Recreation is a term for which there is no universally agreed on definition. For purposes of this text, recreation is defined as voluntary participation in leisure activities that are meaningful and enjoyable to the person involved. The term embraces both indoor and outdoor activities and refers to sports and exercise as well as to less physically active pursuits.

Recreation benefit all levels of society. These benefits help strengthen families, build healthy communities, improve quality of life and support the healthy development of mankind. It contributes to improving the conditions that support mental well being by improving self esteem and self image, life satisfaction levels, and enhancing perceived quality of life for individuals, families and communities. 110

Participation in recreation promotes the acquisition of motor skills, social skills, creativity and the development of cognitive function, which are important to successful integration into society. It provides the opportunity for adults to develop to their full and holistic potential.

Recreation can also contribute to improving mental health by reducing stress and depression and enhancing emotional and psychological well-being. Rest, relaxation, and revitalization through recreation activities are essential to stress management. The catharsis achieved through recreation is an ideal antidote to the build up of otherwise negative tension, anger and adrenalin.

110 California State Parks, 2005, https://www.parks.ca.gov/pages/795/files/health_benefits_081505.pdf

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2.4 Characteristics (physical manifestations) of the Activity

2.4.1 Meditation By dictionary definition, "meditation" means to reflect upon, ponder, or contemplate. It can also denote a devotional exercise of contemplation or a contemplative discourse of a religious or philosophical nature. The word meditate comes from the Latin meditari, which means to think about or consider. Med is the root of this word and means "to take appropriate measures." 111 Designing a meditation space can be an incredibly enjoyable and satisfying process. If one is fortunate enough to have a space that can be dedicate purely to the practice of meditation, then these basic elements can help :

Natural Light In order to project an image of calm and peacefulness during meditation, utilyzing natural light is the main element.

Minimal Furniture A meditation space is supposed to be a place to relax from the clutter of the the mind and from the demands of the outside world.

Traces of Nature To promote the natural feeling of a meditation area, trying to incorporate some bits of nature into the space will be great idea.

Pillows or Mats These are more of a practical requirement for the comfortableness during the meditation process.

Soundtrack of Soothing Music Preferring some music during practice of mindfulness, helps efficiently during specified forms of meditations.

111 MARA CARRICO, 2018, https://www.yogajournal.com/meditation/let-s-meditate

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2.4.2 Yoga Yoga is a relaxing, rewarding practice that energizes the mind and heals the body. It helps to restore and maintain the harmonious balance in our bodies, and creating a space for yoga anywhere creates an oasis of calm in the particular area. A yoga space can be created almost anywhere, in a garden, in a living area, in a room, or even in a walk-in closet.

Essentially, a yoga space requires a clear, tranquil open space with a yoga mat. Although a open space with peace will be the place to find for the yog process, open spaces surrounded by greenery with a hard floor and some shade would be ideal for creating a perfect yoga space. Some of these basic elements can help to develop a better yoga space :

Calm colours Use of calm colours will result in a feeling of relax and calmness. Cool and invigorating colours like green and white are excellent. Earthy hues and warmer colours can also work well.

Mirror Using mirrors in a yoga space can help in improving yoga postures. Mirrors can also create a illusion of bigger space, which is great for a small scale yoga space, giving a feeling of openness and peacefulness.

Soft lighting Lighting can have a big impact on well-being and state of mind, so it should not be underestimated. Soft lighting makes a feeling of calmness and peacefulness and can help to enter into a deeper yoga state of mind. Natural light is the best, artificially soft colour lights will do.

Surface Choice of surface also plays a major role. Typology of surface ie hard, soft, muddy or grass should be selected according to the yoga type.

Accessories Props like yoga mat, towel, straps and sandbag will ease the process sometimes.

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2.4.3 Dance Architecture of the space for dance plays a major role in the whole activity. Dance and architecture are two disciplines of creativity that share a special relationship. Both disciplines define and use space as the main medium for creative interpretation. Dance is movement of the human body through space over time. Architecture and its spatial qualities are experienced by the human body through movement over time. Some basic requirements of the dancers in terms of space should be :

Big spaces Both wide and with high ceilings. The width is important for dances that move a lot in scenic space and for big groups. The height is important for dancers to practice to communicate a big image of them in space. Open space or a dancing garden will be a perfect space for the required type of dance.

Smooth, buffered, and warm floors Contemporary dancers dance barefoot, so it’s important that the surface is not dangerous for the feet and glides. The need of having a softened floor with air and foam underneath is a need of all dances. And the temperature is important due to lot of touching relationship with the floor. If the floor is cold or made of a material that absorbs the bodily temperature, it becomes a constant harm for the dancing body, which needs to be warm.

Enough ventilation This means, as much fresh air as possible. Dancing is a highly demanding physical activity, so dancers need as much oxygen as possible.

Natural light Contemporary dancers love natural sunlight. This is something that makes part of the particular sensibility.

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2.4.4 Rejuvenation and Recreation Rejuvenation basically refers to get refreshed and recreation refers to enjoy the leisure time. Both of these activities don’t require a specified space to happen, therefore physical manifestations of these activities in terms of space can’t be listed.

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CHAPTER- 3

THE ENVISAGED USER PROFILE

3.1 Identification of Users

• Masters • Spiritual Guide / Guru • Chairperson

• Functionaries • Administrative Staff • Supervisor / Caretaker • Trainers / Teaching Staff • Librarian • Shopkeeper • Cook

• Practitioners • Meditator • Yogi • Dancer • Rejuvenator • Recreator • Followers

• Support Staff • Security Guards • Service Providers • House Keepers • Cooking Assistants • Cleaners • Sweepers • Drivers • Gardeners

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3.2 Classification of Users

3.2.1 Masters • Spiritual Guide / Guru Guru is a Sanskrit term that connotes someone who is a "teacher, guide, expert, or master" of certain knowledge or field.112 A Spiritual guide is one, who guides and teaches, how to establish balance between “Materiality” and “Spirituality” in daily life.

• Chairperson The chairman or chairperson is the highest officer of an organized group such as a board, a committee, or a trust.

112 Tirtha Goswami Maharaj, A Taste of Transcendence, (2002)

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3.2.2 Functionaries • Administrative Staff Administrators are responsible for providing administrative support for the center within the periphery.

• Supervisor/ Caretakers Supervisor or caretakers play a vital role in Spiritual centers, being responsible for the maintenance and security of Whole Site.

• Trainers / Teaching Staff Trainers are responsible for the Specified training of pupils at center. They act as coordinators or instructors helping them to get the most out of the varied activity/

• Librarian Librarian is responsible for the day-to-day running of the center’s library or resource centre. He or she acquires, organises and maintains resources that support the learning and needs of pupils.

• Shopkeeper Shopkeeper is responsible for the day-to-day running of the center’s Shopping department.

• Cook Cooks provide nutritious, balanced and value-for-money meals to staff and visitors whenever needed.

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3.2.3 Practitioners

• Meditator One who practices meditation. A meditator can be of any age, and may or may not have formal religious ties. Besides, a meditator is person wanting to pursue mindfulness, which refers to generally paying attention in life, but it also carries more precise definitions, including a human capability of being aware of one’s own mind, body, and surroundings, as well as practices to cultivate that capability.

• Yogi A practitioner of yoga. A yogi may be either married or unmarried, and may or may not have formal religious ties. According to Paramhansa Yogananda, a yogi engages in a definite, step-by-step procedure by which the body and mind are disciplined, and the soul liberated. Taking nothing for granted on emotional grounds, or by faith, a yogi practices a thoroughly tested series of exercises which were first mapped out by the early sages.113

• Dancer A dancer is basically a person who moves his or her body and feet in rhythm to music.

But in terms of this study, the user dancer can be referred to a person wanting to attain spirituality or to reach the level of super consciousness through the activity of dance.

• Rejuvenator A rejuvenator can be a person who wants to live a healthy lifestyle. It can be referred to one who pursues wellness which is active process of becoming aware of and making choices toward a healthy and fulfilling life. Wellness is more than being free from illness, it is a dynamic process of change and growth.

113 Autobiography of a Yogi, Paramhansa Yogananda. Chapter 24, “I Become a Monk of the Swami Order.”

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• Recreator A user who pursues leisure as a activity. Leisure is a mental and spiritual attitude. It is not laziness, but rather an inner silence that enables one to see reality. One is able to apprehend the world, to encounter parts of reality that we often miss in our daily toil. Leisure is also a "contemplative celebration," a harmony between oneself and the rest of creation.

• Follower A person who supports and admires a particular person or set of ideas. But in terms of this study, the user follower can be referred to a person wanting to just study or exploring the works of Osho or following his ideology.

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3.2.4 Support Staff • Security Guards People employed to protect the center against intruders or damage.

• Service Providers Providers which allows its subscribers access to the various services.

• House Keepers People employed to manage a household.

• Cooking Assistants Catering staff or kitchen assistants help provide nutritious and balanced meals to all under the direction of the head cook or catering manager.

• Library Assistants Library assistants work as part of a team, supporting the day-to-day running of the library or resource centre.

• Cleaners People employed to clean a particular area including built.

• Sweepers People that cleans a floor or road by sweeping.

• Drivers People employed for the driving a vehicle.

• Gardeners People who cultivates a garden as a job, pastime or for a living.

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3.3 Study of different aspects

3.3.1 Social Aspect Spirituality is an important part of human existence, his society and human relations. All social, economic, political, and religious problems are in one sense is reflection of this special abstraction of human knowledge. The society is living in a globalized village and thinking much about values rather than practice of it. According to the society, religion is a set of beliefs and rituals that claim to get a person in a right relationship with God, and spirituality is a focus on spiritual things and the spiritual world instead of physical/earthly things.

Rationally, it can be found that the major evils related to Spirituality exiting in present society are due to lack of proper understanding of religion and spirituality. The proper knowledge and practice of any religion's values can make an integrated society. In the book, The Buddha and His Dhamma, Dr. Ambedkar elucidated the significance and importance of Dhamma in human life. The Dhamma maintained purity of life, which meant abstains from lustful, evil practices. The Dhamma is a perfection of life and giving up craving. Dhamma's righteousness means right relation of man to man in all spheres of life. The basic idea underlying religion is to create an atmosphere for the spiritual development of the individual.

In society, Spirituality and human values are an important part of day to day living. Both are closely integrated with human life. No human life is possible without them. Every living human being lives by certain human values. It is only the proportion and combination of negative and positive values, which separates a noble human being from a not so noble human being.

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3.3.2 Religious Aspect The word ‘spirituality’ is derived from the term ‘spirit’. Spirit is often considered as opposed to matter. ‘Spirits’ are immaterial beings without a body. So in this sense, what is not material would be something without a body and would be considered spiritual, according to Casaldáliga.114 The concept of spirit and spirituality descends from the Greek culture and mostly Western. However, the spirit is referred to as evil in the Bible. In addition, spirit is not something outside matter or body but within. It can also be termed as light, strong, flattening and unpredictable as the wind or like the breath that allows life to continue. 115

Spirituality was traditionally a part of religious doctrines. 116 It was an aspect that was seen as religious experiences. Some people see spirituality in the same plane as religion.

Secularism in spirituality has led people to view spirituality as a personalised issue which is less structured and is hardly open to new ideas. On the other hand, atheists are sceptical about the supernatural beliefs and existence of the spirit.117

Yet, they see spirituality as the thoughts and emotions that have been cultivated to be in harmony with the universe. Although religion and spirituality have the same aim, they are both considered as different entities. In many cases, religion provides the form in society in which spirituality can be attained. One major difference is that religion is an external form of quest while spirituality is a search within oneself.118 Swami Paramananda states that “a map is not the destination; a plan is not the house; a sign post is not the town – similarly religion is not God”. A map or a symbol must be read and understood by an expert – a building is read by an architect, engineer or contractor. Similarly religion is a map and is read and explained by an enlightened being. 119

114 Casaldáliga 1994 115 Ibid 116 Plate. 2.4-1 117 Casaldáliga 1994 118 Ibid 119 Swami Paramananda, 2000

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3.3.3 Cultural Aspect Culture so defined is possessed by human beings alone, created through the unique human ability of mind, imagination and will to assign meanings to things and events which cannot be grasped by the senses alone. Human creativity has brought forth material and nonmaterial culture, i.e. objects, behaviour, institutions, language, ideas, beliefs, customs etc.

There is no society without culture nor can there be a culture independent of the individuals sustaining it through their actions. Social anthropologists have tried to identify cultural patterns, interesting themes and ideals in different cultures, but they have also asked whether some patterns are universal in all cultures and others specific to some cultures only.

Culture is a human creation, it is linked to human imagination and creativity. However, from a religious point of view it is also linked to something greater than human, whether described as the sacred, the transcendent, the spirit, or God. From a historical and merely human point of view different spiritualities can be seen as different cultural forms or the expression of different religious ideals within diverse religious traditions. From the point of view of a person of faith and the life of religious praxis, spirituality must form part of the history of divine-human interaction, a breakthrough of the spirit into history and a piercing through beyond history. Spirituality, not as an idea or concept but as praxis, is resonant with longings for the permanent, eternal, everlasting, for wholeness, peace, joy and bliss which have haunted human beings throughout history and for which many are hungering today.

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3.3.4 Spatial and Sensory Aspect The size and quality of space is affected by visual and sound elements that are influenced by changes in temperature, texture and smell. When a space is seen visually, the entire body becomes active and starts to move, not only the eyes. Nitschke states that phenomenologically that colour and texture are physical in essence. In contrast, the hearing process in a space has a passive quality physically. Sound reaches the ears and leaves its source to fill the space. Hence humans are moved in space passively in terms of sound. The depth of the senses is structured aurally in a natural environment where there exists a continuous whispering splashes of a waterfall or rhythmical sounds created by bamboo seesaw hitting a stone and allowing water to flow. 120

The design of the Rokko Church by Tadao Ando in 1986 shows the manipulation of traditional spatial techniques and its incorporation in a contemporary context. 121 The spatial experience starts with the notion of being elevated physically at the top of Kobe Mountain with views to the sea and the essence of floating in the clouds. The visitors are encountered with the experience of a long dim passage much like a mouse hole with view to tree branches that suggest that the destination is not much far ahead. As the passage steps down, one has an oblique view of the Church; however views to the sea are blocked.

The site appears to be larger although it is small. Along the way, there are different experiences; stops and platforms. The composition of space is marked by an empty grass area with tree edges.

The space is framed with different geometric volumes, different textures and contrasts of light and space. The long passage is an unusual spatial experience with milky glass panels on the sides and roof withdrawing the sight of the Church from the visitor. The passage is rather a light tunnel, with green light at the bottom and white light descending from the top. The tunnel leads to the garden rather than the Church. At a right turn, one can see an opening along the way which gives a glimpse of the sea. Here Ando emphasizes on the space and sensory experience which is on the outer level rather than inside the building. He

120 Nitschke, 1993 121 Ibid

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brings the spiritual essence through the journey before entering the Church. The latter is stepped down with a flooded light interior. The space is introverted, buried inside after having been lifted above eight hundred metres. The views are downwards instead of being upwards.122 A deeper understanding of space and form are analysed in the following section where spiritual meanings of architecture will also be reviewed.

122 Ibid

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CHAPTER- 4

THE STANDARDS AND GENERAL SYSTEMS

4.1 Anthropometric Standards used in the envisaged activities

4.1.1 Proxemics Proxemics, the term was introduced by anthropologist Edward T. Hall in 1966. Proxemics is the study of set measurable distances between people as they interact. Like gravity, the influence of two bodies on each other is inversely proportional not only to the square of their distance but possibly even the cube of the distance between them.

1. Intimate distance for embracing, touching or whispering.

Close phase — less than 6 inches (15 cm) Far phase — 6 to 18 inches (15 to 46 cm) Vision is minimal, and we rely on our senses of smell and touch. We tend not to get this close to people we are not intimate with, and usually try to escape if we do.

2. Personal distance for interactions among good friends or family members Close phase - 1.5 to 2.5 feet (46 to 76 cm) Far phase - 2.5 to 4 feet (76 to 120 cm) At this distance, touch is minimal (except perhaps when shaking hands), and vision and hearing become important. This is the distance we use to interact with friends. Within this range, normal conversations can take place easily. We might allow strangers into the outer limits, but reserve the inner limits strictly for friends.

3. Social distance for interactions among acquaintances Close phase - 4 to 7 feet (1.2 to 2.1 m) Far phase - 7 to 12 feet (2.1 to 3.7 m) It includes the space required for more formal social interactions. Hearing and vision are the primary senses involved.

4. Public distance used for public speaking Close phase - 12 to 25 feet (3.7 to 7.6 m)

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Far phase - 25 feet (7.6 m) or more At this distance there is little detail involved in communication. A public speaker (actor or politician) communicates only one way with an audience.

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4.1.2 Human Dimension and space requirements for envisaged activities

Figure 4.1.2.1 General Human Dimensions SOURCE : http://alphaelectrics.com/p80/neufert-standards-pdf.pdf

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4.1.3 Accommodation Bedroom Standards123

123 http://alphaelectrics.com/p80/neufert-standards-pdf

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Bed Position Standards 124

124 http://alphaelectrics.com/p80/neufert-standards-pdf

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4.1.4 Bathroom Bathroom Standards 125

125 http://alphaelectrics.com/p80/neufert-standards-pdf

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Bathroom Standards 126


126 http://alphaelectrics.com/p80/neufert-standards-pdf

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4.1.5 Kitchen Kitchen Layout Standards 127

127 http://alphaelectrics.com/p80/neufert-standards-pdf

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Kitchen Standards 128 

128 http://alphaelectrics.com/p80/neufert-standards-pdf

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Kitchen Standards 129 

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Kitchen Standards 130 

130 http://alphaelectrics.com/p80/neufert-standards-pdf

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4.1.6 Dining Area Dining Area Standards 131


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4.1.7 Training Center Training Center Standards132

132 http://alphaelectrics.com/p80/neufert-standards-pdf

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4.1.8 Library Library Standards 133


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Library Standards 134 

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Library Standards 135 

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Library Standards 136 

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4.1.9 Shops Shop Standards137


137

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4.1.10 Food Courts Food Outlet Standards138


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4.1.11 Storage Space Storage Space Standards 139  

139 http://alphaelectrics.com/p80/neufert-standards-pdf

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4.1.12 Utility Room Utility Room Standards140




140 http://alphaelectrics.com/p80/neufert-standards-pdf

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4.1.13 Swimming Pool Swimming Pool Standards141

141 http://alphaelectrics.com/p80/neufert-standards-pdf

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Swimming Pool Standards142 

142 http://alphaelectrics.com/p80/neufert-standards-pdf

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4.1.14 Changing Rooms Changing Room Standards 143


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4.1.15 Gardens Garden Standards 144  

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Garden Standards 145  

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4.1.16 Power Station Power Station Standards146


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4.1.17 Security Security Standards 147  

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Security Standards 148 

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4.1.18 Parking Parking Standards149 

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Parking Standards150 

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Parking Standards151 

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Parking Standards152 

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Parking Standards153 

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4.2 Environmental Conditions154 4.2.1 Acoustics There is a belief that these spaces must be completely silent, but precisely the idea of these disciplines is to be developed in spite of the ambient noise. In fact, in many cases, it is recommended to fully perform in exteriors, as many sounds of nature can help a better realization of different practices. In the case of closed rooms, these sounds (and even smells) can be integrated by incorporating indoor courtyards or gardens that attract birds, including moving water, and/or allow the flow of the wind. Obviously, if a practice requires complete silence, the design must allow that the space can be completely isolated.

4.2.2 Ventilation This is a fundamental issue in these practices, since they all use breath as the basis for its development. It is important to allow cross ventilation across the room, making sure that there is a certain current renew of oxygen inside, during the session or at the times when the room is not being occupied. For this, we should generate a first opening in the facade that receives the prevailing winds, and a second opening (preferably bigger) on the opposite wall.

4.2.3 Illumination The light allows to qualify environmentally the space and can help to lead the intension of the practice being done. In the case of Yoga, direct connection to the sun is essential in many of their exercises. That's why we should always favour natural lighting, and is necessary, to incorporate systems to regulate their intensity, allowing darken the room completely if necessary.

154 The Key Architectural Elements Required to Design Yoga and Meditation Spaces, JosĂŠ, https://www.archdaily.com/

author/jose-tomas-franco

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In order to avoid glare, in most of the projects presented in this article, light does not fall directly on people, and have been used zenith openings, windows at floor level, fuzzy screens, and light courtyard surrounding the main room. If practices are carried out at night, artificial lighting choice should be warm and also adjustable.

4.2.4 Aesthetics and Materials The aesthetics of space depends entirely on the client requirement, but generally, you should avoid distracting elements or exaggerated decorations. It is recommended using warm materials and soft colours (or directly white) to help attendees achieve a certain degree of initial concentration. As practices carried out in permanent contact with the ground, floors are usually covered with wood or materials rather 'soft' and warm to the touch.

4.2.5 Orientation and Geometry Some of the projects are based spatially and geometrically in the traditional tenets of the different practices, as many claim that certain orientations and configurations may enhance the effectiveness of the exercises. For example, we talk about some beneficial cardinal directions, like the East (where would travel certain subtle energies accompanying the movement of the Earth) or Magnetic North (near the geographic North, which would allow us to align with the magnetic field of our planet). Other cases have based their design in the studio of the sacred geometries, and have even made dowsing ground surveys to learn of benign energies present at the project site. 

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4.3 Site Requirements The site selected for the proposed Psychonautic centre will have to meet the practical, spiritual and symbolic needs of the users. The site must reflect a comprehensive framework whereby the users can easily access the place and it should be integrated in the broader urban context of the area and its surroundings. The site must bring different cultures together. The site criteria have been determined from the requirements sourced from other theses, interviews of head of spiritual organisations and important considerations from the theoretical contents of the literature review in this dissertation.

Below are some aspects are need to be considered:

• Location: the site should be a destination rather than a transition. It should be a site that that offers opportunities for development that will benefit the micro and macro context.

The immediate area should be lively and not too remote.

• Accessibility: it should be easy to access the site from various points through numerous modes of transportation. It should be accessible to the larger community by private and public transport. As such, the site should not be far from a major urban hub. Transport accessibility is one of the major concerns. In the case study, access was only by car.

Hence this deprives access to people who are not able to afford that mode of transport.

Spirituality is universal and the meditation centre is erected for the benefits of users of all religions and gender.

• Visibility: the site needs to have a visual prominence so that it can be easily identified in its context. It should be distinct offering strong links to its context from various angles.

• Topography: the site must have a natural landscape or the latter must be suitable to be implanted in the context to enhance the existing fabric. Breathing is a common meditation technique. With a mass of people meditation, an adequate amount of fresh air is required to flush out the toxins exhale by breathing out. Here vegetation in proximity to the building is very effective.

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• Socio-cultural: the area should embrace social and cultural groups in the area. It should primarily serve the micro context and also a macro context.

• Natural Environment: the site should offer an opportunity to enhance the natural ecosystem while aiding the practice of spirituality. From the research analysis reveals that a spiritual architecture is more likely to occur in a region where natural landscape is provided.

• Size: the size should be adequate for the new development and sufficient to accommodate parking.

• Noise: noise is a major factor in every site. However, a quiet environment is suitable for meditation purposes. A busy and noisy atmosphere is not an appropriate location for spiritual practices to take place.

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CHAPTER- 5

LITERATURE STUDY


5.1 Philosophies and theories.

Architecture is a phenomenon that defines the quality of the built environment whilst accommodating various functions. The quality of the spatial and functional arrangements in a given dimension provides character to a place.155 Pallasmaa points out that architecture is multi sensory activity bringing the users closer to things. The experiential value of architecture is serene and is accentuated with the interaction of the senses through movement and action in an environment.156 Norberg Schulz, states that architecture relates to the spirit of a place an environment where man engages for his daily activities. Such a place can be defined by cosmic, spiritual and natural qualities such as light, sound, air, water bodies, green landscape, open-to-sky spaces and climatic conditions. Spirituality and architecture are interlinked where different layers lead to the creation of a holistic environment. The tactile and sensory nature of architecture enables man to integrate with the built environment physically, psychologically and visually. 157

These qualities of architecture can be expressed as space that evokes and invokes spiritual responses in people. To develop a spiritual responsive built environment, a literature study of the following theories has been done.

155 Norberg Schulz, 1980 156 Shirazi, 2011 157 Pallasmaa, 2005

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5.1.1 Phenomenology of Place

Existence is composed of people, animals, flowers, trees, earth, stone, water, houses and civilizations. The sun, moon and stars are the other natural elements. The landscape is believed to be a complete phenomenon. Place is an integral part of existence that is composed of materials, shapes, textures and colour.158 A place has character; it can have functional and spatial arrangements with a given dimension. Cultural and environmental conditions affect the properties of a place. Phenomenology is therefore conceived as the ‘return to things’ where it is linked with psychology, ethics and aesthetics. Another aspect of nature is that it is a symbol of growth and blossom. 159

Phenomenology is regarded as a multi-sensory architectural doctrine by Pallasmaa who pointed out that the architecture of the senses brings the users closer to things and also drives them within. The interaction of the senses – movement and action, is essential as one is then able to identify scales, see a direction and enhance perceptions by experiencing.

He stressed on the complete experience with a building rather than to concentrate partly on visual perceptions.160 The understanding of the concept of spirituality is critical in this study leading towards its application in architecture.

158 Norberg-Schultz, 1980 159 Ibid 160 Shirazi, 2011

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5.1.2 Critical Regionalism

The main concept of critical regionalism is that it integrates aspects of a global civilisation relating to the needs of a place. It is based on preserving a self-conscious programme. The associated factors are topography, the tectonic of the environment and sources such as light.

Critical regionalism initiates a dense form and resonance in architecture where cultural density predominates.161. Critical regionalism is directly linked with nature. The culture of the region is influential in creating a form. The engagement of culture and nature can be used to illustrate the poetic essence of place in the form of light and art. Ventilation strategies also reflect the nature of the local culture.162 Kenneth Frampton states that the governing principle of architecture is the tectonic rather than the scenographic. He stresses on the way form is expressed in structure - in a poetic way that combines the material, craftwork and gravity.163

161 Jencks, 1997 162 Frampton, 1981 163 Jencks, 1997

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5.1.3 Place theory and Sacred architecture

Place theory is based on the assumption that the characteristic of a place is also accompanied by the human response. The physical quality of space has an addition of meaning given by the users. For instance, trees in the grassland may serve as a council place for meeting of the local people. The trees can be associated with a kind of sacredness since it projects the image of human events.164 Humans are versatile creatures; they adapt to the different conditions of environments – physical, social and spiritual.

Man lives in an environment of beauty that he seldom acknowledges owing to human arrogance. Natural beauty induces reverent feelings about the spirit. The human spirit can be a vessel in transcending influences to shape and nourish individual environment.

Currently the world is stirred by social disharmony that causes stress, psychological and hormonal imbalances that propagate illnesses. Beautiful places are ecological in nature and foster good health. These places are plenty of ‘integrity, wholeness and balance’. The spirit of a place can be experienced when given a measurable value. 165 Sacred architecture which is believed to be the Kingdom of God on earth is actually that of proportion. Nowadays, its elements and form have been reduced to minimalist architecture. Cosmic architecture is associated with a variety of forms. The divine order requires geometric expression to relate to its earth nature. 166

164 Crowe, 1995 165 Day, 2002 166 Day, 2004

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5.1.4 Nature and Sense of Place

Architecture was used as a medium in the past to permit the coexistence of man and nature.

Man and nature are an integral part of the ecosystem of earth. Architecture should allow the users to be able to listen to the music of the universe by recognising the spirit of rationalism and irrationalism. Humans are always interdependent with nature, the Universal Mother. 167

A sense of place is regarded as an environment that has become ‘dimensionless and timeless’. Crowe is of the opinion that a sense of place can be felt without consciously recalling it. It indicates a holistic character. Such a place is unique, instantaneous and familiar to the user. This quality facilitates people to adapt to the environment. There is also a hierarchy in which people enjoy these places. The human bodies in general are related, orientated and bound to this particular environment.168 Hertzberger commented that the essence of spatiality gives rise to various aspects about architecture that include feeling and sensation.169 The sense of space is viewed as an experience in terms of images, sounds, materials and quality of light. Space as an experience is believed to allow the user to imagine a dimension. 170

Kenneth Yeang believes that vegetation should become part of the built environment and an integral part of the regionalist design.171 The relationship between the inorganic and the organic should be reinforced; the built structure and the organic materials. Transitional spaces such as verandah ways and terraces were used in traditional architecture for climatic benefits. Natural energy sources may be used to create a good interior environment by increasing opportunities for cross-ventilation and natural light.172  

167 Jencks, 1997 168 Crowe, 1995 169 Hertzberger, 2002 170 Ibid 171 Jencks, 1997 172 Ibid

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CHAPTER- 6

CASE STUDIES


6.1 Need of Case studies The idea of studying different cases for the project brings an idea of how a building functions. Considering the users and usage of the place, the study helps in analyzing the spaces their function, their circulation and aesthetics that pleases the eye of the beholder.

The intent of these case studies are to examine and understand the intermingling of spaces which are provided in the center. To analyze the intangible aspects of meditation and spirituality and how these intangibles are turned into tangible structures with the use of ideal and different elements of architecture. Also, to get a feel of natural surrounding and their importance in a spiritual zone

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6.2 Secondary Case Studies 6.2.1 Maitrimandir, Auroville

Figure 6.2.1.1 Maitrimandir, Auroville SOURCE : https://www.npr.org/sections/13.7/2014/09/10/347422469/science-and-spirituality-could-it-be 

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Description

The Matrimandir (Sanskrit for Temple of The Mother) is an edifice of spiritual significance for practitioners of Integral yoga, situated at the centre of Auroville initiated by The Mother of the Sri Aurobindo Ashram. It is called soul of the city and is situated in a large open space called Peace. Matrimandir does not belong to any particular religion or section.

The Matrimandir took 37 years to build, from the laying of the foundation stone at sunrise on 21 February 1971 the Mother’s 93rd birthday - to its completion in May 2008. It is in the form of a huge sphere surrounded by twelve petals. The Geodesic dome is covered by golden discs and reflects sunlight, which gives the structure its characteristic radiance. Inside this central dome is a meditation hall known as the inner chamber - this contains the largest optically-perfect glass globe in the world. The four main pillars that support the structure of Matrimandir, and carry the Inner Chamber, have been set at the four main directions of the compass. These four pillars are symbolic of the four aspects of the mother as described by Sri Aurobindo, and are named after these four aspects.

Figure 6.2.1.2 Description SOURCE : https://en.wikipedia.org/wiki/Matrimandir 

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Evolutionary Principle

The name 'Matrimandir' means literally 'Temple of the Mother'. According to Sri Aurobindo's teaching, the 'Mother' concept stands for the great evolutionary, conscious and intelligent principle of Life, the Universal Mother, - which seeks to help humanity move beyond its present limitations into the next step of its evolutionary adventure, the supramental consciousness. 173

At the very centre of Auroville one finds the 'soul of the city', the Matrimandir, situated in a large open area called 'Peace', from where the future township will radiate outwards. The atmosphere is quiet and charged, and the area beautiful, even though at present large parts of it are still under construction.

Figure 6.2.1.3 The Golden Sphere SOURCE : http://www.archinomy.com/case-studies/1968/matrimandir-auroville

As yet incomplete, the Matrimandir emerges as a large golden sphere which seems to be rising out of the earth, symbolizing the birth of a new consciousness seeking to manifest.

Its slow and steady progress towards completion is followed by many.

173 http://www.archinomy.com/case-studies/1968/matrimandir-auroville

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Figure 6.2.1.4 Transpersonal Psychology SOURCE : http://mind-matrix.net/the-ascension/the-mind-matrix-kingdoms/multi-dimensional-realities/25-the-matrimandir/Figure

Figure 6.2.1.5 The Construction SOURCE : http://matrimandir-action-committee.blogspot.com

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Inner Chambers

The spacious Inner Chamber in the upper hemisphere of the structure is completely white, with white marble walls and white carpeting. In the centre a pure crystal-glass globe suffuses a ray of electronically guided sunlight which falls on it through an opening at the apex of the sphere The four pillars that support the structure of Matrimandir, and carry the Inner Chamber, have been set at the four main directions of the compass.

Maheshwari (South Pillar) One is her personality of calm wideness and comprehending wisdom and tranquil benignity and inexhaustible compassion and sovereign and surpassing majesty and allruling greatness.

Mahakali (North Pillar) Another embodies her power of splendid strength and irresistible passion, her warrior mood, her overwhelming will, her impetuous swiftness and world-shaking force.

Mahalakshmi (East Pillar) A third is vivid and sweet and wonderful with her deep secret of beauty and harmony and fine rhythm, her intricate and subtle opulence, her compelling attraction and captivating grace.

Mahasaraswati (West Pillar) The fourth is equipped with her close and profound capacity of intimate knowledge and careful flawless work and quiet and exact perfection in all things.

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The Mother's Symbol and the Petals

The meditation rooms inside the twelve stone-clad 'petals' surrounding the Matrimandir carry the names and colours of the 'petals' in the Mother's symbol.

The below mentioned names and colours have been integrated into the sequence of the meditation rooms which are being completed inside each of the twelve petals surrounding the structure in the following order:

•

Sincerity - light blue

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Peace - deep blue

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Equality - blue violet

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Generosity - pure violet

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Goodness - reddish violet

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Courage - red

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Progress - orange red

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Receptivity - orange

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Aspiration - orange yellow

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Perseverance - pale yellow

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Gratitude - pale green

•

Humility - deep green Figure 6.2.1.6 The Mother’s Symbol in Colour SOURCE : https://www.auroville.org/contents/2853

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Sacred Geometry

Figure 6.2.1.7 Sacred Geometry SOURCE : SOURCE : http://mind-matrix.net/the-ascension/the-mind-matrix-kingdoms/multi-dimensional-realities/25-the-matrimandir 

176

Site Plan

Figure 6.2.1.8 Site Plan SOURCE : https://www.auroville.org/contents/2141


177

Sections

Figure 6.2.1.9 Sections SOURCE : https://www.auroville.org/contents/2141

Figure 6.2.1.10 Sections SOURCE : https://www.auroville.org/contents/2141


178

Elements The crystal globe The crystal for the Matrimandir arrived in Auroville on 26-4-91 at 10.15 p.m. It was moved into the Matrimandir's Inner Chamber the very next day at 09.45 a.m. The size of 70 cm diameter was marked on the original plan that Mother had drawn for the central object in the Chamber. In July 1983, the searchlight fell on the firm of Schott in Mainz, and somewhat later on Zeiss in Oberkochen, both in Germany. These firms proposed the type of crystal optically perfect glass - with the name of Bohr Kron 7. On the 8th of June 1984, Zeiss presented the study, and gave the estimate: approx. 230,000 German Marks.

The columns The columns arrived at Matrimandir in the beginning of January 1990.They were 24-inch diameter, galvanised, seamless steel pipes, 8.65 mtr long, weighing 830 kg each. The painting job appeared straightforward and the first two were done completely in a couple of months. A dedicated team started putting in extra time, a few infra-red lights appeared to help the drying, and then even an electric polishing machine arrived to speed up the work.

There are an average of 15 coats of paint on each column with finer and finer sanding between coats after which the final polishing was done.

The gold discs • Disc frame: - Stainless steel tubes • Disc material: - stainless steel sheet • Gold leaf: - 28 gm of gold per 1000 leaves • Leaf size: - 85 x 85 mm • Total number of discs: - 1415 • Small convex discs: - 954 • Large concave discs: - 461 • Average diam. (large discs): - 2.3 meter • Average diam. (small discs): - 1.5 meter

179

The carpet The carpet in the meditation chamber was woven in Agra using a blend of the finest Merino wool imported from New Zealand. This project was completed under the skilful guidance of Mr. Meattle of India Carpets and Furnishing Company, one of India's top carpet makers. It took 6 months to weave the twelve sections (and two spare pieces) which cover the entire floor area of the Chamber.

The manufacturing was done on a specially designed handloom using the Wilton weaving system. This system gives a carpet all the good qualities of a machine-made carpet as well as the special qualities of a handmade one.

The Heliostat and Lens The heliostat is controlled by a computer program, which moves a mirror across the sun's path every day. This mirror projects sunlight into a lens, that projects the single sun ray down on the crystal. To make sure that the ray strikes the crystal exactly in the centre, a photo sensor is installed in the path of the ray itself and relays the data on the ray's position to the computer, which in turn will adjust the ray to the correct position if necessary.

Technical information about the lens •

Focal length, first lens: - 30 m, diam, 45 cm

•

Focal length, second lens: - 5 m, diam. 25 cm

•

Diameter of sun-spot on the globe: - 180 mm

180

6.2.2 Osho International Resort, Pune

Figure 6.2.2.1 Osho Center, Pune SOURCE : https://www.osho.com/visit


181

Description

Figure 6.2.2.2 The Osho International Meditation Centre SOURCE : https://www.osho.com/visit

The Osho International Meditation Centre (OIMC) located in the city of Pune in India is a campus extended over forty acre of a tropical oasis in nature. The ashram is described as a high class life with thousands of visitors annually. The centre has become a prime attraction for visitors who are interested in the preaching and ideologies of Osho. It is one of the largest growing spiritual centres in the world with an attraction of two hundred thousand visitors per annum. The site is accessed by private vehicles or cabs. It is fifty-five kilometres away from the airport, forty-five kilometres from the railway station and twenty-five kilometres away from the Ganges. Therefore the site is reachable from all directions. The centre is also a meeting place for friends on a global platform. The resort for meditation and yoga offers various techniques to be free of stress and strain of worldly life. The dress code is maroon robes during daytime activities and whites robes are used for evening meditations. Institution’ s ashram is technology with access to email, fax and telephones. Hotel accommodation is merely fifteen minutes away from the resort on foot.

The resort also promotes a wellness programme. One of the major teachings of Osho is silence that can be achieved through meditation. Man’s speech, actions and dialogues are related to observe that silence. The building was designed to express this principle of silence. Hence, one can see that the materials used are simple without ornamentation and merge with an existing natural landscape.

182

Spatial Organisation and Functions

Figure 6.2.2.3 The Pyramid SOURCE : https://www.osho.com/visit

The prime focus of the Osho International Meditation Resort is not only meditation but also natural creativity that is conducted by followers through different workshops located in the pyramid-like building. The inmates’ homes are designed to emerge out as pyramids from the green land. A residential block that serves as a guest house has sixty rooms. An information plaza is where all information about program courses can be inquired. The Osho auditorium is where the major meditation programs are conducted. The Osho Multiversity is a place where various forms of art can be learnt, for example, martial arts, dancing, painting and sculpting. The teaching staff comprises doctors, meditation trainers and therapists. The Mirdad Pyramid is made of black marble from the exterior. It contains large seminar facilities and workshops, overlooking the Zen garden spanning twelve acre.

Amongst other activities are a tennis court, swimming pool and bistro. A creative ‘carvan’ is where pottery, sculptures and other arts are practised. There is a café that has most types of cuisines. A mini mall called the galleria caters for shopping activities. An inbuilt medical centre is in place with advanced technologies. The Zen garden has been designed to allow people to sit, meditate and experience the renunciation within.

183

Architectural Style and Environmental Aspects The Osho International Meditation Resort has a contemporary architectural style. It has been designed to respond to the context and the environmental conditions on site. Its pyramid-like shaped structure is compelling. It reveals the mysticism beyond what is seen to the human eye. The pyramid is a geometrical shape with proportion and order. But the design signifies hidden truths and symbols. Such a shape is also appropriate for climate; especially for rainwater flow.

Figure 6.2.2.4 The Zen Garden SOURCE : https://www.osho.com/visit

The Osho Teerth, also known as Nulla Park, has a garden expanding five hectares. It is designed as the elegant style of Japanese Zen garden. The park has a landscape architecture that comprises swimming lagoon, rock gardens, decorated wooden pathways and artificial waterfalls that enhance the spiritual environment. The green space is accessible to the public early in the morning and late afternoon. It is otherwise used to conduct spiritual practices. Architecturally, the design is said to be extremely Zen with the use of minimalist clean lines. The staffs are attentive and welcoming in a quiet environment. As a result, it feels that the space is actually empty. The meditation hall is twenty-eight metres high with a sound proof and air conditioned system. Lighting is in a multi-dimensional arrangement.

The rooms are designed with simplicity but of high quality. In winter, it is freezing inside with air conditioning system. There are no televisions or phones on site so that the focus that began in the meditation hall is continued in the rooms as well.

184

Socio-Cultural Aspects The Osho meditation centre is an ideal place for spiritual development, rejuvenation and relaxation. It frees the individual from the daily tensions of life. There are visitors from around hundred countries in the world staying at the ashram each with a different objective. The various activities provided allow people to engage socially and culturally but above all spiritually. Socially the institution is said to be the world’s largest in carrying out meditation and personal development activities. The subjects include body work and awareness, creativity, esoteric sciences, meditation and transformative work as visioned by Osho. Meditation camps allow a mass spiritual development. The place is filled with vibration transmitted to followers during meditation. An eatery is situated alongside a magnificent Olympic sized pool.

Figure 6.2.2.5 The Disco’s SOURCE : https://www.osho.com/visit

In addition, restaurants and discos are the main night life in the centre itself. Spirituality does not restrict enjoyment at all, but instead allows man to become aware when performing activities. It is referred to as Zorba the Buddha. It means that man can become the Buddha but not the contrary as the Buddha is the holiness itself. Here, Osho advocates freedom which is precious and of highest value to which there is nothing more supreme.

The visitors are not only devotees but also are young people seeking something spiritual in life. These people are interested to experience and are open-minded. One can notice that they are innocent and fresh for this journey. The mix of Westerners and Asians creates a friendly atmosphere. The vibe is seen from the locals of the lively city of Pune, be it the rickshaw drivers or the internet shop owners.

185

Site Plan

Figure 6.2.2.6 Site Plan SOURCE :https://issuu.com/subhranshupanda/docs/report


186

Land Use

Figure 6.2.2.7 Land Use Plan SOURCE :https://issuu.com/subhranshupanda/docs/report


187

Zoning

Figure 6.2.2.8 Zoning SOURCE :https://issuu.com/subhranshupanda/docs/report


188

Movement Pattern

Figure 6.2.2.9 Movement Pattern SOURCE :https://issuu.com/subhranshupanda/docs/report 

189

Inference The Osho International Meditation Centre is situated in a natural environment away from the urban nodes in Pune. The outdoor landscape forms part of the functions of the the centre for spiritual practices to take place in nature. Meditation techniques, yoga, dancing, painting and martial arts are the activities carried out in the outdoor open-air spaces. Apart from that, the centre have socialising venues, some are indoors while others occur in nature, for instance, eating facilities.

The resort is designed to express the principle of silence, a teaching emphasized by Osho.

Architecturally, the buildings were devoid from ornamentation and have clean simple finishes. It is observed that the form has symbolic meanings while the interplay of light and shadow was also included in the design. The form relates to the metaphysical qualities that establish a connection between the earth and the heavens. The resort merges subtly with its landscape. The colour palette merges with nature as well. Dark colours were used mostly on the exterior while the interior is flooded with light from apertures at roof and clerestory levels.

The architectural style relates to its surrounding context. Landscaping elements and water bodies are provided to create a serene atmosphere in the outer environment.. Proportion, order and sense of scale are seen in the temple design. The aesthetic appeal stems out from its monumental structure and dark colours are used symbolically to signify the ideology.

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6.2.3 Shreyas Retreat Center, Banglore

Figure 6.2.3.1 Shreyas Retreat, Banglore SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio


191

Description

Figure 6.2.3.2 Retreat within a retreat SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

L e d b y A r. A k s h a y Heranjal and Ar. Aditi Pai Heranjal, the Purple Ink Studio, based in Bangalore, is a multiple award winning practice that focused on an integrated approach to crafting a unique

retreat

center with an approach that encompasses architecture, landscape and sustainable ideologies. They designed a well-known Yoga Retreat in India. This 20,000 sq.ft center is a ‘retreat within a retreat’ that offers its guests diverse, magnificent experiences with its remarkable spaces. 174

174 https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

192

Figure 6.2.3.3 The Inspiration SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

193

The Design

The architectural design has been conceptualised as the collective space being a sustainable model, emphasizing on the relation of man in nature’s dominion. The main block is partially immersed in the earth, forming a bond with the isolating quality of the same.

Sunken courts have been designed in the block to facilitate an unencumbered flow of natural light and air. The main area has been planned thoughtfully as a series of different spaces that assist the seamless spatial transition of the guests.

Figure 6.2.3.4 The Design SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

The design makes clever use of natural light, which renders the exposed walls and ceilings with a serene glow and a magnificent play of light and shadows. Various design elements such as hand crafted jaali screens and solid wood doors create a strong connection between the spaces. This bond is further strengthened by the different openings that help merge the interiors and exteriors seamlessly. 175 175 Ibid

194

Figure 6.2.3.5 The Landscape SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

The landscape integrates flawlessly with the built pathways, creating break-away spaces for the guests to relax. These lounge areas act as buffer zones helping the guests experience a smooth transition from the exteriors to the semi covered spaces. They also mesmerise the patrons with a splendid play of natural light. The designed spaces, growing from the sunken ground towards the sky, are an epitome of tranquillity and perceptual, organic progress as they become one with the lightness and grace exuded by their architecture. This sense is further intensified on the Upper level, which houses the Meditation and Yoga Pavilion. This vast space (2000 sq.ft) is complete with large fenestrations on the eastern side that allow the early morning sunlight to play freely inside, which creates a compelling atmosphere for the morning Yoga sessions. This Large Pavilion then opens up to the private Yoga and Meditation rooms, these spaces offering the guests with pleasing views created by the play of light and shadows against the roof’s jaalis and screens. 176 

176 Ibid

195

Plans

Figure 6.2.3.6 Plans SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

196

Sections

Figure 6.2.3.7 Section SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

197

Built Form Development

Figure 6.2.3.8 Built Form Development SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

198

Views

Figure 6.2.3.9 Views SOURCE : https://www.archdaily.com/795356/shreyas-retreat-the-purple-ink-studio

199

6.2.4 Kamadhenu Meditation & Yoga Studio, Columbia

Figure 6.2.4.1 Kaamdhenu Studio, Columbia SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt

200

Figure 6.2.4.2 The Studio SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt

Kamadhenu is a p r i v a t e institution, conceived around the basic principles of meditation &yoga practices, demanding the architects to generate an architectural program focused on creating a studio to fulfill the needs of meditation and yoga practitioners from Bogota, and its neighboring towns. All profits derived from the operation of the studio are destined to finance educational programs that benefit the children from the Subachoque community.177 

177 https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt

201

The architectural program was developed around the idea of creating a school that would provide meditation courses and courses in related disciplines to its users, as well as art and cooking workshops. These functionalities are able to turn the studio into a full-fledged community center.

Figure 6.2.4.3 Spaces SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt

Being a place for the practice of yoga and meditation, space is neutral and relaxed. Nature and environment act as the main protagonists, integrating interior spaces and landscape.

Changes in natural light transform spaces further, achieving an atmosphere that is propitious for meditation practices and the individual achievement of mindfulness.

The project consists of a central courtyard and three core modules articulated by a large corridor along which the yoga room, dining room, kitchen and bathrooms and changing areas are organized. The outdoor patio is the central space where different natural elements such as trees, mountains, sky, water and fire, as well as a Buddha who acts as guardian of the place, integrate.178

178 Ibid

202

Figure 6.2.4.4 Outdoor Patio SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt

Access is located at the upper level, visitors and users descend ceremonially by a stone staircase to the outdoor patio. The two main areas, the yoga and dining room, have wood sloping roofs that integrate the interior spaces to the landscape, allowing light to reflect inward.

Figure 6.2.4.5 Indoors SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt

203

The materials used are concrete, wood, stone and glass; providing a serene, beautiful and austere environment, where light plays a fundamental role. The materials are balanced with each other, since wood gives warmth, concrete solidity, stone connection with the earth and glass reflection of light.179

Figure 6.2.4.6 Austere Environment SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt

Since its completion, the project has successfully achieved every objective that was initially conceived as a premise. The building has not only become a meeting point for yoga practitioners, but it also serves the purpose of working as a community center for the local community. 180 

179 Ibid 180 Ibid

204

Drawings

SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt 

205

SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt 

206

SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt 

207

SOURCE :https://www.archdaily.com/788444/kamadhenu-yoga-studio-carolina-echevarri-plus-alberto-burckhardt 

208

6.2.5 Jetavana, Maharastra

Figure 6.2.5.1 Jetavana, Maharastra SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates 

209

Description

Figure 6.2.5.2 Buddhist Learnng Center SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates

In

Buddhist

mythology Jetavana is the name of one the Buddha’s most important spatial edifice which when literally translated means: the grove of Jeta, land donated to the sangha for founding a monastery. It was of semiotic significance that the site offered by Samir Somaiya owner of the neighbouring sugar factory in rural Maharashtra for the Buddhist Learning Center was thickly forested, an idyllic grove of sorts.181 

181 https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates

210

The institute was programmed as a spiritual & skill development center for the native Dalit Baudh Ambedkar Buddhist community. The mandate of Jetavana is to provide a spiritual anchor for their practice of Buddhist thought through meditation and yoga while also imparting training and skill development for members of the community.

Figure 6.2.5.3 Center Valley SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates

With the mandate of not harming a single tree on site the sizeable program was split up into 6 buildings each situated in gaps between the heavy planting. Through the design process two courtyards emerged as links suturing these buildings into a common identity.

Further by inverting the roof profile with a center valley in the middle and rising edges the interior spaces were visually connected with the foliage outside. The interior spaces hence are also a function of the outside setting, with a lightness that belies the heavy programs on site. The separation of the roof from the walls while providing much needed cross ventilation also scales the building towards the courtyard. 182

Working closely with Hunnarshala, an institution looking to revive and resuscitate local building traditions we collated a material palate that uses rammed load bearing walls of 182 Ibid

211

basalt stone dust. The stone dust, which is waste from a nearby quarry, is mixed with waste fly ash, a by-product from the adjoining factory that in the past was paying people to cart the waste fly ash away. Repurposed wood from old shipping vessels act as roof structure, with the understructure made of mud rolls, which are also great insulation. The roof itself is finished with clay roof tiles, remnants from older demolished buildings.

Figure 6.2.5.4 Local Community SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates

The flooring is a traditional mud and dung floor done by members of the local community, which is known to have antiseptic properties.The construction process also sets out an approach that looks to further construction techniques based on local materiality not necessarily used natively but appropriate for it’s context.183  183 Ibid

212

Drawings

Figure 6.2.5.5 Plans SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates 

213

Figure 6.2.5.6 Sections SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates 

214

Figure 6.2.5.7 Prespective SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates

215

Figure 6.2.5.8 Sketches SOURCE : https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates

216

6.2.6 Isha Yoga Center, Coimbatore

Figure 6.2.6.1 Isha Yoga Center, Coimbatore SOURCE :https://www.pinterest.co.uk/pin/331366485068977938/


217

Description

Figure 6.2.6.2 Isha Foundation, Coimbatore SOURCE :https://www.pinterest.co.uk/pin/461267186832493351/

The Isha Yoga Center came into being under the sponsorship of Isha Foundation which is essentially a non-profit association of Sadhuguru Jaggi Vasudev. The Isha Yoga Center is located near the city of Coimbatore at the Velliangiri Mountains. The ashram is quite large and boasts of an area of around 150 acres. The Isha Yoga Center consists of a number of things like Dhyanalinga temple, Isha Rejuvenation Center, Spanda Meditation hall, Yogic Hospital, Isha Home School and small cottages meant for visitors. The location of the ashram makes it a popular destination for people wanting to derive knowledge about yoga.

The serenity and tranquility around serve as the perfect backdrop for learning about the four major aspects of yoga – knowledge or gnana, action or karma, energy or kriya and devotion or bhakti.184

All Isha yoga programs take place in the Spanda Meditation Hall which has a very different architecture. Equipped with a garden, it has an area of 64,000 square feet and is without any pillars. There is also a beautiful wall mural painting which chronicles the life of Shiva, the first of all yogis.

184 https://www.urbanpro.com/yoga/isha-yoga-center-isha-foundation

218

Figure 6.2.6.3 Spanda Meditation Hall SOURCE :https://www.pinterest.co.uk/pin/653022014689819560/

The main intention of keeping such a painting is to inspire and recreate a holistic environment so that it becomes easier for visitors to acquaint themselves with the principles and philosophies of yoga. This painting also enjoys the distinction of being the largest one of its class and measures 140 x 12 feet. Moreover, it is made of earth extracts and vegetable dyes which is an ancient painting style.

Isha Rejuvenation Center endeavours to acquaint an individual with the joy of a fit body and inner peace. It includes a number of programs that help a visitor to achieve proper balance in his life energy. This is important in order to lead a healthy life and prevent oneself from chronic ailments. Their programs are perfectly sequenced and tailored to achieve these ends. Different yoga programs are offered by the Isha Yoga Center for different age groups. There is a 10 day program meant for children aged between 7 and 14 years. Again, you have a foundation program of 13 days for adults involving asanas, breathing techniques and meditation. Other programs include a residential program of 4 days called Bhava Spandana consisting of advanced meditation and a similar program of 8 days called Wholeness which constitutes Shoonya meditation and Shakti Chalana Kriya along with asanas. Along with the above mentioned few, there are other programs as well which are meant to give your life a whole new meaning with the power of yoga. 185 185 Ibid

219

The Dhyanlinga

Figure 6.2.6.4 The Dhyanlinga Center SOURCE :https://isha.sadhguru.org/in/en/sadhguru/mystic/dhyanalinga-architecture-fusion-of-shapes/

The Dhyanalinga is a Multi religious Meditation Shrine created exclusively for the purpose of meditation. This dome of the Dhyanalinga Shrine was built for the ISHA Foundation, at the Foothills of Velliangiri Mountains near Coimbatore, Tamil Nadu, South India. This dome of 22.16 m diameter has designed by the Auroville Earth Institute. It has been built free spanning in 9 weeks with a team of the Auroville Earth Institute and mostly unskilled labour. The work on the dome started the 21st November 1998 with the construction of the entrance vault, built with granite stones and on a centering done with laterite blocks. The dome was completed 9 weeks later, the 31st January 1999.186

The Dhyanalinga layout is geometrically a simple fusion of shapes. Every aspect of the layout has been envisioned and designed by Sadhguru to subtly prepare the visitor for meditativeness. A visitor first steps into the unusual sunken reception with a colossal 17foot tall white granite monolith, the Sarva Dharma Sthambha. The Sthambha area is built as a yantra, closed on three sides and giving the impression of an open-armed embrace to the visitor. The symbols of nine major religions are inscribed on three sides of this sthamba as a universal welcome to all. On the fourth side are engraved the forms of seven lotuses 186 http://www.earth-auroville.com/dhyanalinga_dome_en.php

220

which represent the seven chakras of the human body or seven different levels of consciousness. The chakras are flanked by flowing forms of snakes that stand for the ida and pingala nadis, the feminine and masculine or the intuitive and logical dimensions of experience. The rising stone sun crowning the sthamba symbolizes a new dawn, while the pattern of fallen leaves beneath the sun signifies death of the past.187

Figure 6.2.6.5 The Gateway SOURCE :https://isha.sadhguru.org/in/en/sadhguru/mystic/dhyanalinga-architecture-fusion-of-shapes/

The stone gateway or the Thorana is designed according to the principles of traditional Indian architecture. It safeguards the sacred space and acts as the main entrance. Beyond the Thorana rise the three entrance steps symbolizing the three gunas or qualities of the mind - Tamas, Rajas and Sattva. The unusual height of the steps forces the visitor to press the soles of their feet on the pebbled surface of these steps which in turn activate certain nerve centers in the body – a preparation to make a person more receptive to the energies of the Dhyanalinga.188

187 https://isha.sadhguru.org/in/en/sadhguru/mystic/dhyanalinga-architecture-fusion-of-shapes 188 Ibid

221

The Dome

Figure 6.2.6.6 The Dome SOURCE :https://isha.sadhguru.org/in/en/sadhguru/mystic/dhyanalinga-architecture-fusion-of-shapes/

Around 214,000 fired bricks were laid and the construction site had a working force of more than 220 workers (110 workers at the most on the scaffoldings, including 25 masons).

The large amount of fired bricks required could not be supplied by the same brick factory.

Therefore the fired bricks came from about 20 different kilns. As a result, they had different sizes and most of the time they had odd shapes (belly, cracks and other irregularities). Therefore, nearly 200,000 bricks had to be checked one by one. It became a pain to use such bricks when it would have been so easy to use the accurate CSEB produced by the Auram press 3000. In most of cultures hell is related with fire, and indeed it was a hell to build with these fired bricks. 189

No reinforce concrete had been used in any part of the building: neither for the foundations, plinth nor tie for the dome. Sadhguru Jaggi wanted the dome to last 1,000 years and reinforced concrete has not yet proved to be able to last so long. Therefore the dome stability has been studied in order to have only compression forces.

The dome presents these features: •

Section: segmental ellipse of 22.16 m diameter and 7,90 m rise.

• Thickness: 4 courses from the springer to the apex: 53 cm, 42 cm, 36.5 cm and 21 cm at the top.

•

Weight: around 570 tons (brick dome = ± 420 tons + granite stone to load the haunches

= ± 150 tons).

189 http://www.earth-auroville.com/dhyanalinga_dome_en.php

222

Figure 6.2.6.7 The Stability of Dome SOURCE : http://www.earth-auroville.com/dhyanalinga_dome_en.php

Figure 6.2.6.8 Construction Sequence SOURCE : http://www.earth-auroville.com/dhyanalinga_dome_en.php


223

Figure 6.2.6.9 Construction Details SOURCE : http://www.earth-auroville.com/dhyanalinga_dome_en.php


224

The Plan

Figure 6.2.6.10 Site Plan SOURCE : Isha Yoga Center


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6.2.7 Observations & Conclusions from Secondary Studies The Matrimandir is based on the concept of great evolutionary, conscious and intelligent principle of life the universal mother, to help reach the supra mental consciousness. While Matrimandir emphasis more on the meditation and yoga, The Osho centre in Pune caters to all the aspects related to psychonautics like music, dance, yoga and further more.

Comparatively, The Osho Pune is a more integrated approach for the activities thereby mentioned. It offers various techniques to be free of stress and strain of worldly life. One of the major teachings of Osho is silence that can be achieved through meditation. Hence, the building was designed in such a manner that the materials used are simple without ornamentation and merge with an existing natural landscape. It is an ideal place for spiritual development, rejuvenation and relaxation. Osho advocates freedom which is precious and of highest value to which there is nothing more supreme. Hence, restaurants and discos are the main night life in the centre itself which is very different from the concepts of the other sites such as the Kamadhenu centre, The Jetavana, The Maitrimandir and the Isha Yoga centre. Being of the contemporary architectural style, its design also responds to the environmental factors. Such as its pyramid shape which besides being of proportion and order, is also appropriate for climate and rainwater flow. The design is supported with a vast scape of natural features, one of the most important being the Zen garden, being significant of a quite and welcoming environment. There is no aspect of modern electronics like televisions and phones so that the sole purpose of meditation is extended beyond the meditation halls to the rooms as well.

The Shreyas Retreat, A well-known Yoga Retreat in Bangalore is a ‘retreat within a retreat’ that offers its guests diverse, magnificent experiences with its remarkable spaces. What makes Shreyas unique is that, whilst Yoga is taught in traditional ashram style, the guests live in a luxurious environment normally associated with a star hotel, while the basic principle behind the development of The Kamadhenu centre was to create schools that offer courses of meditation and yoga and other similar disciplines. Also, in The Shreyas retreat, the guests are enabled to integrate the manifold facets and benefits of Yoga into their daily lives without the austerity and rigor usually associated with ashrams. Its design has integrated various natural aspects and has developed a combined system which both

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interacts with nature and human functionality. Like, the main block is partially immersed in the earth, forming a bond with its isolating quality. Also, the built pathways create break away spaces for the guests to relax and help them experience a smooth transition of the play of nature. There are spaces offering the guests with pleasing views created by the play of light and shadows against the roof’s jaalis and screens. Kamadhenu yoga and meditation centre has a more technical approach towards fulfilling the needs of meditation and yoga practitioners. The materials are balanced with each other, since wood gives warmth, concrete solidity, stone connection with the earth and glass reflection of light. The building has become a meeting point for yoga practitioners, and it also serves the purpose of working as a community centre for the local community.

The Jetavana institute was designed as a spiritual & skill development centre for the native Dalit Budh Ambedkar Buddhist community. It is noticeable that this was an institute proclaiming towards a particular group of community (Buddhists) while in other centres such as The Osho, The Isha Yoga centre are multi religious meditative purposed. The motive of Jetavana is to provide a spiritual anchor for their practice of Buddhist thought through meditation and yoga while also imparting training and skill development for members of the community. The building copes with the natural environment by not disturbing the existing natural features on site and hence following a concept of building according to the nature. To follow this, the buildings are placed in gaps between heavy planting. The building process is also based on availability of local materials. All Isha yoga programs take place in the Spanda Meditation Hall which has beautiful wall mural painting that chronicles the life of Shiva, the first of all yogis. The Osho centre on the other hand does not have just meditative practises but others as well. The Jetavana has a multireligious shrine for yoga and meditation that has been created, known as The Dhyanalinga, in the shape of a dome built with granite stones on a centering done with laterite blocks by unskilled labourers.

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6.3 Primary Case Studies

6.3.1 Lotus Temple, Delhi

Figure 6.3.1.1 Lotus Temple SOURCE : https://in.pinterest.com/pin/363876844863458266/

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Why Lotus Temple ?

The intention of studying this structure is to analyse the components of a Spiritual center, majorly meditation hall.

• How it functions ?

• What are the elements that are kept in mind before designing such a space ?

• What are the concepts and ideologies of the architect ?

The Lotus Temple is world renowned and the easiest space that explains the meaning of spirituality in its true sense. It is one of the most significant structures that have been created in the history of the country. Propagating the ideologies of the Baha’i who believe in no god but, believe that one has the energy to work for themselves in order to achieve better in life. Its aim is to form a single community, free of schism or faction, the Baha’i faith comprises likely the most diverse and widespread organized body of people on earth.

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Description

Lotus Temple, located in Delhi, India, is a Baha’i House of Worship designed by an architect Ar. Fariboz Sabha by world governing body of Baha’i faith, “The Universal House Of Justice” in the year 1974 having a site area of 24 Acres.

The temple is open to all, regardless of religion, race, caste, and class, a place where people of all religions may worship God without denominational restriction and can find peace and tranquillity. It is a symbol that represents the Baha’i Faith by expressing simplicity, clarity and freshness by the architecture it reveals. The motif of the lotus flower as held in the hand is symbolic of divine birth in the spiritual world. It also represents eternal life, its preservation and procreation.

The building is composed of 27 free-standing marbleclad "petals" arranged in clusters of three to form nine sides, with nine doors opening onto a central hall with height of slightly over 40 metres and a capacity of 2,500 people. The temple has become an attraction centre for tourists, Delhi heights and has achieved tremendous range of attention in religious, fine arts, architectural professionals and other venues.

Figure 6.3.1.2 Description SOURCE : https://en.wikipedia.org/wiki/Lotus_Temple

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Location  

India

Delhi

Neighbouring Surroundings

Lotus Temple

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Concept

Figure 6.3.1.3 Building and Concept SOURCE : https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/

Conceptually inspired this flower symbolizes purity and holiness in the Hindu tradition is that the architect Fariborz Sahba developed the project to this temple. This concept had to be converted to defined geometric shapes such as spheres, cylinders, toroid and cones, which translate into equations subsequently used as a basis for structural analysis and engineering drawings. The resulting geometry was so complex that it took two and a half years to complete the plans for the temple.

For the Indian taste, Lotus has always been the most beautiful flower, enjoying unprecedented popularity along and breadth of India from the earliest times to the present day, as demonstrated in literature and art, appearing in the oldest monuments of architecture of Hinduism.

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Site Images

Source : Author


233

Source : Author


234

Site Plan

Figure 6.3.1.4 Site Plan SOURCE : https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/

235

Zoning

Figure 6.3.1.5 Zoning Plan SOURCE : https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/


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Movement Pattern

Figure 6.3.1.6 Movement Pattern SOURCE : https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/ 

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Structure The complexity of the structure and the high level of workmanship that was desired, demanded dynamic management with a high degree of innovation.

One of the key issues to achieve the set goal was to anticipate problems in advance and its Figure 6.3.1.7 The Structure SOURCE : https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/

solution through trials and models. His twenty-reinforced concrete structures shaped petals, covered in marble, were arranged in groups of three, to realize their nine faces. All Bahá'í Houses of Worship share certain architectural elements such as the circular form nine sides specified in the Bahá'í writings and although currently all houses have a dome, is not considered an essential element of its architecture. The scriptures also state that no painting, statue, picture, altar, pulpit or can be added as an architectural element. 190

• Geometry structure

Figure 6.3.1.8 Geometric Structure SOURCE : https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/.

190 S.Naharoy, 2002, Architectural Blossoming of the Lotus

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• Outer petals The surfaces that create the shell on both sides of the ridge inlet and the outer leaves are formed from spheres of different radii with their centers located at different points within the building. Is a set of fields for entry blades, some of which define and other interior surfaces defining the exterior surfaces of the shells. The diameters of the spheres are set to meet structural consideration of variable thickness of the petals.

To the outer leaves, another set of fields defines the inner and outer surfaces of the shells, but in this case the shell is uniform, 1.33 m thick towards the bottom and towards the top end 2.55m. The outer leaf area entrance to the temple is 15.4m wide and 22.5m rises above the podium, the interior has 18.2m wide at the entrance area and rises above the level 7.8m the podium. 191

Figure 6.3.1.9 Outer Petals SOURCE : https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/

• Inner Sheets Each interior blade composed of a cusp (song) and a new reentrant (valley), consists of two toroidal surfaces. A torus is generated when a circle of a certain radius 'r', revolves around 191 Ibid

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the center of a circle of much larger radius 'R'. A tube is a typical cycle toroid (donut). The shaded portion of the toroid is a part of the inner cover sheet. The inside pages, with a uniform thickness of 2.00 m, rising to a height of 34.3m above the inner gallery. On the lower level of each reservoir has a maximum width of 14m.

Most of the structural load of the interior space of the temple is supported by nine arcs are deployed around the central hall, set at angular intervals of 40 °. The shape of these arcs is created by flat, conical and cylindrical surfaces. The intersection of these surfaces offers interesting contours and greatly enhances the beauty of the arches.

• Interior Dome Three ribs rise from the crown of each arc, while the central rib of the dome rises radially towards the central axis, the other two, the base, away from the midrib and intersect with their Similar belonging to adjacent arches, forming an intricate pattern. Other radial ribs rise from each of these intersections and all are in the center of the dome. To a certain height, the space between the ribs, is covered with a coating thickness of 60mm.192

• Geometric Settings Unlike traditional structures for which the elements are defined by the dimensions and levels, here the shape, thickness, size and other details are shown in the drawings only by level, radios and equations. These parameters had to be converted into a set of dimensions in terms of length, width, height and thickness, easy to understand therefore engineer work as a foreman carpenter. To achieve through coordinate systems computer systems conversion and 18 reference stations were located outside the building to establish the parameters of the arches of the leaves, both interior and exterior were used by 18 radial lines that were born in the middle of building and went to each of the stations. These stations were used to determine the lines of the summit, the entrance and the outer and inner leaves. 193 192 Ibid 193 Ibid

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Materials

The temple is built of marble, cement and sand. The 27 petals were coated with marble from Rajasthani Macrana, dolomite cement is mine Alwar, near Delhi, and white silica sand Jaipur. The structure is concrete combining precast concrete also fluted petals, Various alternatives were considered for the staging of steel in the structure, whereas structural steel frames with bolted joints would be the best, considering the high degree of precision manufacturing and assembly. The interior surfaces of all the shells have a uniform abujar dada exposed concrete surface where the architectural pattern seen. In this pattern the inner sheets are formed from the radial and vertical intersecting planes. In the external input and leaves, as in the inner dome, the patterns formed by the longitudes and latitudes of the spheres. 194

All beams of shells to the level of radial beam are white concrete. To avoid cracks and shrinkage cracks, a mixture of M 30 and white concrete was applied, considering that the cement content should be less than 500 kg / m3 and the amount of water minimized.

The reinforcement used in the structural framework of the shells of white concrete, as the connecting cables is galvanized to prevent rust over time.

To avoid the appearance of "coverage blocks" with the pieces that cover the exposed surface of the shells, the inner reinforcing layer is maintained in position by special steel spacers supported from the outside formwork.

194 Ibid

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Quantitative Analysis

- Main Gate : • Entry and exit of the complex.

• Security check and two post (4.5m X 4.5 m each).

• Two wheel chairs are available for differently-abled persons.

- Parking : • Free parking for visitors with the capacity of 80 cars.

• Different Parking space provided to staff anf VIPs.

- Information Centre (1000 SQ.M) : • Provides information about baha’I faith in form of photo display, written text and video display.

• Provides further and detailed information about the architecture and construction of the temple.

• Contains 500 of sitting capacity Auditorium for cultural and social upliftment of society.

- Library (180 SQ.M) : • Provides information about religion from Baha’I and other religion.

• Sitting capacity is 52 persons.

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- Office (500 SQ.M) : • Provides wide information about complex and philosophy behind the lotus temple in the form of brochure printed in different languages.

• Further assistance to persons coming in group, proper tour of complex is set up.

- Washrooms • Washrooms and drinking water facilities are accessible from shoe room and main gate also.

• MEN- 8 urinals and 6 water closets.

WOMEN- 8 water closets.

- Shoe Removing Area • Footwear is not permitted in prayer hall, plastic bags are provided to visitor to carry shoes.

- Temple • A magical experienced space for silent prayer and meditation for the people of religions.

• The building is composed of 27 free-standing marble-clad "petals" arranged in clusters of three to form nine sides, with nine doors opening onto a central hall with height of slightly over 40 metres and a capacity of 2,500 people.

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Observations & Conclusions The Bahá’í faith is one of the youngest of the world’s major religions. The Lotus Temple has a strong monolithic approach towards this faith. In the physical architectural aspects, the nine water bodies placed around the structure creates a very pleasing sense of aesthetics which pleases the minds of the viewers. The temple proper comprises a basement to accommodate the electrical and plumbing components, and the lotus shaped superstructure to house the assembly area. The contribution of the natural elements like trees and bushes have added to the existence of the structure. The series of plantations in front of the temple generates a sense of entrance and provides the optimum scape for the structure to stand out.

The pathways have been laid down in such a manner that there is easy connectivity among all the spaces. Hence the pathways are adding to the fluency of circulation in and around the building. The concept of the lotus, as conceived by the architect had to be converted into definable geometrical shapes such as spheres, cylinders, toroid’s and cones. These basic shapes have been translated to various equations, which were then used as a basis for structural analysis and drawings All the staff members dedicated for the handling and functioning of the crowd, to provide the guidance for how to act around and inside the temple are very strongly devoted in doing so and are easily to communicate too. Hence, the management of the temple is quite functional and effective. Most of the people coming to the temple are coming just to visit the temple so according to the traditional architecture the monument should be monumental in scale which the lotus temple obeys the rule.

Despite few crowd related difficulties such as noise outside the temple and misbehaviour such as littering, once one enters inside the temple, there is a completely different ambience and the silence and peace enlightens us and culminates us from the prevailing thoughts and links to the outside world. One can feel the sense of satisfaction after spending time inside the temple. Also there is maximum use of natural lighting inside the structure even though the proportion of usage of glass is very less in comparison to the overall materials used in the construction of the building. On the entry of the site, there is a path leading to the point which makes the entire scape of the temple visible, hence the use of transitional spaces is quite phenomenal and has maintained the grandness of the monument. The inside outside relationship varies in terms of the physical peace and mental peace. While the temple was quite an initiative in terms of mental peace, it lacked in physical peace in just quite a few places. The temple provides one of the rare exceptions with its remarkable fusion of ancient concept, modern engineering skill, and architectural inspiration making it the focus attention amongst people all over the world.

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6.3.2 Osho Dham, Delhi

Figure 6.3.2.1 Osho Dham, Delhi SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


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Why Osho Dham ?

The main motive to visit this site was to experience the vibe of a Osho Dham and how it works as an elixir for people against societal and social poisons. Osho disciples have a subtle way with their living and work spaces, the way they keep their potted plants, their lawns, their green spaces, their living space, the furniture, their work space, everything reflects a style of living which is not easy to explain in words but can be absorbed by our senses. Homes and work spaces of Osho disciples have a certain austerity and simplicity about them. They are comfortable and very soothing to the visitor’s senses. So to understand the living of disciples this study was mandatory. Another reason to do the study was to gain more knowledge about Osho and to know how his followers stand apart from the urban jungle, even in today’s modernist world. One of the objectives of this study includes a intense interaction with people connected to this place and to examine : • Their space requirements • Type of spaces • Vibes of spaces • Functioning of spaces • Indoor and outdoor relation of spaces • Their daily activity with routine timings • Their behaviour pattern • Types of Meditation, Yoga & Dance they do

Osho Dham has blossomed on the outskirts of our very own capital. Clean, green, aesthetic and peaceful environment for those on the inner journey. In tune with nature, a beautiful space has been created for group and individual meditations both indoors and outdoors.

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Description

Figure 6.3.2.2 Meditation Hall, Osho Dham, Delhi SOURCE : http://www.oshoworld.com/oshodham/oshodham.asp

About 30 miles south of Delhi, Osho Dham has blossomed on the outskirts of Delhi in Najafgarh offering a clean, green, aesthetic and peaceful environment for those on the inner journey and have various week-end meditation courses. Osho Dham is a place for meditation supported by residential facilities for long and short-term stays. The place was to be designed such that it would have few or little references to what the swamis experienced in their day to day living in the real world.Various activities go on during the whole year. People come there to practice great meditation techniques explained by OSHO. It is opened for all day and night for visitors.

Total area of site is 9 acres.

This Osho center is designed by Ar. Snehanshu Mukherjee, a Delhi based architect. This project started in 1993 and construction completed in 1996. This Osho Dham is also called mini poona ashram as same design philosophies of Osho international resort, Pune is used.

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Location

India

Delhi

Neighbouring Surroundings

Osho Dham

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The Design The site’s original landscape of flat agricultural fails dotted with a few mature trees typical of the outskirts of Delhi in 1993, gave the freedom to create a new context virtually. This context, as outlined by Swami Atul Anand, the major patron, was to design a “new habitat for living in the 21st Century” derived from Osho’s discourse on daily living and spiritualism. The landscape and architecture that we designed established a “spirit of the place” over a period of several years. It evolved and grew, fashioning an environment conducive to the special to the special requirements of the commune. The design ideas were derived initially from long “freewheeling” discussions with Swami Atul Anand that often lasted till late into the evening. These discussions revolved around both the “worldly” and “spiritual” and resulted in the first sketch of a spiral path, the heart of the design. The spiral path winds inwards, to the Meditation Hall set amidst a grove of trees. It serves both a metaphoric and practical need. A journey in time, spiralling inwards to self discovery through meditation, it is also a device for economical and efficient organisation of the site.

The choice of a spiral rather than a relatively small landscaped area is traversed over a length of time, creating an illusion of a much longer space.

The spiral path culminates in the shelter of the Meditation Hall, the prime focus of the design, and the first structure of the Commune, constructed in 1994. The Meditation Hall, in its symbolic form and function, may be likened to a Banyan Tree with its large intertwined canopy. It houses the chief function of the commune to conduct daily meditation sessions through the different seasons. To reach it, one moves along the path through a specially planted grove of trees, akin to a forest hermitage. Within the grove are rain water collection ponds, which aid groundwater recharge. The expansive, seemingly simple structure of the Hall, of a doubly curved shell roof supported on four columns, was designed to the sides from any barrier with the surrounding setting of ponds and groves.

Walking on the path, one sees through the unenclosed sides, through the empty floor space and beyond to “the forest”, without perceiving the hall as a solid building, to finally enter its encompassing protection.

The Reception, Dining and Residential buildings are incorporated at the start of the spiral path , within a small landscaped area of about 4 acres in an otherwise 21 acre campus.

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From the Reception, a straight path in metaphoric terms designed as “the path of reality� leads past the dining hall directly to the Meditation Hall. Divested Of the space or time to prepare oneself mentally before reaching the meditation hall, this is the shortest, hence the most used path. The choice of the spiral path, therefore, is then that of individual intent. This disposition successfully and seamlessly achieves a compact yet uncrowded organisation of spaces, which leaves the rest of the land free for natural farming. The produce from the land is used to feed the hundred odd disciples and teachers who inhabit the commune through the year. At specific times in the year, when the population swells to about five hundred persons, the design of the campus is flexible enough to accommodate them without difficulty.

Figure 6.3.2.3 Spiral Path SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/

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The philosophy of the overall planning, design and construction of the entire commune is thus, one of active inclusion of people, of the latent qualities of the site, and of local resources of the area. The campus incorporates a 100% waste water recharge and recycle system which is passive and non-chemical. Individual structures are designed to continue this positive spirit of visually and spatially embracing the site, and drawing upon its sustainable potential. For instance, most Residential quarters for disciples and guests, as well as service facilities including the Kitchen, are partially sunk into the ground, and designed to be part of the landscape forming backdrops and steps; becoming pathways; blending into the overall landscape design; and reinterpreting the creation between built and open space. This naturally creates better climate control, and also ensures great visual privacy for living space and service activities, despite proximity to public areas.

All other structures, apart from the Meditation Hall, are contracted by semi literate construction workers and small petty contractors so as to involve local people from the site surroundings. Innovative technology is combined intelligently with local assets. Thus, the Dining Hall, designed like the Meditation Hall as a pavilion without encompassing walls, uses a specially innovated post tensioned cable stayed roofing system with locally available pre cut pieces of sandstones filler slabs. The Meditation Hall utilises an inventive subterranean mechanical humidification system along with the mist irrigation, to bring down the over 40 degree Celsius ambient air temperature during the hot dry summer months.

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Site Images

Figure 6.3.2.4 Site Images SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


252

Figure 6.3.2.5 Site Images SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


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Figure 6.3.2.6 Site Images SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


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Live Sketches

Figure 6.3.2.7 Inside of the Meditation Hall SOURCE : Author

Figure 6.3.2.8 Adjacent pathway leading to meditation hall SOURCE : Author

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Figure 6.3.2.9 Landscape Area SOURCE : Author

Figure 6.3.2.10 The Spiral pathway SOURCE : Author


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Quantitative Analysis

•

Buddha hall = 729.95 sq. For 200 pax.

•

Cafeteria = 20m x 26m = 520 sq.m

•

Meditation hall = 16m x 16m = 256 sq.m

•

Dormitory = 14m x 20m = 280 sq.m (for male or female seprate)

•

Admin + reception = 10m x 14m = 140 sq.m

•

Guest room = 5m x 6m = 30 sq. (20 room)

•

Dancing Buddha zone = 15m x 15m = 225 sq.m

•

Smoking temple = 6m x 5m = 30 sq.m

•

Parking = 70 m x 20 m = 1400 sq.m

•

Staff residence unit (15 no.) = 5m x 5m = 25 sq.m

•

Fountain, swami ji residence, sculpture area, or agriculture area.

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Site Plan

Figure 6.3.2.11 Site Plan SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


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Zoning

Figure 6.1.2.12 Zoning Plan SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


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Open Built Relationship

Figure 6.1.2.13 Open Built Relationship SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


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Movement Pattern

Figure 6.1.2.14 Movement Pattern SOURCE : https://worksofteam.wordpress.com/2017/03/07/osho-dham/


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Observations & Conclusions Osho Dham has blossomed on the outskirts of Delhi offering a clean, green, aesthetic and peaceful environment for those on the inner journey. In tune with nature, a beautiful space has been created for group and individual meditations both indoors and outdoors. The cherubic sound of gurgling water bodies and fountains with the chirping of birds help the meditators to go deep on the path of awareness through meditation. The design concept of the centre is based on enlightenment, mental peace and physical satisfaction. Once one enters the centre, one is ambushed with the immense amount of mental peace and satisfaction. Dark colours were used mostly on the exterior while the interior is flooded with light from apertures at roof and clerestory levels. The outdoor landscape forms part of the functions of the centre for spiritual practices to take place in nature. Landscaping elements and water bodies are provided to create a serene atmosphere in the outer environment. There are various activities that take place inside the Osho centre. Such as dance, music, meditation, yoga etc. There are separate spaces designed for the functioning of such activities. There is a balanced relationship with the natural elements as they have been used to support the design of the centre. There is a meditation hall, the design of which is linked to a banyan tree. To reach it, one moves along the path through a specially planted grove of trees, similar to a forest hermitage. The spiral path culminates in the shelter of the Meditation Hall. The Reception, Dining and Residential buildings are incorporated at the start of the spiral path, within a small landscaped area. The provision of spiral path throughout the centre seems quite interesting. This has helped to achieve a compact organisation of spaces which leaves the rest of the land free for natural farming.

Hence, whenever there is a population reflux in the centre, the design of the centre is such that it is easy and flexible to accommodate them without any difficulties. It is observed that the form has symbolic meanings while the interplay of light and shadow was also included in the design. Few spaces are such that they are sunk half into the ground thus taking advantage of the nature to generate comfort conditions. They help to make the design a part of the landscape. Also, the meditation hall is incorporated with a humidification system which helps to bring down the ambient air temperature during the warm summer months.


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6.3.3 Analysis of Data from Interviews As the case studies were conducted, several analyses from the respondents were derived through their interviews about the structure. The lotus temple is surrounded by vast landscaping and nine water bodies, which according to the Respondent 1 (Appendix 1.2), creates a very good and peaceful working environment. Also, according the people working with the administration of the temple, the maintenance is quite top notch and the place is kept clean considering the number of visitors and the importance of the temple.

The location of the site is picked smartly as it is easily accessible through metro, bus or any other mode of public transportation and so, there is no difficulty in the accessibility of the structure. The complex is big and spread out. As stated by the Respondent 2, It is easy to circulate from one block to the other as the wide walkways provide easy and comfort circulation in and around the complex. Socialising among the staff members is usually in a disciplined manner and not of the casual nature. This is to maintain the decorum of the spirituality that prevails. So, communication takes place work related and that too after the spiritual activities are conducted, like after the meditations. (Appendix 1.3). Both the Respondents felt that the ambience inside the meditation hall was of absolute silent, peace and filled with positive vibrations. The people have developed interpretations about the structure of the temple and reason behind its so unique style. According to Respondent 2, the temple gives an impression of a half open lotus flower, afloat, surrounded by its leaves.

Each component of the temple is repeated nine times. (Appendix 1.3). The planning of the temple is done in such a manner that there are a variety of open spaces. But, as per the Respondent 1 on being asked if there were any activities conducted outside the temple, his answer was no. (Appendix 1.2).

In the Osho centre, the people are more into the practises of meditation, dance, yoga and other activities, and hence find nothing beyond the mental satisfaction and peace that they attract from the vibe of the complex. In contrast to the Lotus Temple, the Respondent 3 stated that the spiritual activities are conducted both inside and outside the centre such as yoga, dance etc. (Appendix 1.4). Also, unlike the Lotus temple, the people can join the centre for the purpose of meditation camps and are provided accommodation to spend their stay with quality, as mentioned by the Respondent 4 (Appendix 1.5). The socialising

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among the members is very less as they are more directional towards the activity they are engaged in, as per the Respondent 3 (Appendix 1.4). There is understanding of the integration of natural elements with the building, as they were able to mention that the building is a combination of water, sky and light and that their significance is to create the necessary ambience suitable for a meditator, views of Respondent 3 (Appendix 1.4). While the interview was conducted, the people were very difficult to communicate to as engaging themselves in these activities was apart from their belief. 

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CHAPTER- 7

SITE ANALYSIS


Larsouli

Neibhouring

The Site

29.083764, 77.059796

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7.1 Location The site is located in Larsouli, Sonipat, Haryana, 131039. The site is approximately 50 km away from delhi and 0.5 km inside from Grand Trunk road. This site seems to be a destination rather than a transition. It offers opportunities for development that will benefit the micro and macro context. The immediate area is naturally spirited, peaceful and not too remote.

India

Haryana

Sonipat

267

7.2 Site Surroundings

North Agriculture Land

South

Storage Factory

East Agriculture Land

West Agriculture Land

Storage Factory

PWD Rest House

Site

Agricultural Land

268

7.3 Site Connectivity 7.3.1 Micro Level




Site

NH-1

Primary Road

Secondary Road

269

7.3.2 Macro Level Site Accessibility Map

Site

Sonipat Railway

Station

Murthal Bus Station

IGI Airport, Delhi

Site Accessibility Chart

S. no.

Nearest Acces

Description

Distance

1 Highway

NH-1

0.5 km

2 Bus Station

Murthal Bus Station

9 km

3 Railway Station

Sonipat Railway Station

23 km

4 Airport

IGI Airport, Delhi

74 km

Figure 7.3.2.1 Site accessibility Chart SOURCE : Author


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7.4 Site Area & Dimensions

109145.46

10548

130422.5

141843.89

8.65

211550.1

• Total Site Area : 7.27 Acres or 29420.65 sqm.

• Rough Dimensions : 130.42(N), 141.84(S), 211.55(W), 205.70 (E) in mts.

• Shape : Irregular quadrilateral • Topography : Flat Site

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View from South West Side (1)

Site Plan

1

4

5

6

7

3

2

8

7.5 Site Photographs


View from North East Side (2)

SOURCE : Author

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View from South East Side (3)

View from North West Side (4) 


View from Center of the Site (5)

Existing Construction (7)

Existing Construction (6)

Existing Electric Pole (8) SOURCE : Author

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7.6 Development Controls

Area of plot : 7.27 Acres or 29420.65 sqm.

- Development Code : Haryana Building Code 2017

- Development Controls : •

Max Permissible F.A.R- 150 %

•

Permissible Ground Coverage- 35%

•

Height Restriction- Unrestricted

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7.7 Climatology & Solar Data :

SONIPAT Coordinates: 28.98°N 77.02°E

Climate Climate of Sonipat is dry with hot summer and a cold winter. The weather becomes milder during the monsoon (period July to September). The post-monsoon months October and November constitute a transition period, prior to the onset of winter.

Winter starts in December when day and night temperatures fall rapidly. January is the coldest month when the mean daily minimum temperature is 6 to 7 Degree C. During the summer months of May and June, the maximum temperature sometimes reaches 47 Degree Centigrade. Temperature drops considerably with the advancement of monsoon in June.

However, the night temperature during this period continues to be high

Temperature

Figure 7.7.1 Temperature Study SOURCE : https://www.weather-ind.com/en/india/sonipat-climate

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Humidity

Figure 7.7.2 Humidity Study SOURCE : https://www.weather-ind.com/en/india/sonipat-climate

Rainfall The normal annual rainfall of the district, based on the record for the period 1901-1980 is 567 mm recorded in 30 rainy days in a year. About 76% of the annual rainfall is recorded during the southwest monsoon from June-September. July is the wettest month of the year with 7.5 rainy days and 169 mm rainfall. During the period 1901-80, deficient to scanty rainfall was recorded in 18 years. The probability of occurrence of rainfall in the range 400-700 mm is 0.65.

Figure 7.7.3 Rainfall Study SOURCE : https://www.weather-ind.com/en/india/sonipat-climate 

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Wind Direction

Summer NWSE

Winter N-S

Monsoon SE-NW

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Figure 7.7.4 Wind Direction Study SOURCE : wind finderhttps://www.windfinder.com/windstatistics/delhi_indira_gandhi_airport? utm_source=www.windfinder.com&utm_medium =web&utm_campaign=redirec 

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Sun Path

Figure 7.7.5 Sun Path Diagram SOURCE : http://andrewmarsh.com/apps/staging/sunpath3d.html


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Figure 7.7.6 Sun Path Diagram on Site SOURCE : http://andrewmarsh.com/apps/staging/sunpath3d.html

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7.8 Topographical Data : Topography Map

Figure 7.8.1 Topography Map of Sonipat SOURCE : http://en-in.topographic-map.com/places/Sonipat-9641939/

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Contour Map

Figure 7.8.2 Contour Map of Site SOURCE : http://contourmapcreator.urgr8.ch

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7.9 Physical Features : • Location: The site seems to be a destination rather than a transition. It offers opportunities for development that will benefit the micro and macro context. The immediate area is naturally spirited, peaceful and not too remote.

• Accessibility and Visibility : Easy to access the site from various points from NH-1 through various modes of transportation. The site is accessible to the larger community by private and public transport.The site has a visual green prominence for easy identification in its context. It provides distinct offering strong links to its context from various angles.

• Topography and Natural Environment : The site has a natural landscape in terms of plain lands and soft loamy soil. Fresh air all around due to

neighbouring green spaces.

Adequate vegetation in proximity to the site which will be very effective. The site offers an opportunity to enhance the natural ecosystem while aiding the practice of spirituality.

• Socio-cultural: The surroundings embraces various social and cultural groups in the area.

• Noise: Noise is a major factor in such centers. This site provides a quiet environment suitable for spiritual purposes due to neighbouring silent surroundings.

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7.10 Environmental Features : - Physiography & Drainage The River Yamuna, which borders the district in the East, is the main river in the district.

The district is drained by drain no.8, which was constructed to take out excess monsoon runoff from uplands to River Yamuna. The areas east of upland plains are more prone to flooding because of its low-lying nature. Depth to water level during pre-monsoon varies from 1.41– 23.22m while during post-monsoon it varies from 0.99 – 24.46m. The depth to water level lies within 10m below the land surface in most parts of the district. It rests between 2 to 25m deep in the eastern side and 2 to 10m in the north western parts of the district. An only in small patch in the Rai block, water table is deeper having range of 20m to 40m.

- Geography The area forms a part of the Indo-Gangetic plains and exhibit flat terrain with general slope from north to south. The maximum elevation of the plain is 230m above msl.

Topographically the district can be divided into the following units.

1. Active flood plains along the present day course of the river Yamuna in eastern part of the district.

2. Abandoned flood plains of recent past. These are generally bordering the active flood plains and are wider, low lying flat tracts.

3. Upland plains representing the relatively older river deposits. The western Yamuna canal has been roughly aligned along the ridge formed by upland Plains.

- Topography The district of Sonipat is bounded by 28048’15” to 29017’10” north latitude and 76028’40” to 77012’45” east longitude. It falls in the survey of India topo sheets no.53C, 53D, 53G & 53H covering an area of 2260.53 sq.km. Sonipat is one of the smallest districts in Haryana State and covers 5.11 % area of the state. The district is surrounded by Panipat district in the north, Jind district in the west, Rohtak district in the S.W direction and Delhi in the South.

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- Biological Environment The natural vegetation in the study area is sparse. Various kinds of trees and shrubs are found growing indigenously. On account of the pressure of population and extensive cultivation, very little land has been left under natural forest cover. Strip forests along the roads and canals and block forests of Babool (Kikar) are on the forest record. Most of the area is occupied by agriculture fields. Whereever the forests are present, they are of open evergreen scrub or thorn type comprising mainly of: Butea Monosperma (Dhak), Prosopis Cineraria (Jand) , Capparis Deciduas (Kaur) , Capparis Separia (Hins), also trees are Acacia Nilotica (Babul) , Albizzia Lebbek (Siris) , Azadirachta Indica (Nim) , Bauhinia Variegate (Kachnar), Butea Monsperma (Dhak) , Cassia Fistula (Amaltash) , Crataeva Nurvala (Barna), Dalbergia Sissoo (Shisham), Moringa Oleifera (Sohanjna) , Morus Alba (Sahtoot), Saraca Indica (Ashok) The majority domestic animals are Cow, Buffalo, Horse, Donkey, Goat, Pig, Dog. The main Birds are Pintail, Coot, House Sparrow, Myna, Cattle Egret, Little Egret, Pond Heron, Indian Ring Dove, Blue Rock Pigeon, etc 

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7.11 Urban Design Aspects : Sonipat has been a town since the time unknown. Since, Sonipat holds back a great history in terms of urban context with great evidences of several Mughal buildings on the outskirts of the city. Some prevalent existing structers that remain are The Mosque of Abdulla nasirud-din, tomb of Khwaja Khizr houses the remains of the saint and son. The water system in the district is the Yamuna River which also acts as a natural boundary between states of Haryana and Uttar Pradesh.

Considering the glorious history of the city, the site has a great potential to cater people from different states as the neighboring states do have such centers but this edge is still in the developing state where people are not exposed to such a pious space. This particular design would bring a great change in the fabric as the space might act as a magnet to the neighboring cities.

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7.12 S.W.O.T Analysis :

• Accessibility from the highway. (NH1-G.T ROAD • Can act as a magnet for the neighbouring cities and districts.

The access road to the site is comparatively smaller and not very easy to follow.

• Sonipat comes under the NCR to have a development in future like Gurugram, Noida.

• Rejuvenation junction • The site has a surrounding that is in its development stage. The scope of designing is more.

• • The site is prominent and if not utilized for proper activities there might be a threat of encroachment.

• Location of the site is mostly agricultural land providing a peaceful scenario only in the current situation.

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7.13 Interpretive Sketches :

Figure 7.13.1 Sun & Wind Analysis of Site SOURCE : Author

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Figure 7.13.2 Connectivity Analysis of Site SOURCE : Author

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7.14 Analytical Conclusion : The Psychonautic centre for spiritual practices in Sonipat is identified as a place where people will engage in the various disciplines of spirituality taught and knowledge shared by a spiritual masters. The aspirants will be guided by the spiritual masters on their spiritual journey and be helped to understand their own experiences better.

Such a centre will cater primarily for a meditative place, training, administration, conferencing and residential facilities, based on the ideology of Osho. The centre will acknowledge the existing context and invite people from various cultures to participate in activities offered by the complex; such an example is seen in the Osho Dham at Delhi.

Socio cultural engagement is critical in establishing an identity for spiritual endeavours in Haryana. The natural landscape and environmental conditions will play an important role in experiencing that spiritual journey.

The sacred qualities of architecture will be considered while designing the meditation centre. Planning principles will be informed by various theories and philosophies studied earlier. A subtle approach will be sought in this project in an aim to reveal the essence of identity in terms of place, culture, spiritual and nature while fulfilling the needs of the users through adequate spatial organisation enhanced by massing, perceptual attributes and symbolic meanings. The literature review will be influential in informing the design of the building.

The design will respond to climatic conditions while an architectural language will be established to bind the various functions together. Ordering elements will be applied functionally and symbolic references will be made towards certain archetypes principles.

Hierarchical order will be used to define the public and private areas. Acoustic elements, natural ventilation and daylight will be considered. The meditation centre will be accessible to serve the immediate Sonipat community, and the greater community of Haryana and its surrounding areas. The project aims at considering the theories discussed in the literature review, namely phenomenology, critical regionalism, sacred elements, natural elements, psychological and experiential attributes of space when man integrates the environment.

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CHAPTER 8

Briefs


8.1 Client’s Brief In an interview with the client, he wishes to introduce a Psychonautic Center based on his Spiritual Master OSHO that will set out to provide an environment for spiritual seekers, willing to learn and experiment. He expects the center to be as much successful as the other Osho centers are.

8.1.1 Client’s Vision The design of this psychonautic centre should comply with the aims and objectives of the client’s master Osho, especially on the concentration of human evolution spiritually. The proposed centre is referred as a laboratory where a proper infrastructure and environment is designed to attract maximum cosmic energy to aid seekers in their quest for eternal peace and bliss. The centre should cater for about five hundred spiritual aspirants, spiritual head, administrative staff, library staff, educators, caretaker and security officials. The main component is the meditation hall where mass meditation practices will take place.

Meditation rooms, dance and yoga areas are also provided. In addition, kitchen areas and library resource centre form part of the practice. Residential units are required for disciples and guests. An educational facility will be attached to the centre to teach spirituality at an academic level for implementation in academic institutions and work places.

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8.1.2 Tangible Requirements

• Administration Zone • Meditation Center • Dancing Zone • Yoga Garden • OAT • Mystical healing garden • Accommodation • Mess/Dining Hall • Museum • Library • Cafe • Smoking Temple • Souvenir Shop • Swimming pool • Parking

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8.2 Architect’s Brief The Client wants to generate a environment must be one which is filled with positive energy, inspiring and conducive for spiritual practices. This can be achieved by providing a centre that contains all the necessary facilities that will help the spiritual aspirant to grow internally and externally.

8.2.1 Architect’s Vision According to the needs of the client, the related aspects of spiritual well-being will be assembled to facilitate the process of spiritual education. Special needs will be considered to establish an effective spiritual environment which has to be comfortable and flexible.

Human comfort is essential and can be increased by providing natural ventilation and natural lighting. Materials, textures and colours add to the enhancement of spaces. Free flowing spaces allow the users, educator and learners to have free access to the various dimensions in space. Hence the teaching and learning process of spirituality can become a blissful endeavour. The application of natural elements is an integral part of sacred architecture. The engagement of man into nature will bring about positive effects on the body, mind and soul. The different functions will be interlinked with landscaping elements to provide a continuous flow of the experience on site. Apart from the subtle energies of meditation and yoga techniques, the individuals are encouraged to actively participate in the various workshops that accommodate different forms of creative activities to develop their skills and their mind. Residential facilities are necessary during spiritual retreats. An educational component is important to teach and share spiritual disciplines that are aimed to complement existing academic curriculums whilst having a positive change in individuals in their quest for self-realisation.

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8.2.2 Architectural Brief

Room Name &

Description &

Activity

Configuration

No. of People

Amount

Total Area

Administration Zone Reception Area

General Reception Area.

1

50 m2

Help Desk

A Desk for public queries.

1

40m2

Waiting Area

Area where spiritual seekers will wait in order to meet the spiritual Master.

1

100 m2

Registration Office

An office for public Registration.

1

25 m2

Administration Offices

Open plan offices for human resource and financials of the organization.

1

25 m2

Transportation Office

An office for Transportation Management.

1

25 m2

Accommodation Office

An office for Accommodation Purposes.

1

25 m2

Master’s Consultation Area

Consultation area with spiritual master. The space must include the provision of a waiting area.

1

25 m2

Seminar Room

Venue to conduct seminars and accessible to the visitors. Single large open space to be used by all age groups for formal and informal events.

1

90 m2

Boardroom

Room to accommodate about 12 people for major presentation and discussion.

1

27 m2

Refreshment Area

Service counter and serving with formal seating, small and large round tables.

1

90 m2

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Kitchen

Easy access to deliveries, no structural obstructions, floor drains, stainless steel worktops and work surfaces, well lit and naturally ventilated. Area consists of cooking, washing and preparation located to allow correct flow of spaces with access to serving area.

1

30 m2

Kitchen Storage & Cleaning Store

Deep freeze, cold and dry rooms, open shelving.

Storage of Cleaning Supplies.

1

15 m2

Bin Area

Temporary storage of bins.

1

10 m2

Store

Storage of administrative work and archives.

1

15 m2

Ablutions

Male: 4 WC, 2 basins, 2 urinals.

Female: 4 WC, 4 basins.

60 m2

Meditation Center Meditation Hall

Open plan meditation space to accommodate 250-500 spiritual aspirants, natural light and ventilation with adequate acoustics.

The area includes a footwear area at entrance of meditation hall.

The central axis from the main entrance of hall leads to seat of the spiritual Master who presides for discourses by sharing spiritual knowledge and meditation techniques.

250-500

1

1200 m2

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Ablutions

Male: 4 WC, 2 basins, 2 urinals.

Female: 7 WC, 4 basins.

2

70 m2

Paraplegic

Institutional Center Museum

Museum Consisting Osho’s Work

1

1500 m2

Library/Archives

Library Consisting Spiritual Books with space for librarian office and circulation, reading stations and computer stations.

Spaces also include security check point, reception desk, book loans and bag store for the reference library, counters in and out, copying area.

1

500 m2

Workshop Studios

Workshops with work benches and work tables. Access to outdoor open landscape area.

Used for painting and creative arts.

3

50 m2

Music Studio

Acoustically insulated. Music room located close to dancing area.

1

100 m2

Recording Room

Acoustically designed room for recording of music, songs, interviews by the organizing members of the society.

1

40 m2

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Souvenir Shop

Display of spiritual magazines, books and DVDs on shelves. Room must be spacious and must include a counter for cashier.

1

50 m2

Gymnasium

A mini gym area to activate and strengthen the physical body. It consists of general and special training stations. The room must be well lit and have cross ventilation. It will overlook courtyard spaces.

1

150 m2

Showers

Small cubicles for rather gender to have shower especially after exercising.

2

35 m2

1

10 m2

2

70 m2

Dormitory for male

1

400 m2

Dormitory for Female

1

400 m2

Masters’s House

1

300 m2

1

300 m2

Change Room

Ablutions

Male: 4 WC, 2 basins, 2 urinals.

Female: 7 WC, 4 basins.

Accommodation Provision of accomodation for Block disciples during spiritual retreats, guests or delegates 0r spiritual leaders.

Accommodation also will be provided for caretakers and spiritual Masters

Dining Block Kitchen

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Dining Area

1

200 m2

Cafe

1

100 m2

Yoga Garden Dancing Zone Mystical Healing Garden Smoking Temple Swimming Pool OAT Services Pump room

50 m2

Earth air

100 m2

Rain Water Harvesting

55 m2

Electrical plant room

55 m2

Other services

60 m2

Parking

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PLAGIARISM CHECK REPORT


Note : The cited text have been excluded during the plagiarism check.

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BIBLIOGRAPHY 


• Frascari, Marco. De Beata Arbitettura. Places for Thinking. In: The Culture Role of Arcbitecture: Contemporary and Historical Perspective. Edited by Paul Emmons, John Hendrix and Jane Lomholt, Routledge 2012: 83-92 • Sternberg, Esther. Healing Spaces. The Science of Place and Wellbeing. Belknap Press 2010 • Sternberg, Esther. The Balance Within. The science Connecting Place and Emotions.

Times Book 2001

• Charles E. Tuttle Company, Inc. The everyday meditator, Osho. First published in the United State in 1993

• Eberhard, John. Brain Landscape: the Coexistence of Neuroscience Architecture. Oxford university press, 2008

• J. Siegel, Daniel. The Mindful Brain, Refection and attainment in the cultivation of wellbeing, 2007

• Zandt, Daniel. “How Meditation Makes You Healthier According to Science,” elephant journal, Mar 11, 2015, http://www.elephantjournal. com/2015/03/how-meditation-makesyou-healthier-according-to-science/ • Mark, “Chakra,” Mar 18, 2016, accessed on August 10, 2016, http:// www.liberallifestyles.com/?p=142160

• Coleman, James, The New Buddhism. New York: Oxford University Press, 2002.

• Csikszentmihalyi, Mihaly, Flow: The Psychology of Optimal Experience. New York: Harper and Row, 1990.

• Futagawa, Yukio and Riichi Miyake, Light & Space 2: Modern Architecture. Tokyo: A.D.A. Edita, 1994.

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• Norberg-Schulz, Christian, Genius Loci: Towards a Phenomenology of Architecture.

New York: Rizzoli, 1980.

• Jodidio, Philip, Tadao Ando at Naoshima. New York: Rizzoli, 2006.

Pallasmaa, Juhani, The Eyes of the Skin: Architecture and the Senses. London: Wiley, 2005.

• Pallasmaa, Juhani and Peter MacKeith, Encounters: Architectural Essays. Helsinki, Finland: Rakennustieto, 2005.

• Pollio, Vitruvius, Vitruvius: Ten Books of Architecture: Translated by Ingrid D. Rowland. New York : Cambridge University Press, 1999.

• Plumer, Henry, The Architecture of Natural Light. London: Thames & Hudson, 2009.

• Richardson, Phyllis, New Sacred Architecture. London: Laurence King, 2004.

• Zumthor, Peter, Atmospheres: Architectural Environments, Surrounding Objects. Basel: Birkhäuser, 2006.

• Zumthor, Peter, Thinking Architecture. Baden: Lars Muller, 1998.

• DerDerian, Steve, Rev. "Temple Mound Spiritual Wellness Center." Temple Mound Spiritual Wellness Center. N.p., n.d. Web. 29 May 2014. <http://www.templemound.com/ index.html.

• Herb K. Twelve Steps to Spiritual Awakening: Enlightenment for Everyone. Capizon Publishing, 2010.

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APPENDICES

APPENDIX 1: INTERVIEWS 1.1: Interview Questions 1. What is your name and nature of work?

2. How long have you been engaged with the organization?

3. Is the institution easily accessible? How do most visitors travel to the place?

4. The complex is big and spread out. Is it easy to circulate from one block to the other?

5. Do you think the spaces have been well planned? Explain how.

6. Are there any spiritual activities conducted in the nature?

7. What contributions does landscaping bring to the seekers? How do they use the outdoor space?

8. How do the seekers socialise amongst each other?â&#x20AC;¨ Does the building conform to any architectural style, how was it designed?

9. All the buildings have the same texture, finishes and colours. What inspired the selection of the colours, what do they signify?

10. Are natural elements like water, sky and light included in the building? How and do they have any symbolic meaning?

11. Do the interior spaces have daylight and adequate ventilation?

12. Cleanliness is said to be godliness. How often are the buildings maintained and cleaned?

13. Are the interior spaces designed to be in tranquil silence and attract positive vibrations? How?

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1.2: Interview of Respondent 1 1. What is your name and nature of work? (Note name of interviewee is kept unanimous) ?

Ans. I’m in the administrative staff, I manage the clerical work.

2. How long have you been engaged with the organization ?

Ans. Well, it’s been 3 years now. *(You mean you stay on site)* NO, my house is near Kalkaji Mandir and I put up with my family.

3. Is the institution easily accessible? How do most visitors travel to the place ?

Ans. The institution is very accessible as we’re privileged with the Delhi metro and bus services. The closest station to lotus temple is Kalkaji. (1km from the temple).

4. The complex is big and spread out. Is it easy to circulate from one block to the other?

Ans. It is very accessible to each block because it is designed in such a way that a visitor won’t need anyone to navigate him, He will simply get to the point as the temple is clearly visible from the outskirts of the temple zone.

5. Do you think the spaces have been well planned ? Explain how ?

Ans. I don’t know much about the planning but I’ve noticed that people of different dharma’s comes to worship “Bahai” which requires a huge area but I’ve never seen a chaos here. So I guess the spacing is working well.

6. Are there any spiritual activities conducted in the nature ? (I mean do you have any spiritual practice that is done outside, not inside the building but outside in the nature, example yoga).

Ans. No, spiritual activities like meditation is performed inside the temple.

7. What contributions does landscaping bring to the seekers ? How do they use the outdoor space ? (I mean how the space has been designed, how does it help the seekers).

Ans. According to me, landscaping of this temple brought the aesthetics and a better view

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of the temple, as you can see the changes in levels and in green spaces around.

8. How do the seekers socialise amongst each other ? (Example, apart from conducing spiritual practices, do they socialise while having a meal or any kind of discussion that goes around, in terms of their social growth ?)

Ans. Well not necessarily, now a days it act as a social space instead of spiritual beside the main hall. School excursions can be responsible for this or else the viewers from the metro also desires to visit the temple as it looks exuberant from there.

9. Does the building conform to any architectural style, how was it designed ?

Ans. As I’ve told you that it’s been only 3 years but I can still tell you that it’s architectural type is expressionist.

10. Are natural elements like water, sky and light included in the building? How and do they have any symbolic meaning ?

Ans. Yes, natural elements like water, sky and light are included in the building. Like 9 ponds around the lotus structure. And the use of direct light into the structure is the key to the building.

11. Do the interior spaces have daylight and adequate ventilation ?

Ans. Yes, I would say so. Because of the use of glass at every entrance which creates sufficient light in the building.

12. Cleanliness is said to be godliness. How often are the buildings maintained and cleaned ?

Ans. Yes, cleanliness is an important factor and at every Sunday Bahai devotees are here to clean in huge numbers.

13. Are the interior spaces designed to be in tranquil silence and attract positive vibrations ? How ?

Ans. Yes, the interior spaces are designed to be in tranquil silence and attract positive vibrations as it is a worshiping place.

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1.3: Interview of Respondent 2

1.What is your name and nature of work? (Note name of interviewee is kept unanimous) Ans. My nature of work is to regulate the crowd into the Bahai House of Worship and to educate them about the same.

2. How long have you been engaged with the organization ?

Ans. Since the last 1.5 years. *(You mean you stay on site)* My work timings are from 9 in the morning till 6 evening.

3. Is the institution easily accessible? How do most visitors travel to the place?

Ans. The institution is easily accessible as it is located near a few places of attraction in Delhi.Visitors usually come by their desired mode of transport, like car, metro, bus etc.

4. The complex is big and spread out. Is it easy to circulate from one block to the other ?

Ans. Yes, the wide walkways provide easy and comfort circulation in and around the complex.

5. Do you think the spaces have been well planned? Explain how ?

Ans. Yes, the spaces are planned in such a manner that even when the distance between two spaces is a little more, the surroundings with immense amount of natural cover provides a breeze of fresh air and positivity which enlightens the entire mind and soul.

6. Are there any spiritual activities conducted in the nature ? (I mean do you have any spiritual practice that is done outside, not inside the building but outside in the nature, example yoga) ?

Ans. No, all the spiritual activities are conducted only inside the building and not in the exterior.

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7. What contributions does landscaping bring to the seekers? How do they use the outdoor space ? (I mean how the space has been designed, how does it help the seekers, does it have any positive effect ?)

Ans. There are series of plantations done in rows that create a sense of entrance to the entire building. The plants and trees are provided in such a manner, that the nature so created acts as a vast open space thus providing us to grasp the entire temple in the shape of Lotus and feel its existence in real. They are also placed in such a way that they lead us to the entrance of the temple.

8. How do the seekers socialise amongst each other ? (Example, apart from conducing spiritual practices, do they socialise while having a meal or any kind of discussion that goes around, in terms of their social growth ?)

Ans. Usually everyone socialise with each other after the meditation is conducted inside.

Also during time of lunch, few people sit together and have an informal interaction with each other.

Do that pertain to the people that live here full time?

No, not necessarily. Sometimes the visitors also develop an interaction with us while knowing about the temple.

9. Does the building conform to any architectural style, how was it designed?

Ans.Yes, the building confirms to ‘Expressionist’ architectural style. The temples of Bahai faith are well known for their architectural splendour, and this temple is a continuation of this rich tradition. The temple gives an impression of a half open lotus flower, afloat, surrounded by its leaves. Each component of the temple is repeated nine times.

10. Are natural elements like water, sky and light included in the building? How and do they have any symbolic meaning?

Ans. The temple is surrounded by gardens and its location in the centre of the ponds creates the impression of a giant lotus flower floating on the water. Along with the nine ponds around the temple and the gardens. The symbol of the lotus, common to many Indian religions, represents religious harmony and unity in India. This Baha’i House of

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Worship uniquely expresses the lotus symbol through its prominent use of light and water rather than ornate carvings and statues. Its divine simplicity and purity reflect the spiritual values of the Indian people, and the tenets of the Baha’i Faith.

11. Do the interior spaces have daylight and adequate ventilation ?

Ans. The whole superstructure is designed to function as a skylight. The interior dome is spherical and patterned after the innermost portion of the lotus flower. Light enters the wall in the same way it passes through the inner folds of the lotus petals. The building interior is kept cool by creating a natural air circulation wherein the air travels into the building after flowing over the cool water surrounding it.

12. Cleanliness is said to be godliness. How often are the buildings maintained and cleaned ?

Ans. The maintenance of the temple was kept on regular bases as it is a place of worship, purity and positivity. Hence, adequate amount of staff allotted to different areas of the complex to maintain a clean surrounding all the time.

13. Are the interior spaces designed to be in tranquil silence and attract positive vibrations ? How? Ans. The Bahai Temple not only looks awesome and eye catching beautiful from outside but also equally peaceful inside. The restless soul experience peace of mind if one spends some time inside the temple.

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1.4: Interview of Respondent 3

1. What is your name and nature of work ?

Ans. I am a meditator of Osho Dham mandir and I go there to connect my mind and soul with my body.

2. How long have you been engaged with the organization ?

Ans. Iâ&#x20AC;&#x2122;m here for a meditation course and I have joined 4 days back.

3. Is the institution easily accessible? How do most visitors travel to the place ?

Ans. Yes, the institution is easily accessible to me as I live nearby the Osho Dham centre and usually people come here from far away places through their cars or in buses.

4. The complex is big and spread out. Is it easy to circulate from one block to the other ?

Ans. There are various paths going on in the Osho centre and each space has easy connectivity with each other, provided with partial open spaces and easy functioning.

5. Do you think the spaces have been well planned? Explain how ?

Ans. Although Iâ&#x20AC;&#x2122;m not very well aware of planning, but one of my observation is of the spiral path which culminates in the shelter of the meditation hall, which in its symbolic form is related to the banyan tree with its large intertwined canopy.

6. Are there any spiritual activities conducted in the nature ?

Ans. Yes, there are spiritual activities conducted both inside and outside the building like yoga, dance, meditation etc.

7. What contributions does landscaping bring to the seekers? How do they use the outdoor space ?

Ans. The outdoor space provided with natural beauty elements play an important role for the visitors as they provide a sense of peace in their minds and help them to connect with their souls, through the help of nature.

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8. How do the seekers socialise amongst each other ?

Ans. Usually there is less amount of socialising as people go there to find their inner satisfaction and sense of peace. So rather than socialising with each other, the mind usually focuses on our inner soul.

9. Does the building conform to any architectural style, how was it designed ?

Ans. I donâ&#x20AC;&#x2122;t have information regarding this subject. I just go there to meditate.

10. Are natural elements like water, sky and light included in the building? How and do they have any symbolic meaning ?

Ans. Yes, the building is a combination of water, sky and light. As far as I know, their significance is to create the necessary ambience suitable for a meditator.

11. Do the interior spaces have daylight and adequate ventilation ?

Ans. Yes, the meditation halls have daylighting provision in the form of windows and ventilation solutions.

12.Cleanliness is said to be godliness. How often are the buildings maintained and cleaned ?

Ans. Whenever I visit the Osho Dham, there is immense purity not only in its ambience but also in its interior.

13. Are the interior spaces designed to be in tranquil silence and attract positive vibrations ? How ?

Ans. Yes, the entire amount of space has a positive vibe and attracts one to come and indulge in the activities of Osho Dham.

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1.5: Interview of Respondent 4

1. What is your name and nature of work ?

Ans. I am a caretaker of Osho Dham mandir and I also organise meditation camps. My name is Arvind Vasudev.

2. How long have you been engaged with the organisation ?

Ans. My father served here since the organisation was established, Iâ&#x20AC;&#x2122;ve been here for about 2 years now.

3. Is the institution easily accessible? How do most visitors travel to the place ?

Ans. The organisation is open for people of all cast, colour and creed, 24x7. They come whenever they want and they are free to stay as long as they want. The devotee also has a option to become a member of OshoDhara organisation.

4. The complex is big and spread out. Is it easy to circulate from one block to the other ?

Ans. The entire organisation is made of semi open structures beneath which various therapy sessions and yoga camps are conducted all spaces are well connected and widespread.

5. Do you think the spaces have been well planned ? Explain how ?

Ans. The Architect has been able to generate a great relation between the human and the nature the entire structure was preplanned having open and closed meditative spaces, awareness and therapy camps with entire landscape surrounded with huge trees and shrubs with cemented pathways having grass on either sides. The spaces are well planned and even functional for big crowdâ&#x20AC;&#x2122;s.

6. Are there any spiritual activities conducted in the nature ?

Ans. Yes, yoga and therapeutic camps are conducted on the banks of mother nature.

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7. What contributions does landscaping bring to the seekers? How do they use the outdoor space ?

Ans. Our master Osho believed that nature exhibits beauty and strength of the earth. Thatâ&#x20AC;&#x2122;s why it is easy to do yoga or meditate outdoors rather than inside the closed structures with multiple distractions. The cherubic sound of gurgling water bodies and fountains with the chirping of birds help the meditators to go deep on the path of awareness through meditation. Today, meditators from all over India and abroad converge here to meditate and celebrate.

8. How do the seekers socialise amongst each other ?

Ans. The seekers mainly socialise during the therapeutic sessions, the meditative chambers are kept silent, huts are made beside the dormitories where people socialise and share there theories and experiences.

9. Does the building conform to any architectural style, how was it designed ?

Ans. I donâ&#x20AC;&#x2122;t know much about the architectural style but the place is surrounded with the natural features of nature.

10. Are natural elements like water, sky and light included in the building? How and do they have any symbolic meaning ?

Ans. Yes, these factors are severely considered to make it suitable to the meditator.

11. Do the interior spaces have daylight and adequate ventilation ?

Ans. Yes, but at some places the use of light is mandatory.

12. Cleanliness is said to be godliness. How often are the buildings maintained and cleaned ?

Ans. Our team of assistants is busy sweeping the constantly falling leaves from the tall trees that surround pathways and open structures.. Itâ&#x20AC;&#x2122;s quite something to watch! They sweep again and again, knowing well that more leaves will immediately replace the ones they have just removed.The spaces are well wiped twice daily.

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13. Are the interior spaces designed to be in tranquil silence and attract positive vibrations? How ?

Ans. There is immense pindrop silence while the Osho is in functioning. The absolute silence helps to form an environment of peace and positivity.

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ANNEXES

ANNEX 1: SITE VALIDATION DOCUMENTS Annexure 1.1: No Objection Certificateâ&#x20AC;©

318 Scanned with CamScanner

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