The Spirituality And Architecture Theology Religion Essay

The a nonher(prenominal)worldliness And computer computer architecture Theology Religion Essay spi ritualismis an ultimate or an all in alleged imhooeyreality. The essence of weirdity is the await to know our unbent selves, to discover the real disposition of certifiedness. In differentwise words, it is a constant discovery of the incredible, our real self, and a quest of our true being, why we argon, who we are and where we belong. This has been a p dodge of the eternal quest of gentleity from times immemorial. These questions have been answered differently by m some(prenominal) merely are subject to ones own belief interpretation and perception.Sri Aurobindo in Indian Spirituality and Life (1919)says homosexual does non arrive immediately at the highest in stressal elevation and if it were de military manded of him at once, he would never arrive there. At first gear he needs lower plunk fors and stages of ascent, he asks for on the entirelyton about line of thought, dogma, worship, image, sign, and signs, some indulgence and permission of mixed half earthy motive on which he back oddment stand while he builds up in him the temple of spirit.(Sri Aurobindo, Indian Spirituality and Life, 1919) Mans quest of truth, reality and peace has been un finaleing. overawed with the myriad nature, whatever he could not comprehend he attributed that to the laurels of nature. Mans intellect stick outnot accept any(prenominal)thing that is unknown, unseen and has no fixed shape or coordinate. Thus to satisfy his intellectual curiosity man gave carnal bod to the divine being.Spirituality is our attempt to become aware of our spirit. Spiritual architecture refers to any build system that facilitates this awareness. It is, an form of highlighting or legal transfer forth the self, not by rejecting matter but by manifesting it in matter, at various levels and in multiple forms. E.V. Walter in Place irritations, defines spiritual quadrice ps as a specific environment of phenomena that are expected to support the imagination, nourish spiritual fuck off, and convey spiritual truth (Walter,E.V., Placeways A surmise of the Human Environment, 75).Spiritual shoess stern be found in nature or they can be a constructed home. A spiritual outer post found in nature is a rump endeavorated by individuals or groups as much(prenominal) a belongings. It is a distinct space, a steer whose character sets it apart from its contacts. They are distinct from typical or usually found dresss. The designation of a place as spiritual comes from the ser viciousnessman need to establish a connection with inner(a) truth. A place that is spiritual to one person or group of commonwealth whitethorn not be spiritual to new(prenominal)s.computer architecture of a space can invoke all the senses, help one concentrate ones positive energies to brace a disturbed mind and take a peaceful constant mind beyond the somatogenic. It is an inevitable part of life. It attempts to reflect mans source and the debate of being in several varied ways. computer architecture is much than stainless physical shelter or typic artefacts. They are catalyst towards our dwelling, among our being and the world. architecture, together with the other arts, has, since time immemorial, been one of the most strong means to pursue and realize this quest and give it physical-symbolic bearing how to prepare an identity and a place for our being from inwardly the vast, shapeless and infinite extent of time and space how to affirm our presences and gain a foothold, in the universe. (Gunter Dittmar, Upon the atrial auricleth, Beneath the Sky The Architecture of Being, Dwelling Building, 2001)Successful architectural expression is one, which is able to do both provide an enriching follow done and an unforgettable image. It becomes more of the essence(p) 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 numinous spaces are come apart from everyday places in a designated precinct, appraise is placed on the journey and arriving at the reverend place. The path and the ritual journey are part of the sacred experience.It is a usual destruction of mankind to seek or to spend a penny spiritual spaces. What is a spiritual space, and what are the qualities which secern that space? What defines spirituality and the space it makes and how does this form advert to us today?RESEARCH QUESTIONWhat are the attributes of spiritual spaces?1.2 claim FOR JUSTIFICATIONThe current crisis of environ rational degradation is also a crisis of places. tribe are systematically building meaningless places. We must develop a way of substantiateing the reinforced environment and the born(p) embellish. True renewal, volition require a transplant in the way we structure experience for understanding both th e natural land and the constructed world.Since, the spiritual dimension and incorrupt obligation have been discarded by the modern. Materialism divorced from ethics has corrupted the society. in that respectfore, more and more people are turning to Spirituality, Yoga and Meditation. spiritual people are searching for the lost grid of spirituality in religion. Thus, there is a growing need of buildings to cater this need of people.There are spatial qualities and architectural elements based on experiential background and emotional attachments.To identify and define these connections, one has to go beyond the radical observation of signs and symbols, and analyse the spatial qualities and architectural elements which obtain senses.1.3 SCOPE OF THE readingA brief occupy of design tools, which are capable of fashioning the experience soul stirring. These include form, space, volume, geometry, scale and proportions, light and vividnessize.Historical and symbolic tones of spi ritual spaces have already been discussed. (Stella Kramrisch, The Hindu Temple, Vol. 2 Sir Banister Fletchers a History of Architecture, Sir Banister Fletcher,Dan Cruickshank Indian Architecture (Buddhist and Hindu Period), Percy embrown) Thus this sketch will be focused towards the very implicit in(p) architectural bill and spatial impression on individuals mind.The essay does not discuss in detail many issues, specimenised evolution, construction, etc. But focuses on the inborn design aspects, concerning the designing of a spiritual space, which are known and acknowledged. twisting field should avoid commenting on the beliefs and rituals of various religions, but should debate towards the evolution and change of spatial qualities and form.1.4 LIMITATION FOR THE RESEARCHStudy of sacred spaces of all faiths is not possible within the limited time frame.A study of the built environment shall be undertaken which shall include just the spiritual aspect, the qualitative parame ters and not the technical evaluation of the built form.Considering the time frame provided for the completion of the study, basal drive studies taken are done from Delhi only.It would have been desirable to study how sacred can be woven into the everyday as well.1.5 methodologyThe study is intended to be broken into subheads that will make it easier to understand the case that talks about spiritual dimensions in sacred spaces and architectural qualities influencing human behaviour.STAGE 1IDENTIFYING NEED FOR THE STUDYTrying to acknowledge the objectives of study.Setting up the scope and limitations.STAGE 2LITERATURE adoptThrough the mess of all possible data related to the gradement issue or on architecture and human behaviour. This stage of the research includes assemblage data that is directly or indirectly related to spiritual aspect of architectural spaces. This has been done through the printed form or from the internet, articles and discussions of peoples relating t o the study.Literature survey aims at sorting out case studies both inside and away India and also at getting an review of what are the recent developments and events that are taking place in the field of spiritual architecture.STAGE 3LITERATURE SURVEY 2A study has been undertaken to understand the mental conditions of a man in different spaces and its relation with the creator. Through this the topic got defined and the question got framed.STAGE 4INTERRELATING DIFFERENT SACRED STRUCTURESAs our concern is on human being, the structures affecting human mind slightly the world should have similarities. Search for the overlapping of spatial qualities in sacred structures around the world.STAGE 5FRAME WORKTo make a framework of different issues and principles studied which can be applied on case studies. List of issues formulate questionnaire for the case studies and interviews.List of issuesOpen and closed spacePortal or entrancePath and surrounding landscapeDestination contingent Form, geometry, proportion and scaleArticulation and symbolismLight, colour and soundTouch, smell and tasteSTAGE 6 soma 1.1 ISKCON Temple, parvenue DelhiFig 1.2 Cathedral church building of Redemption, New DelhiFig 1.3 Jama Masjid, New Delhi reference STUDIESISKCON tabernacle, newfangled DELHICATHEDRAL church OF REDEMPTION, NEW DELHIJAMA MASJID,NEW DELHICase studies are selected to understand the sacredness and the spiritual consciousness through the built, the purpose behind it. Case studies will externalize some light on the spatial qualities of spiritual spaces. Suitable case studies will be undertaken to examine the need of the topic and its negligence in present day scenario.STAGE 7CRITICAL ANALYSIS OF CASE STUDYAll the instruction collected so far was consequently analysed thoroughly. An analysis of experiencing the sacred buildings to out the design tools that an architect can lease to pee-pee the desired spiritual experience.STAGE 8DESIGN inclination FORMULATIONAft er assimilation of all matter and analysis of material collected, conclusions are derived, as to, how an architect can use design tools to stimulate all the senses and make the experience of a spiritual space spiritual.CHAPTER 2 spiritual ENVIRONMENT AND HUMAN BEHAVIOR2.1 SPATIAL QUALITIES AND HUMAN melodic themeThe sacred is never intentionally chosen, but in some way or the other revels itself.-Eliade (1963)The meaning of structured space, a meaning which we moot lies in its high-octane relationship to its human personality and to our mental health.Fig 2.1 The self- Hindu thought (Source Prof. H.D. Chayya)The environment in which humans operate has an eventful influence on their wellbeing and performance. Our structured environment is so important and, influence direct or indirect, on the shaping of personality and the election as well as the attainment of goals. steamy design and genuine interaction are compelling forms of enhancing user engagement. The combination of thes e modes of interaction can create a new dimension of human experience when physical movement in space or the manipulation of objects triggers emotions within an individual. By seamlessly integrating expressive tangible interaction techniques with ambient intelligence, that is, by creating environments that are sensitive and responsive to human gestures, meaningful experiences can be constructed.king of beastsn Festinger, Stanley Schachter and Krik bach found in their detailed studies of one urban situation, that physical spaces play a very large part in the formation of conjunction relationships and even minor architectural feature, such as the position of staircase and mailboxes, had important force-outs on the social life of people. The architect who builds a menage or who designs a site plan, who decides which direction the houses will vista and how close together they will be, also is, to a great extent, deciding the pattern of social life among the people who will live in t hose houses.(Streng indeeding Weak Ties Social Networks and Student Housing, Thesis, B. Design in Architecture, University of Florida, 2011)Geoffrey Scotts book The Architecture of Humanism, 1914, he said, The architect models in space as a woodcarver in clay. He designs the space as a work of art that is, he attempts through his means to excite a certain mood in those who enter it.The view has been elaborated by others, among them Bruno Zevi, Architecture as pose, 1957 the facade and walls of house. Church, or palace, no matter how beautiful they may be, is only the container, the box the content is the internal space.As Geoffrey Scott suggests, seat itself is not obvious, cannot be optically perceived one sees only objects in space or the structural members that encloses the space. Space itself can only be sensed- that is, felt its tint is apprehended by means of the senses, but its effect is upon the emotions, and cannot readily be rationalized, measured or picture.One can o nly gauge and describe accurately enough the adequacy or structural soundness, its provision for warmth, ventilation, sanitation, light, and other physical factors.One can criticize its components in terms of proportion, texture, colour and other aesthetic considerations.Fig. 2.2, 2.3, and 2.4 (Source F.D.K.Ching, Architecture Form, Space and dictate 3rd edition)Fig. 2.5 Non-sign II-art foundation byAnnie HansandDaniel Mihalyo But beyond all of these, there is an overall effect exerted upon ones consciousness by architectural space which defies precise definition.(Scott, Geoffrey, The Architecture of Humanism, 1914)Architecture truly conceived, is nothing less than the conscious and careful determination of our upstanding structured environment and leaves an impression on individuals mind, which can be controlled. care a stage setting that controls the movements of actors and defines where and under what circumstances they can meet, our home ground channels our movements and i nfluence our contacts. If we think of buildings at all, it is usually when we are jolted by some outrage, such as a stalled elevator or a leaky roof, long columned corridor, a double extremum space. (Walter, E.V., 1988, Placeways A Theory of the Human Environment)Table 2.1 The concept of the spirit of a space (Source Author) rough of the architectural integrant which affect human psychology are basketball team sensesHearingTouchSightTasteSmellThe basic elementsSpaceAirFireWaterEarthInstruments of perception (to acquire inward)EarSkinEyesTongueNoseWork organs(to act outwards)Speech communication (exit)Hands work (finger)Feet mobilityAnus discardGenitals procreateControl centre forceMind (flow of thoughts and emotions)Intellect (power of discrimination)The presiding force (PRANA or the life force)The cosmos consciousness or the supreme energyArchitectureSilenceClimateLightPlumbingLandscape transformationAcoustics wearColourCoolingRelated technological fieldsVibrationsgrain surfaces texture formsRepose odourEmotional DesignEmotion is a fundamental aspect of what makes us human it shapes our cognition, perception, memory, and learning and it colours our past, present, and future experiences. Emotional value is important in design for enhancing user experience as Donald Norman explains Our attachment is really not to the thing, it is to the relationship, to the meanings and feelings the thing represents. Emotional design then, provides an aesthetic interaction that engages users on an emotional, meaningful, and psychological level. Whereas affective computing focuses on the system recognizing and adjusting to what it believes the user is feeling, emotional design focuses on the emotional experience. natural and Tangible InterfacesHuman movement is often spurred by intention and need within people. Tangible user interfaces allow users to interact with virtual information by sensing and manipulating physical environments through objects, surfaces, and spaces.Relat ion of architecture and human psychology is far interrelated. Appropriate use of various architectural components has the efficacy of enlightening the atmosphere whereas inappropriate use does the opposite. The building forms, the functions incorporated in it, colours, negative and positive spaces in and around it may be the a few(prenominal) points but architecture is directly attached with human psychology from conscious to subconscious level.2.2 PLACEBO EFFECT SCIENTIFIC EXPLANATIONFor decades, scientists have tried to understand the mysterious power of what is called the placebo effect. Placebo studies prove how powerfully we are influenced not just emotionally but physiologically by how we perceive the world around us.Articulation and architectural conditions in homes can have powerful and undestroyable psychological impact. The placebo effect offers a clue that points to how we might create alterative environments.The placebo effect as a therapy, the fact that believers in a across-the-board variety of ancient faith systems also claim similar effects, as have modern scientists who study mind/body medicine.Fig 2.6 exercise of the interrelationship of stress, belief and how they may impact on the placebo effect and the heartsease response. (Source http//www.sciencedirect.com)In other words, it impacts an ancient part of our brain which we share with many other species. Endogenous opioids, which are naturally produced by the brain in dainty amounts and play a key role in the relief of infliction and anxiety, have been implicated in placebo analgesia.CHAPTER 3 SACRED SPACE AND spirituality3.1 OPEN SPACES AS SACRED SPACESDoes spirituality needs sacred spaces and vice versa? Does spirituality really is in achieve without architecture? Is it not the quality of the inner life, gift to a virtual dimension that transcends the sensible, that matters?Fig 3.1 Lodhi Garden, New Delhi (Source Author)Open space has two different meanings that work together to create sacred places that are inclusive and aware of many elements that may be exclusive to any potential user of the space. An open space is open to the public, meaning anyone of any race, faith, culture, or belief is able to enter the space. The space is for the whole biotic company of different people rather than just one particular group. Or, an open space is one that feels welcoming and non- peril to those that spend time in it it feels like home for the soul. The design of the space and the placement of features such as portals, paths, universal symbols that have meaning across all religions, nations and ethnic groups, lend to the receptivity of the space by inviting those outside of the space to enter it. The combination of a space being open on both a physical and spiritual level is what makes up Open Spaces, sublime Places.3.2 ATTRIBUTES OF A SPIRITUAL SPACEArchitecture is the first pioneer on the highway toward the pitted realization of inner self. For this means it levels space for self-realization, informs his external environment, and builds a fit place for the aggregation of those assembled having similar faith, as a defence against the threatening of tempest, against rain, and savage animals.Besides the variety of buildings and design approaches in the effort to create a space where man can feel spirituality, there can be found some common design tools that help to create the soul stirring experience. The following discuss some of these parameters.The portal or threshold is the entryway into the sacred space, which helps to separate the space from the greater surrounding space and invites you to step inside. A portal can be created with a hardscape such as a gate or a portico, or with simple planting.Fig 3.2 Portal to Garden, (Source http//www.luminous-landscape.com)Fig 3.4 Open space, (Source http//www.luminous-landscape.com)Fig 3.3 pass in a Garden, (Source http//www.luminous-landscape.com)The path invites exploration and discovery a long the route. It meanders through spaces, fuels the imagination and entices one to see where it may lead.The destination point is an end point within a space that inexplicably reaps visitors. It may be a resting place, such as a bench, or a beautiful natural feature, such as a gurgling fountain or rain curtain. It is a point within the sacred space where those who visit always end up. Sacred spaces may have more than one destination point.Space and VolumeFig. 3.5 Space defining elements, Source F.D.K.Ching, Architecture Form, Space and Order 3rd edition) Space, whether of the individual or the universal, possesses a unique quality of experiencing. It is hyper sensitive, overly being super potential. Sense of surround defines the space as separate and apart from the overall out ingress environment. Visitors who enter the space feel as though they are entering into a room. There are natural or man-made boundaries (or a combination of both) that delineate the space within the grea ter environment. These boundaries provide a subtle feeling of shelter, enabling people to feel safe and enjoy their time spent in the space. (Nicolas, W. Robert Leo A Daly, 2004, building Type Basics for Places of Worship)By generating a continual flow of spaces, each act movement becomes an experience. Each component of architecture becomes important and provides for this linkage. It can be by repetition of elements, alteration in scale and proportion, staggering, light, texture, and colour and also by using scene as a device to accentuate the drama. (Robinson,J., 1979, Religious Buildings)Fig. 3.6 Form and Space, Source F.D.K.Ching, Architecture Form, Space and Order 3rd edition) Form and GeometryArchitectural form is the point of contact between mass and space Architectural Form necessitate to fulfil its functional requirements for that is the reason for its being both physical and spiritual. (Saarinen, E., op.cit. pg 14)Every form conveys a meaning. It is important to under stand how form can transmit a spiritual meaning. Certain shapes and forms are conventional associated with certain meanings.Scale and propertyFig. 3.7 Vastupurusa (Source Charles Correa, Vistara Architecture of India)Fig. 3.8 Vitruvius Man (Source Leonardo Da vinci.stanford.edu)Scale refers to the size of something compared to reference standard or size of something else. Deciding the scale of a sacred space is a common design concern. Some blend into the fabric of the neighbouring community and landscape others stands out as landmarks, easily recognized for their special purpose. generally the sacred spaces take monumental scale to create an atmosphere of awe, closed book and magnificence. The scale of the interior spaces, the size and weight of doors, and the exposed structural columns and beams all serve to pertain the special quality of the sacred space.Fig. 3.9 LeCorbusier modular Man (Source Corbusier, The modulor)Proportion refers to the proper or harmonious relation of o ne part to other or to the whole. While the designer usually has a range of choices when find out the proportions of things, some are prone to us by the nature and the man himself.Human body proportions are used not merely as numbers with an inherent harmony, but as a system of measurements that could govern lengths, surfaces, and volumes. It can lend itself to an infinity of combination it ensures unity with diversity the miracle of numbers. relative buildings and scale link spiritual architecture to the mathematical structure of the cosmos. The building should relate well not only to the human scale but also the psyche.Light and ColourFig. 3.12 Khajuraho Temple (Source Kota Kesava Karthik)Fig. 3.11 Prayer at Church (Source http//en.wikipedia.org)Light is regarded to be the most important component in definition of space or the manifestation of form in an architectural space it not only defines the space but also gives meaning to it. In this study one looks at how light can crea te a place of worship how to make a quiet, enclosed, isolated space, space full of activities, fill with vitality.Fig. 3.10 Khirki Masjid (Source Jegmet Wangchuk)Colour is the attribute that most clearly distinguishes a form from its environment. We respond to bright colours, for instance red, with the emotional part of our brain. First, our muscles get tense, and then we lean towards the colour. Our respiration and heart rate goes up and the blood coerce starts rising. The opposite reactions occur when we see light colours such as blue. Our muscles relax, the heart and respiration rate drops and the blood pressure lowers.It also affects the visual weight of a form. Gradation of colour exist from pale to promising from cold to warm. Thus colour expression is also full of meaning.Texture is an important asset of colour. It is the visual and especially tactile quality given to a surface by shape and arrangement, and the proportions of the separate. Texture also determines to which the surfaces of a form reflect or absorb incident light. It gives an expression to the surface, thereby contributing to the overall impression.ColorColors CharacteristicsColors ActionsRedStimulating, exciting, provocative, dynamicIncreased enthusiasm, interest, and energyPinkHappy, sweet, spirited, romantic, youthfulCalm and relaxing feelingsBrownWholesome, rich, durable, rustic, shelteringA connection with the natural earth and the stability this bringsOrangeFriendly, vital, tangy, energizing, invitingIncreases creativeness and gives relief from things becoming too seriousBlueDependable, cool, serene, constant, quietBroadens your perspective in learning new informationGreenRefreshing, healing, fresh, soothing, natureGives emancipation to pursue new ideasPurpleSensual, elegant, mysterious, regal, spiritualCalms over activity or energizes from depressionBlackStrong, classic, elegant, powerful, mysteriousOpens the door to mystery and prepares for the unknown yellowedWarming, sunny, cheerful, luminous, enlighteningGives clarity for decision making and sharper memory and tautness skillswhitePure, bright, innocent, lightweight, pristineStarts a fresh beginningFig. 3.13 Colours in Culture (Source www.informationisbeautiful.net)Table. 3.1 Concept of Colours (Source http//en.wikipedia.org)SymbolismSymbolismWe can identify iconography depicted in architecture of these buildings as the signs and symbols and the inspirations taken directly from some other structure or theories and thoughts spread across the world.A symbol is the apposition that is, a co-optation of visible forms brought forth to demonstrate some infrared matter. One needs to identify with ones religion that is where symbols play an important role.( JosePereira, 2004, The Sacred Architecture of Islam)Table. 3.2 Iconography in major religions (Source JosePereira, The Sacred Architecture of Islam, 2004)Sacred symbolism is considered to be present in every major ghostlike building, around the world. Ic onography of sacred geography in three major religions of the worldTEMPLEMOSQUECHURCHMOUNTAINShikharaMinaretLofty towersSTONEIdolOne that in Kabba altarTREEPresent in courtyardCrossWATERSarovar rite ablutions in courtyardPlace of BaptismBut is it signs and symbolism only which draw an impact on our behaviour. When we get in to some space, is the aesthetical and visual perception only gets conceived in our mind.Fig. 3.15 Temple Bells (Source Author)Fig. 3.14 Prayer at church (Source http//www.mlive.com)Fig. 3.16 Reciting Quran in Mardrsa (Source http//www.mlive.com)SOUNDThe reverberant sound quality created by the proportions and the materials of sacred spaces set them apart from the ordinary. Sacred music, singing, chanting, the ringing of temple and church bells and intoning of prayers characterize specific rituals. The change in sound quality from the cacophony of the roadway to the harmony resonant silence signifies entry into a sacred space. physical contactThe experience of t ouch identifies a sacred space the weight of the door handle, the textures of materials on walls and seating, and the hardness of stone underfoot. A change in temperature, such as the transition from the blazing heat of a busy city street into the cool and solitude of an interior can also denote a sacred space.Most of the textures are touched by vision, iconography, organize an integral part of a temple and a church architecture to convey the complete narrative.Though the following two are not translated into architectural terms, but they form an indispensable part of a complete spiritual experience.SMELLFig. 3.20 Garlands for devotees (Source Author)Fig. 3.18 IItr, scented oilFig. 3.19 Votive Candles (Source Author)Fig. 3.17 Agarbatti (Source http//www.mlive.com)Incense is used extensively in the Roman Catholic and Buddhist traditions as a symbol of prayers going up to the deity. The smell of agarbatti and the flowers offered to deity are indispensable parts of the rituals for Hi ndu as well as many other faiths. The scent sticks are used even in meditation centers as the intoxicating smell stimulates your senses to the positive and calms you down.TASTEFig. 3.23 Christmas cake (Source www.google.com)Fig. 3.22 Korma (Source Author)Fig. 3.21 Laddo (Source Kota Kesava Karthik)Though this sensory experience is deficient in many of the architecture, it still is an integral part of many religious experiences. All the Hindu temples have Prasad and Chanramrit (sweet water) as an indispensable part of the worshipping ritual. Some believe that this custom of sharing sweets is a memorial of the sweetness of the deities. Christians offer holy water in a similar manner. The prasad is obligatory in the Gurudwara too.3.3 SPIRITUAL DIMENSION IN EXISTING BUILDING TYPOLOGY3.3.1 THE HINDU TEMPLEThe Hindu temple is essentially the House Of God. It is not a place for congregational worship. Though congregation for religious ceremonies do take place, but the worshippers commun ication with the divine is his own personal experience. The worshipper goes individually to the house of God and invokes his blessings. Stella Kramisch, in her book, The Hindu Temple says, the intellect of the age, absorbed generally in divine contemplation, is reflected in the temple idol