1/20/22 Sushant University Mail – Dissertation Certificate

Saniya Siddiqui <sanniyasiddiqui@sushantuniversity.edu.in>

Dissertation Certificate
Bhanuja Chourasia bhanujachourasia@sushantuniversity.edu.in
To Maitryi Mangla maitryimangla.barch18@sushantuniversity.edu.in
Cc. Neena Singh Zutshi neenasinghzutshi@sushantuniversity.edu.in, Saniya Siddiqui
<saniyasiddiqui@sushantuniversity.edu.in>
This Dissertation Report is submitted by Maitryi Mangla, student of IVth year
Architecture, Session 2021-2022, at School of Art and Architecture, Sushant
University, Gurugram, as per partial requirement for the Five Year B.Arch.Degree
Course of Sushant University, Gurugram, Haryana.

Originality of information and opinions expressed in this Dissertation are of the author
and do not necessarily reflect those of the Guide or the Coordinators of the institution.

Signature of the Student: Maitryi Mangla

Enrolment/admission number: 180BARCH070
Date:20.01.22

Signature of the Guide: Bhanuja Chourasia

Designation: Associate Professor
Date: 20.01.22
 REIMAGINING SACRED INSTITUTIONS THROUGH SENSORIAL DESIGN

Guide: Sagar Gupta

Mentors: Dr. Neena Singh Zutshi, Dr. Purva Mujumdar

Coordinator: Saniya Siddiqui

DISSERTATION IN ARCHITECTURE

2021-2022

Submitted by:

MAITRYI MANGLA

180BARCH070/SSAA/B.Arch. /21

SCHOOL OF ART AND ARCHITECTURE

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TABLE OF CONTENTS
Acknowledgements………………………………………………………………………………………i

List of Tables/Illustrations/Figures……………………………………………………………………….ii

Abstract…………………………………………………………………………………………………iii

Chapter 1: Introduction
1.2: Background
1.3 Methodology

Chapter 2: Literature Review

2.1: Interpretative experience of sacred institutions
2.2: Religious architecture through sensorium
2.3: Organised religion in architecture
2.4: Modern Religious Dimension

Chapter 3: Impact of religion on architecture

3.1: Concept of religion
3.2: Characteristics of religion
3.3 Religious Architecture
3.3.1 Religious Influence on Indian Architecture
Chapter 4: Spirituality in Architecture
4.1 Modern constituents of religion
4.2 Spiritual Practices

Chapter 5: CASE STUDIES

Chapter 5: Conclusion

Bibliography

Annexure

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 ACKNOWLEDGEMENTS

I wish to thank my guide, Mr. Sagar Gupta, for his support, guidance, advice, insight and knowledge
into the subject matter that steered me through this research. I would also like to thank my mentors Dr.
Neena Singh Zutshi, Dr. Purva Mujumdar, subject coordinator Mrs. Saniya Siddiqui and fellow research
students of Sushant school of art and architecture for creating a supportive environment that enabled
my research and writing skills to develop.

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 ABSTRACT

KEYWORDS: SENSORY EXPERIENCE, LIGHT, SHADOW, SENSUOUS, RESTORATIVE,

SENSORIAL ATMOSPHERE, SOCIETY, SECULAR, PHYSICAL & MENTAL EXPERIENCE,
PERSPECTIVE, SPATIAL PERCEPTION, STIMULATION, EMBODIED SPACE, SENSORIUM,
CULTURE, SPIRITUAL

Architecture only exists, when it is experienced & it happens to be primarily at the service of the human
body. It’s effect on us does not lie in the structure or in its form, but rather with its encounter with the
body. As an experience, it can be intimate and deeply engaging. Our perception of the world is through
the sum of all our senses and it only has meaning when it is experienced. However, we currently live in
a world where visual stimulation takes precedence over the other senses and factors such as emotion,
perception and memories are not factored into design. It would be interesting to know what would the
world be like if a sensory response will be a critical design factor, which is treated equally as structure
and program. Experiencing architecture has less to do with what the building looks like but rather do
with how it engages with all of the five senses. People experience a space with their entire body, through
movement, imagination & memory. It is about the dialogue between a person and architecture that
involves an embodied experience, which is determined by the reach and grasp of our hand, the touch
of our fingers, the feeling of heat and cold on our skin, the sound of our footsteps, the stance we have
taken and the position of our eye. As we enter a space, we not only grasp the space through our senses
but we also measure and explore it with our bodies and movements. Sensual architecture deals not only
with the structure, but rather with how it engages with the human bodies in different ways, and at
different times, differently with different people. Sensory design through architecture optimizes the
healing process & emphasizes the role of a total sensory experience in influencing, our behaviors,
attitudes and wellbeing, making it imperative that vision only reinforce the other senses. Often, with only
visual stimuli, people become detached from a relationship with the environment through the suppression
of the other senses. With this approach, the effect of architecture on occupants can be better attuned
through sensory design for healthier mind and body.

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Chapter 1: Introduction
1.1: Background
In modern theoretical approaches, the culture is treated as a value, which results as a dimension for
development. Using culture as the resource for development doesn’t refer only to the artistic values, but
it also refers to approach towards human relationship with cultural & social institutions. It is essential that
we study as well as bring the shift of iconography & effigy of organized culture to ambiguous spaces
that reflect the idea of "spirituality" as a whole and focuses more on the five senses with architecture
that creates a sense of wonder, a space for reflection, and a glimpse into clarity and how a human body
can deeply engage through sensorial experience in these cultural and social institutions. Through form,
space, scale, materiality, and light, the role of spiritual spaces can begin to form a new typology, one
that today’s society can benefit from. Transcending Architecture without a doubt is an important and
timely contribution to the study of sacred architecture and its relation to the numinous. In a time when
religion is part of the world's political and sociocultural discourse it is important to revisit the issues of the
relation of the sacred and humane. It’s important to examine that how the physical footprint of sacred
spaces brings the human closer to the divine across faith, culture, and time

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1.2: Research questions:

- Should iconography be the spiritual connection or architectural space?

- What makes religious bodies “spiritual” as a whole?
- Is it the connection to beliefs or organized religion?
- Can sensory response be considered a critical design factor, which can be created as primary
function?
- Can design with a multi-sensory objective improve spatial experience of cultural & social institutions?
- What type of experiences should be designed in scared institutions for modern generation?

1.3: Methodology:

Research methods have been explored to provide the basis of collection and analysis of data which
was deemed necessary in satisfying the objectives of this study. A systematic method of collecting and
analysing information was established to recommend solutions to problems and issues inferred by the
topic.
Various methods used for data collection are:
• Online referencing
• Questionnaire
• Survey
• Participant Observer
• Library Study

The information that was further gathered was further analysed through different methods. In order to
draw inferences from the collected data, the process of the study of these matters becomes important.
The following methods were carried out in order to analyze the data.

• Interpretation of case studies

The data was collected in the form of literature case study as the cases involve study of different
spiritual spaces. Thus, the information gathered is analyzed in a way that the inferences from
individual cases help in further studies.

• Descriptive Method
The data collected will also be represented in a subjective manner. This was done by primarily
organizing the data in an order and then taking out the inferences. This helped in understanding the
research and hence, helped in drawing better conclusions.

Data/ Case selection

Eight different case studies were chosen, as each different institute contains specific aspect of
spirituality and dealt in a different context. The collected data leads to a better understanding of the
institutional typology and its relevance in its context. The secondary research consisted of the review of
literature that was based on the concepts and theories stated in the previous section in order to
address the research questions. The collection of data was carried out using the following resources:
libraries and related resources, the computer and related resources, communication tools. The literature
review consisted of a critical analysis from which recommendations and solutions for the research
problems would be extracted. The research tools comprised references that were sourced from books,
journals, articles, papers, electronic articles, precedent studies, raw data from interviews and
questionnaires. The research problem and the selected case study were studied comprehensively as
per the observations made. The collected materials were in the hard copy format that includes images,
diagrams, photographs and sketches. Techniques of measurement were also applied to determine
specific data. Substantial measurement was mostly used for objects and things especially in measuring
lengths of an enclosed space.

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Chapter 2: Literature Review
2.1: Interpretative Experience of Sacred Institutions
With the advent of globalisation, the dissolving of ideological boundaries & information age human
beings is finding themselves questioning age-old belief systems and traditions. They have become much
more secular allowing room for diversity. In a time where people associate themselves with pluralistic
identities, a shared space that lets people have an interpretative experience of the sacred would prove
to be more relevant. Since time immemorial humans have searched for and defined ways to embody a
sacred experience, a way in which they can form a connection with the almighty and their culture. Every
culture articulates their own formal language of architecture and as the world strives to become more
individualistic & inclusive, reordering of the understanding of these social institutions also calls for a
reordering of the structural organization of the sacred space.

2.2: Religious Architecture through Sensorium

All these social institutions derive their quality of transcendence from the same set of elements of light,
symbols, scale, and proportion all linked to five senses. They might share different stories but they all
share a similar philosophy. Examples like Peter Zumthor’s Bruder Klaus Field Chapel, Tadao Ando’s
Church of Light, or St. John Abbey’s Church by Marcel Breuer are noble experiments that have pushed
the envelope for the design of cultural spaces. Architects like Le Corbusier & Don Bosco, serve as role
models as their architectural styles of social institutions are characterized by freedom, speech of
expression and sensorium. Their religious architecture shows an expressive design language which, for
example, is clearly illustrated in the pilgrimage church of Notre-Dame-du-Haut in Ronchamp, France.

2.3: Organized Religion in Architecture

Julio Bermudez’s collection of essays, “Transcending Architecture: Contemporary Views on Sacred Space”
accurately describes how “our contemporary civilization has aggravated the feelings of existential
emptiness and meaninglessness” and that the need for "transcendent" space could not be more relevant.
With hyper connectivity and consumerism, where we are continually besieged by constant images, noise,
and information, the need for spaces to reflect, to meditate and to feel silence is crucial. In this way,
spirituality in architecture can be completely disconnected from organized religion and take on a new
role—with architecture that creates a sense of wonder, a glimpse into clarity, space for reflection.
Architecture has long been understood as a cultural discipline able to articulate the human condition and
lift the human spirit, yet the spirituality of architecture is rarely directly addressed in academic
scholarship. The book “Architecture, Culture and Spirituality” by Thomas Barrie & Julio Bermudez provide
a diverse range of perspectives, grouped according to typical themes. Even though the authors’
approach the subject from a range of disciplines and theoretical positions, all share interests in the need
to rediscover, redefine, or reclaim the sacred in everyday experience.

2.4: Modern Religious Dimension

One of the most influential architects, Tadao Ando who manages to bridge the gap between the
traditional symbolism and demands of modern religious architecture creates complex works of extreme
simplicity that are not only rooted in respective cultures but also transcend their regionality. Ando’s most

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famous Christian buildings, the Church on the water in Tomamu (1998) and the Church of the light in
Osaka (1989), both the churches are extraordinary statements about the ineffable that breaks into our
world. Tadao Ando’s approach revolves arounds that spirituality is a dimension of the world, not only or
always of organized religions and their representation and spatial accommodation. He doesn’t think of
spirituality and scaredness in architecture in terms of specific building types, such as religious buildings
and spaces, built especially for devotional purpose, he likes expressing their spiritual purpose through
deliberately evoking experiences of awe and devotion. These churches give an experience of scaredness
where in physical characteristics turn into metaphysically charged feelings of transcendental reality and
spiritual meanings. Ando with these churches has done something more than just making space for
gathering, he definitely has created monuments and moments for contemplation, these instruments that
he has constructed are not just for mere stillness, inwardness an prayer, they evoke so much power that
any other function becomes secondary. His strength is to transform his audience from observers to
participants thereby placing them in a comfortable position of distant observer as well. He has, like a
camera framed a specific part of nature, reviving surrounding into being, a landscape in Tomamu, and
pure light in Ibraki. With bare concrete, visibly the most manmade material, he sings about the highest
truths of live, he places a strange element in the cosmos. This functions as a camera to observe the
ineffable depth present in the cosmos. Gradually, one makes abstraction of the box and participates in
being.There’s no doubt that Ando has an immense respect for the spirit of the place but his way of
representation is beyond the feeling of transcendence.

Chapter 3: IMPACT OF RELIGION ON ARCHITECTURE

3.1: Concept of Religion

Religion has always been the strongest belief system that has existed and will continue to exist for
thousands of years. In many ways, it can be considered as a code of conduct or one can say a rule book
for every different community that allows its followers to tread on a path in a cultured manner and in a
non – primitive way. The earliest forms of religions were established to facilitate strong opinions within
a group of people. It is very evident and no surprise that this system plays a vital role in formation of
self-identity and a collective identity of a group of people, later called as community which then shapes
cultural norms, attitudes and influences individual and group behaviour as well.

3.2: Characteristics of Religion

Earlier children were particularly sensitive to religious beliefs and the notions of gods and other
supernatural agents, which leads to a teleological bias of accepting explanations of phenomenon that
are based on the purpose they serve rather than their claimed causes. These attitudes are contingent
upon factors such as beliefs about God's existence, immortality and omnipresence; attributions about
psychological characteristics such as fairness, compassion and harshness; and attributions about God's
causal involvement and motives in one's life events. Most, if not all religions, have some thematic principles
that make them similar to one another. The concepts that come together as a religion can be namely
concepts of God and love, altruism, honesty, miracle, miracle workings and peacekeeping. However, one
cannot deny the fact that every religion has ideologies and elements that set them apart from the other.
These ideological differences may not be evident and easy to determine, but they are present and
account for a lot of disharmonies at times. Moreover, it can be seen as well that the coexistence of
diverse religions in a single community or nation is a comparatively recent trend. Sacrifices and wars in
the name of religion are not unheard of, with some of the significant examples being The Crusades,
Jihadists, the Witch hunt, Buddhist Burma and Sati system that ended thousands of lives. What is even
more mind-boggling is the dichotomous function that religion seems to serve, where it imbibes kindness
and compassion towards all, but also instigates religious violence, hatred, political conflicts, religious
martyrdoms especially in radical believers. Over these years, people have always seen religion as a
rule book to follow that enforces moral behavior through negative and positive reinforcement by infusing
‘god – fearing’ elements so that people have no choice but to accept that set of rules given to them right

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at the time of birth without thinking about the consequences and the results that can infused from it, be it
negative or positive such as the concept of karma and reincarnation in Hinduism , paradise and hell in
Islamism, salvation and heaven hell in Christianity, peaceful afterlife and reincarnation in indigenous
Chinese fold religions, and release from the cycle of reincarnations and reaching enlightenment in
Buddhism.

3.3: Religious Architecture

It is no surprise that the history of architecture has always been concerned more with religious building
than any other type oof institution because they have always been the most important, most expressive
and most influential buildings in any community. Spiritual upliftment, peace and happiness have been the
cherished goals of man since the birth of concepts of religion. With the passage of time different
religions, different belief system, different rituals for every single community have emerged and
devised various ways of reaching the unreached, of communication with almighty and of elevating
their spirit. Reflecting the rituals and philosophies of these religions, various building forms have emerged
which have taken into consideration the social and climatic context of community. These buildings
represent a special genre in architecture and performs a different function for different religion. They
are different from other buildings in size, symbolic meaning and creative imagination. The outstanding
quality of religious architecture has always been its spiritual content.

Religious Architecture in cultural heritage constitutes a unique and exclusive role, because it is widely
available and one of the most important components of cultural heritage material. Places of worship
remain visible for many generations to witness. An important aspect which can be seen in architectural
religious past is creating the peace and security spirit in the life space of the city and the built monuments.
Architects of that time with harmony factors such as rhythm, repetition, horizontal lines and fit components
and most importantly the deities have made it possible. Sacred objects together with their associated
functional environment, have a significant impact on the function of the institute. Sacred objects and its
symbols create the image community which then represents a religion. Religious architecture requires the
superior realities and worth in association with art and symbols and that is how it has always been.
Influence of religion in the field of architecture has been became the subject of extensive research.
Architecture is a process that directly related to the people beliefs and in general their religion.

3.3. Religious Influence on Indian Architecture

Religious influence on Indian architecture can be traced from the primitive times starting from the
Hindus. With the rise of Islam, the religion which came to India due to several invasions also
significantly influenced the architectural designs of Indian artisans. Indian architecture has also
absorbed some of the traits of the Christian art along the Buddhist, Jain and Persian forms of
architecture.

Hinduism: Hindu temple architecture is based upon 'Stapatya Veda'. The temples are always at an
elevated height than the other which demonstrates God as absolute. All the temples have east face or
north-east facing which allowing God as it is the direction of head. A central Hindu temple is consists of
internal chamber, the 'garbhagriha' which is shady with passages around. The chamber is crowned by
'shikhara' and the external walls of the chamber sculpted images represent a variety of aspects. There
are high - raised pillars which are called 'Dwaja Stambam' which is generally there to establish a
temple.

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Christianity: The architectural design of churches had a number of key elements to admire the
magnificence of God, to integrate the stories of the bible, to educate the masses and to demonstrate the
prosperity of the church. Famous external features are a central tower, cover-up or "west front"
elaborate part of the outdoor. The external decoration devices contain columns, pilasters, arcading,
cornices, mouldings, finials and tracery. The main body making the longer arm of the cross is called the
'nave'. The 'nave' is braced on each side by lower passageways.

Islam: Decorative art plays a prominent role in all the Islamic architecture in India. Architecture is one of
the greatest Islamic art forms. An Islamic style is seen in mosques but also in Muslim houses and gardens.
A traditional Islamic house is built around a courtyard. The key elements are geometry, calligraphy and
foliation. The most famous example is the Taj Mahal, with its central pointed arch contained within a
rectangle; a motif is repeated in a reduced form on the flanking niches. The repetitive use of this simple
but powerful motif imparts a basic unity to the entire composition. The Muslims also brought with them
mortar masonry, which offered far greater versatility in design than the primitive method of placing one
stone upon another. By the time the first Muslim buildings were constructed in India, the constructional
principles of Islamic architecture had been well established in the great mosques of Cairo and Damascus
and elsewhere in the Islamic world.

Chapter 4: Spirituality in Architecture

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3.1: Modern Constituents of Religion

It’s today’s religious architecture and researches happening all over the world that makes us realise that
people are delicately moving up on the ladder of spirituality infused with religion. Life experiences,
education, morality, divinity are all constituents that bestow the bliss of eternal peace and that’s what
people need. If misused or not used, one will either stagnate at one of the steps or stumble to the abyss
of misery and eternal agony. Spirituality and religion are often confused to be synonymous. While
there are many common factors between the two, there are glaring contrasts and contradictions. While
religion creates bondages, spirituality leads to liberation.

Religions have always been about sacred images, symbols, ecstasies, emotions, several do’s and don’ts
manifold rules and regulations that are all supported by a set of practices and beliefs based on their
respective scriptures and interpreted by religious leaders. Religion restricts free thinking and questioning
in pursuit of truth, often obsessed with an extreme love of oneself and hate of others ending up in
fanaticism, discrimination, conflicts and destruction. Spirituality is private but one for all humanity. It has
no rigid rules/ regulations and not dogmatic. It is more an experience and conviction that there is only
reality and all of humanity is one. It makes you feel happy and contented, without being harmful to
others. Spirituality is self-regulated and self-assessed but infinitely more rigorous. In Sanskrit, spirituality
means adhyatma. There are many paths to realise the soul or reach God and the individual should
choose the one path that is most appropriate for his upbringing, intellectual maturity and living style.

3.2: Spiritual Practices

Spirituality derived from the word "spirit" is a broad concept with room for many perspectives. In
general, it includes a sense of connection to something bigger than ourselves, and typically involves a
search for meaning in life. It may be described as an experience of being sacred or transcendent or
simply a deep sense of aliveness. It may vary from person to person as some may find that spiritual life
is intricately linked to their association with a church, temple, mosque while others may pray or find
comfort in a personal relationship with God. Others seek meaning through their connections to nature or
art. The individual description of spirituality may change throughout one's life, become accustomed to
one's own experiences. On a personal level how does it feel when you listen to a peaceful music? How
does it feel to be in a pin-drop silent room? How does it feel to sail in a middle of a lake? Do you feel
connected to yourself then? If we think about it somewhere all of the mentioned above does make one
feel peaceful. The reason being that one needs a certain time for themselves to realize and analysis
their inner most consciousness. It is only at such instances that one realizes the importance of self healing
and self awakening. Not only can one feel spiritual in a temple or any sacred place but may also feel
the same in their own comfort zones. This is only possible when one starts to analyze their energies and
capabilities to soothe the unconscious mind. When we look back to the past, there was a time when
children, after the age of five were sent to Gurukuls in order to attain knowledge.

Knowledge, that was limitless and not restricted to just books or teaching. The routine was such that it
only helped them in becoming aware of their own body and achieves a mental stability and peace.
'Whereas, in the new generation that we all are a part of has outgrown the importance of sustaining
what was given to us. The values and the essence of such beliefs have faded over time majorly because
of the intervention of technologies winch have sucked the human energy. Humans have now got a
tendency to get attracted to that is outside them and not what lies within. To fill this void that has created
a vast change in the human race, spiritual spaces are a need of the hour. Though, peace can be found
anywhere and everywhere but, because of the hush-bush around us, people are getting away from the
real spirituality i.e. connection with your inner self. Therefore, because of the imbalance that is being
created has to change in terms of human well-being giving an opportunity to the vast study of
architecture to put fortvard its intelligence in creating spaces that will attract humans for their own
benefits and that it will keep them at a distance from the commercial world.

Architecture is a phenomenon that defines the quality of the built environment whilst accommodating
various functions. Architecture is not simply the "design of buildings" that are mere physical enclosures.
On the contrary, it is an expression of thoughts, preferences, beliefs and emotions in built form,

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symbolically communicating with its users. Architecture expresses the experiences of being-in-the world
and strengthens our senses of reality and self. It does not make us dwell in worlds of sheer falsehood
and fantasy. Spirituality has always been a part of the human civilization and from the time unknown it
has been interlinked with architecture.

It is through architecture that humans have tried to achieve internal peace, inner contentment and
spirituality. The experiential value of architecture is serene and is accentuated with the interaction of the
senses through movement and action in an environment. 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 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
Paranimmnda (2005), 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. A spiritual awakening is important so that people
become aware of their actions. Meditation is a means by which such transformation in an individual is
possible (Swami Paramananda, 2005: 2). Therefore, architecture is not limited to space and functions
only; it also addresses various aspects like nature. Nature provides an ideal source for architectural
forms which are variations of the basic shapes like cone, cube, cylinder, sphere and pyramid. Besides,
these forms are platform independent free from cultural bias and effective in projecting global images.
The Sydney Opera House, Australia and the Lotus Temple, New Delhi are examples that use natural
shell shapes in their roof structures thereby, effectively signify global ideals.

Chapter 5: Case studies

5.1 Church on Water, Tadao Ando

Ando's Church on Water in Tomamu is completely open to the cosmos, with a freestanding Latin cross in
steel set in a water basin and the entire back glass wall folding away like a big shoji screen to provide
more direct, personal interaction with the natural essences of water, wind, and light. Nature and the
sacred, earth and sky, exteriority and interiority, mystery and matter, body and soul are all brought
together by the cross. The cross makes the unfathomable real by defining emptiness as sacred. Because
of its exact placement in a tiny pond, the cross becomes more than just a symbol of Christianity. The
water makes the cross inaccessible while also making it visible; it might be interpreted theologically as
the eschatological cross of glory, materially embodying both the visual "already" and the physical "not
yet." The architectural event's creative genius lies not in the thing itself, but in its staging, in the spatial
relationship that connects internal and outside space. Through the ceremonial and roundabout approach
route, as well as the L-shaped wall that designates the church as a secluded and protected location
away from the hotel behind it, Ando succeeded in his aims to construct a sacred space. The surrounding
natural environment enhances the experience, especially between December and April when the ground
is blanketed in snow.

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5.2 Church of The Light, Tadao Ando
The Church of Light, one of Tadao Ando's most recognisable and characteristic works, is located in a calm
residential neighbourhood of a very small community in Ibraki. The fundamental conditioning variables
of the building's programme, which consists of a booming prismatic volume surrounded by natural space,
are the relationships that the Church of Light formed with the surroundings and with the sunshine. The
Church of the Light supports Ando's philosophical framework between nature and architecture by
emphasising how light, just as much as his tangible constructions, can define and generate new spatial
perspectives.
Tadao Ando creates a point of junction between solid and light in order to engage the user and their
senses, making them aware of the inside of the church and the great divide between spiritual and
ordinary life. The use of simple materials emphasises the space's duality; the concrete construction blurs
the line between conventional Christian symbols and aesthetic. The church is made up of a concrete shell
with an extruded cross on the east facing façade; the concrete adds to the gloom of the church by
providing a more humble, quiet place of worship. The crosses void in the east facing wall is the only
obvious religious symbol present in the church, which is a tribute to minimalist architecture.

5.3 KAPSARC Mosque, HOK

A mosque within the linear park at the site's centre serves as the spiritual hub of the King
Abdullah Petroleum Studies and Research Center (KAPSARC) community. The sanctuary is
entered through outdoor courtyards aligned with Mecca and Al Kaaba, the most important
places in Islam, and is highly visible across the community. The prayer hall is located within a
reflecting pool and is accessible by raised glass bridges. The transition from the profane to the
sacred realm is symbolised by this procession. At night, the reflecting pool sparkles, giving the
impression that the entire structure is floating on water. Curving walls screen supporting services
such as ablution spaces and the imam's office on either side of the prayer hall.
Both structures' exteriors are designed to resemble an abstracted version of a traditional Arabic
pattern, creating an ever-changing light and shadow experience. The play of shadows cast by
the complicated mullion patterns on the glass travels over the inner stone façade during the day.
Over the course of a day, the mosque interior is animated by similar contrasts of light and
shade. Both structures' exteriors are designed to resemble an abstracted version of a traditional
Arabic pattern, creating an ever-changing light and shadow experience. The play of shadows
cast by the complicated mullion patterns on the glass travels over the inner stone façade during
the day. Over the course of a day, the mosque interior is animated by similar contrasts of light
and shade.

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5.4 Temple in Stone & Light, Space Matters
India has a glorious history of temple architecture. The desert state of Rajasthan, where the temple is
located, has an equally diverse and refined heritage of buildings set in an unforgiving climatic zone.
Given this legacy, to design a contemporary Hindu temple set in the sand dunes of Rajasthan has been
an enormous challenge. Lord Shiva, to whom this temple is dedicated, dwells in paradoxes and apparent
dualities. In Hindu scriptures and mythology, he manifests as both - the Preserver and the Destroyer. In
unison with goddess Shakti, he transcends the duality of the masculine and feminine principle. Like other
such perceived dualities, masculinity and femininity are often approached as a continuum rather than a
binary in Indian philosophy and mythology. This symbolism needed to be translated into evocative spatial
clues to deliver this project. The architecture of the temple combines the heavy materiality of the stone
with the lightness of the form, where the solid looking stone exterior dissolves as the night dawns and
transforms into a delicate lantern in the dunes. During the day, light filters into the sanctum of the temple.
At night, light turns the temple inside-out, extending an invitation to those outside while rewarding those
within. This gesture also subtly seeks to illuminate the need for inclusion in contemporary religious spaces,
which still tend exclude based on old age biases of gender, class, caste or orientation. The state of
Rajasthan is known world over as the source of stone and stone craftsmanship. We sought to celebrate
this heritage. The local Jaisalmer Yellow Sandstone was our choice of stone - its glowing surface reflects
that golden desert sun that is strongly associated with Rajasthan. The yellow sandstone gives the temple
an appearance of having risen from the surrounding sands. The pure compression structure is reveals
through each course and component that forms the superstructure. The design - with its strong form, stark
quality and play of light on warm stone - seeks to evoke visual and tactile senses of the worshiper. The
stainless steel ‘shikhara’ or the peak atop the golden stone, catches the light during sunrise and sunset
and also celebrates the legacy of the organization that commissioned this building. At different times of
the day, from different directions, the temple is heavy and light, solid and translucent, valid and void,
past and present.

5.5 Suzhou Chapel, Neri&Hu Design and Research Office

The chapel is a feature building within the larger Village zone. As such, it occupies a prime location
visible from the main road and along the waterfront. Its architectural language is derived from similar
elements found elsewhere in the project, such as the undulating brick walls and floating white volume—
but they are here, taken to another level of articulation. The brick walls begin to break down to an even
more refined scale, where different heights of walls interweave with each other to create a
choreographed landscape journey leading into the building itself. Inside the building, visitors continue on
their guided journey through the pre-function area and then into the main chapel space, which features
a light-filled 12m high space. There is a seamless integration with the surrounding nature as picture
windows frame various man-made and natural landscapes. A mezzanine level hovers overhead to
accommodate extra guests, and includes a catwalk encircling the space, allowing 360 degrees of
viewing angles. The mezzanine is integrated into a wood louvered cage element which wraps around
the whole upper part of the room. A grid of glowing bulb lights and delicate bronze details give a touch
of opulence to the otherwise quietly monastic spaces. Custom wood furniture and crafted wood details
compliment the simple material palette of gray brick, terrazzo, and concrete. Another feature of the
chapel building is a separate staircase alongside the main space, which allows visitors to gain access to

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the rooftop for unrivaled views across the scenic lake. Various openings along this stair ascent give
unexpected views both internally and externally.

5.6 Thorncrown Chapel, E.Fay Jones

Giving the impression of open air structure, the chapel is a glass enclosed space making it “one of the
finest modern religious space”. The structure consists of over 425 windows, intenstive truss structure such
that the vertical chapel looks like “forest within a forest”. The central light allows huge volume to light to
spill into the complex. The chapel is a simple and serene shelter for reflection to take place such that it
is integrated with its natural setting. The most important elements that the architect felt were light,
shadows, reflections that he feels are the only and most essential parameters for introsepection and
contemplation plays a huge role in his design. The chapel’s elaborate trusses and the surrounding trees
gives the chapel a unique opportunity to change patterns of light and shadows. The architect rightly calls
it a metaphor of forest as its repetitive structural elements get much more complex, animated and treelike
as they rise through the space. These elements visually modulate the light and animate the space in such
a way that suggests the dappled light of a forest canopy.

5.7: Bahai Temple, Hariri Pontarini Architects

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Bahai temple is a temple of light that expresses a faith of inclusion and an invitation for spiritual
contemplation and architectural pilgrimage. The institute has been designed within the Andean foothills
just beyond the metropolis of Santiago surrounded by reflecting pools and a landscape of native
grasses. It is a domed structure that echoes the rolling topography of the Andes while appearing to oat
somehow 30 metres above the earth. The temple nine monumental glass frames an open and accessible
worship space where upto 600 visitors can be accommodated, where in visitors will experience a
mesmerizing transfer of light from the exterior of cast glass. The most important factors, openness and
transparency are fundamental to both the site and structure. This temple is more than just a story of
complex design, innovation, construction and sustainability, it can be said that it is the embodiment of a
community’s aspirations.

5.7.1: Summoning the Spiritual Experience

The structure implores Bahai philosophy and teaching interpretation, articulated in beautiful architectural
language of space and light, form and material thereby achieving an interplay of seeming contradictions
like stillness and movement, complexity and simplicity, monumentality and intimacy such that the whole
solid structure is capable of dissolving light inside it. It is the quintessence of a community’s aspirations to
create a place for introspection, gathering, mediation, prayers and contemplation for future generations.
Bahai community believes in bringing together all the communities together, thereby connecting and
moving forward the human spirit in unity forward for generations to come. The architect believes that
“Faith triggers a capacious expression when rightly confronted by an architectural aura that serves that
belief”. The temple subtle surroundings and landscape inspires for the interiors to imbibe an ecstatic spirit
for everyone as they arrive. The materiality is another factor that has been looked into to make sure
unity, the refined marble interior of the wings bathes visitors in compassion and warmth as the light seeps
and filters through its reflective glass facades. The vaulted lines of the benches summons everyone to
assemble and sit together in harmony to one another in quiet contemplation and share the communal act
of human affluence. The temple encourages to draw humanity closer to the divine, to that quest for
collective and personal perfection, refinement, betterment and a longing for togetherness and unity. The
architect has rightly said “Stone, glass, wood and steel become spiritual, and in turn, the measurable
becomes immeasurable.”

5.8: Agri Chapel, Yu Momomeda Architecture Office

Gothic architecture, re-energised with fractal structure system and delicately infused with Japanese
timber is the preliminary point of this beautifully designed chapel outside Nagasaki. The architect’s main
concern was to respond the activity of the chapel to its natural setting thereby paying homage to the
oldest Gothic Church in Japan called as, Ohura – Tenshudou.

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The chapel of 60 seats occupancy is almost a cube like structure, where in the volume is intricately filled
by stacked tree – like pillars that rise the height of the chapel. With interiors finished in white and no
altar, the wood sculptural automatically becomes the centre of attraction, drawing the eye right upward
and encouraging contemplation thereby introspection, much like the vaulted ceilings of Gothic
Cathedrals. This is an extremely minimalistic yet sublimely gorgeous space, a place where tourists and
locals congregate to pray and to contemplate, under a visually abstract yet a really subtle reminder of
the ever-generative powers of nature and how grateful humanity should be to be blessed with it.

CHAPTER 6: ANALYSIS
• Inferences taken from the data collection to infer the ideologies and
perception of our youth about religion and spirituality:
Interview Questions for Youth
• What is spirituality to you?

• How would you define peace?

• Is there any particular kind of place where you find inner peace?

• How do you feel when in a room and when in an open area?

• Your belief in religion?

• How often do you visit a religious place?

• Do you pay the visit willingly or due to external reasons?

• What difference do you find in a spiritual religious and a spiritual nonreligious place?

1.HOW OFTEN DO YOU VISIT A RELIGIOUS PLACE?

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2.DO YOU PAY THE VISIT WILLINGLY OR DUE TO EXTERNAL REASONS?

3.IS THERE A NEED TO ESTABLISH SEPARATE SPIRITUAL CENTRES?

Chapter 6: Conclusion
Spirituality is a sense of achieving inner contentment through various processes like-meditation, religious
beliefs, yoga, etc. The soul has the potential to attain consciencness 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. With these characteristics in mind it is possible to develop an idea
of what a "spiritual experience" might look like for someone who engages themselves with their
surroundings. The question becomes- how does architecture connect to an individual in a way that it
complements the experiences, fulfilling the higher order humans need of self- transcendence. Architecture
plays a major role in expressing the intangible to tangibles. The profound Tadao Ando' s design presents
the concept of the spirit of place and establishes the nature and soul of architecture. His architecture is
an assemblage of artistically composed surprises in space and form. And his works have enabled people
to experience a journey involving growth, awareness and thinking by means of the practiced
arrangement of path sequences such that the strength of metaphysical philosophical thinking could be
experienced. Through various readings and references we can now state that spirituality can be justified
through the source of architecture. We live in a world of manifest phenomena. Yet, since the beginning
of time, man has intuitively sensed the existence of another world: a no manifest world whose presence
underlies — and makes manageable —the one he experiences every day. The principal vehicles through
which we explore and communicate our notions of this no manifest world are religion, philosophy, and
the arts. Like these, architecture too is generated by mythic beliefs, expressing the presence of a reality
more profound than the manifest world in which it exists. Architecture has evolved through time and
spirituality is one term which has been derived through the principles of architecture. It is through time
that various architects and designers have started believing in designing spaces which are not limited to
its facade but also has a meaning behind it. Under the readings of Emotional Architecture, Tadao Ando'
s philosophy of designing has helped generate such the intangibles to tangibles. His designs have ushered
accurate and moving concepts and themes by emulating delightful and moving feelings which provide
people with a good poetic experience in various spatial structures. The actual significance of _
architecture lies in the feeling and affection it engenders in people (Tadao Ando-2012).

Dissertation | REIMAGINING SACRED INSTITUIONS | 2021

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Blackwell, William. Geometry in architecture. New York: Wiley, 1984 Brown, Percy. Indian
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Dissertation | REIMAGINING SACRED INSTITUIONS | 2021