Site Analysis

         SITE ANALYSIS

Variety of trees include Palm, Gulmohar, Ashoka, Banyan, Pongamia, etc both in and around the site, making the entire place scenic and beautiful - a contrastic feel of an urban scenario.

Rich, red laterite soil being lose as we approach the river.

Natural visual and sound buffers from the river, vegetation and the surrounding maintain range. 

1) SITE LOCATION AND SURROUNDING

12.919654°N   77.292881°E

A hill 60 km west of Bangalore, Karnataka, India) off the Magadi road. The hill is considered to be among the largest monolith hills in Asia.  The hill rises to 1226 m above mean sea level and forms a part of the Deccan Plateau. It consists of peninsular gneiss, granite, basic dykes and laterites. The Arkavathi river passes nearby to the Manchanabele dam - making it a scenic location for an experiential peace centre.

SITE LOACTION AND SITE SURROUNDINGS

2) TOPOGRAPHY AND NATURAL DRAINAGE

Slopes:

1% min. for drainage

2% sheet flow 

The site has a gradual slope of 1:40 (2% slope). The level difference between the highest and lowest points of the site is 7m. One prominent ridge and valley run across from the highest to the lowest contours and vice versa.

The entire site area is buildable.

3) VEGETATION AND SHADOW ANALYSIS

The trees on the W and N provide a buffer from the noise produced from roads. The avenue of evergreen trees on the N and NE side shade the area throughout the day and through out the year and direct sight lines. 

The Banyan tree (canopy – 30m height – 50m) acts as a dust barrier and provides shade all year round.

The Asoka trees (height – 35m), prevents glare and shades from sun during the summer and lets solar radiation pass through during the winter months. The changing colour of Gulmohar leaves also adds an interesting element.

TOPOGRAPHY AND HYDROLOGY

VEGETATION AND SHADOW

4) SENSORY ANALYSIS

Views and vistas:

The desirable views from the site are to the red sandstone rocky outcrop on the SE side of the site. The avenue of trees directs views. The undesirable view towards the vehicular roads on the west is blocked by a line of trees. 

Unobstructed desirable views of the mountain range to the site are provided on the northern side. This would be an ideal location for a defining structure/building. And lake views from the E makes views on these sides scenic.

Sound:

The major source of vehicular sound is from the roads. The trees lining the edge of the site along the highway form a buffer from the noise. Placing main building block near the desirable sounds of the flowing water masks the undesirable noises.

Odour:

The STP would produce unwanted odour that needs to be blocked out. It should not be placed such that the wind blows over it and brings the odour into the site.

VIEWS - FROM AND TO, NOISE - DESIRABLE AND UNDESIRABLE

5) CIRCULATION

The main ingress and egress points are provided from the NH 8 at about a distance of 2 kms from site.

Vehicular entry to the site is provided from the N and W of the site. 

The pedestrian entry can be provided from the N route as it is extensively shaded by avenue of trees. 

The service entry will be provided from the NH 8 at the point nearest to the STP and other service areas. 

6) SERVICES

Electricity: An electric tower is situated 160m from the north boundary of the site. Electric lines pass along the edges of the site. 

Water supply: A water tank is located 45m from the east edge of the site from where water can be tapped into the water tank of the site on the highest point (NE corner).

Drainage: The water flows towards the road due to the natural slope of the land. 

Sewage: The STP is in the NW corner of the site (lowest point & odour is carried out of the site by the wind)

SITE CIRCULATION - INGRESS, EGRESS AND CONNECTING THE EXISTING ROADS FOR PARKING

                                                                                                             AKSHATA B.V.

Models

                                                            STUDY MODELS

Site Justification

SITE JUSTIFICATION

SAVANDURGA

source: on site photography

A hill 60 km west of Bangalore, Karnataka, India) off the Magadi road. The hill is considered to be among the largest monolith hills in Asia.  The hill rises to 1226 m above mean sea level and forms a part of the Deccan Plateau. It consists of peninsular gneiss, granite, basic dykes and laterites. The Arkavathi river passes nearby through the Thippagondanahalli reservoir and on towards Manchanabele dam - making it a scenic location for an experiential peace centre.

EXISTING PEACE CENTRES CONCENTRATED ON ONE SIDE OF THE SPINE(NH8).

CLOSEST EXISTING MEDITATION CENTRE BEING AT A DISTANCE OF 25Kms FROM THE PROPOSED PROJECT

AWAREHALLI BEING THE MOST POPULATED AREA IN AND AROUND THE SITE, AND FURTHER ATA CLOSE PROXIMITY TO THE EXISTING VILLAGES OF LESSER POPULATION MAKES IS AN IDEAL SITE LOCATION.

                                                                                                                                            AKSHATA B.V.

Concept

CONCEPT

LITERATURE STUDY - 2

MATRIMANDIR

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.

While walking through the lovely green Matrimandir Gardens (divided into 12 individually named parks such as "Harmony", "Bliss", Perfection" each with their variety of flowers, shrubs and trees, one's attention is greatly drawn by this important and powerful feature at the heart of the city which was seen by the Mother as the "symbol of the Divine's answer to man's aspiration for perfection" and as "the central cohesive force" for the growth of Auroville.

Common factor  For CONCEPT-

Mother-his Pavilion “Matrimandir”, which she translated in English as “The Mother’s Shrine”-  which seeks to help humanity move beyond its present limitations into the next step of its evolutionary adventure, the supramental consciousness - SYMBOLISM

As you have the vision of one in India whom you call the Divine Mother, the Catholics say it is the Virgin Mary, and the Japanese call it Kwannon, the Goddess of Mercy, and others would give other names. It is the same Force, the same Power, but the images made of it are different in different faiths.

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.

COMPLEX CONSISTS OF -

INNER CHAMBER

The spacious Inner Chamber in the upper hemisphere of the Matrimandir is completely white, with white marble walls and deep, white carpeting. In the centre sits a pure crystal-glass globe which suffuses a ray of electronically guided sunlight that falls on it through an opening at the apex of the sphere. This luminescent globe radiates natural lighting in the Inner Chamber.

the Golden Section and the proportions of the Great Pyramid are precisely incorporated in its cross section - making the space suitable by using harmonics.

OUTER CHAMBER

The diffuse sunlight behind the golden disks should shine through the 800 portholes in the ferrocement skin, illuminating 800 translucent orange-pink triangles, which form the Matrimandir's Inner Skin. So that the whole inside of Matrimandir is filled with orange-pink glow, coming from all sides, and no design-element or detail behind the orange screen should disturb the peaceful impression.

The outer skin of Matrimandir is to be totally covered by decorative, golden, concave and convex discs. Mounted onto the structure by a system of metal rods, they will have the practical function of shading the building from the strong sunlight of south-India.

From both the above chambers, emphasis on light and intensity of light is given to create the required feel to the place.

MEDITATION ROOMS/PETALS

This is not only so because they add to the image of the New Consciousness breaking forth from Matter, but also since each of these circular spaces will carry the name and colour of one of the 'petals' of the Mother's symbol, so that users can choose the appropriate egg-shaped meditation spaces according to their need of the moment like Sincerity, Peace, Equality, Gratitude, etc..

These petals are fanning from the promenade around the pond beneath the Matrimandir and extending for over forty meters, gradually descending to ground level and the inner gardens.

GARDENS

the Matrimandir, situated in a large open area called 'Peace'. The atmosphere is quiet and charged, and the area beautiful, even though work continues in the Gardens named - bliss, light, life, power, harmony.

The Matrimandir can be viewed as a large golden sphere which seems to be emerging out of these gardens, symbolising the birth of a new consciousness.

The twelve pathways between the petals lead directly into Matrimandir via staircases between the pillars, and to the pond underneath itself.

LOTUS TEMPLE

CASE STUDY - 2

BAHAI TEMPLE, DELHI

The Bahai House of Worship in Delhi, India, popularly known as the Lotus Temple due to its flowerlike shape, is a Bahai House of Worship and also a prominent attraction in Delhi. It was completed in 1986 and serves as the Mother Temple of the Indian subcontinent.

The temple gives the impression of a half-open lotus flower, afloat, surrounded by its leaves. Each component of the temple is repeated nine times. The temple is open to people of all faiths, languages and cultures. It is a symbol of a United India.

STRUCTURAL PLANNING

The Lotus temple reaches a height of more than 40m. One can see 27 giant white petals of marble in a lotus shape, springing from nine pools and walkways indicative of the nine unifying spiritual paths of the Bahai’s faith. The temple complex consists of the main house of worship; the ancillary block which houses the reception centre, the library and the administrative building; and the restrooms block.

OUTER EXPERIENCE

All around the lotus are walkways with beautiful curved balustrades, bridges and stairs, which surround the nine pools representing the floating leaves of the lotus. Apart from serving an obvious aesthetic function, the pools also help ventilate the building.

The lotus, as seen from outside, has three sets of leaves or petals, all of which are made out of thin concrete shells.

·         The outermost set of nine petals, called the ‘entrance leaves’, open outwards and form the nine entrances all around the outer annular hall.

·         The next set of nine petals, called the ‘outer leaves’, point inwards. The entrance and outer leaves together cover the outer hall.

·         The third set of nine petals, called the ‘inner leaves’, appears to be partly closed. Only the tips open out, somewhat like a partly opened bud. This portion, which rises above the rest, forms the main structure housing the central hall.

Thus we can conclude that, the form of the built structure itself dictates the different functions of the interior spaces.

INNER EXPERIENCE

When viewed from inside, each layer of ribs and shells disappear as it rises, behind the next, lower layer. Some of the ribs converge radially and meet at a central hub. The radial beams emanating from the inner leaves described earlier meet at the centre of the building and rest on this hub. Consideration to the effects of temperature changes and wind are made during the design and execution stages - providing a line of sight following the form till the central top portion as the main focus.

The nine doors of the Lotus Temple open onto a central hall, capable of holding up to 2,500 people. The House of Worship, along with the nine surrounding ponds and the gardens around comprise 26 acres area.

EXTERNAL AND INTERNAL ILLUMINATION

The interior dome, therefore, is like a bud consisting of 27 petals, and light filters through these inner folds and is diffused throughout the hall. The central bud is held by nine open petals, each of which functions as a skylight. The nine entrance petals complete the design.

The external illumination is arranged to create the impression that the lotus structure is afloat upon water and not anchored to its foundation, by having the light focused brightly on the upper edges of the petals.

Regarding the use of water, a glance at the design will show that the nine pools around the building form the principal landscaping. At the same time, they represent the green leaves of the lotus afloat on water. Moreover, the pools and fountains help to cool the air that passes over them into the hall.

And the above mentioned spaces which includes the superstructure, podiums and the pools are closely knit such that one without another does not form a whole.

THERMAL COMFORT

Natural ventilation - By making openings in the basement and at the top, the building would act like a chimney, drawing up warm air from within the hall and expelling it through the top of the dome. Thus, constant draughts of cool air passing over the pools and through the basement flow into the hall and out through the opening at the top-soothing feel achieved through thermal comfort.

MATERIALS USED

The outer surface of the shells, as also the inner surface of the arches, are cladded with white marble panels fixed to the concrete surface with specially designed stainless steel brackets and anchors. 10,000 sq.m. of marble was quarried from the Mount Pentilekon mines of Greece and thereafter sent to Italy, where each panel was cut to the required size and shape to suit the geometry and architectural pattern before transporting them to the site in Delhi.

The reinforcement used was entirely galvanized steel to avoid the long term negative effects of iron rusting. A Concrete mix design of M30 concrete has been used.

HAMPIIII...

LITERATURE STUDY - 1

VITHALA TEMPLE, HAMPI VIJAYANAGAR

Vithala temple is the most exquisitely ornate temple building in Hampi Vijayanagar. It was begun by the emperor Sri Krishna Devaraya in 1513 C.E, but could not be completed owing to its elaborate character.

PLAN

• It stands within a rectangular courtyard of 152 meters long by 95 meters long by 95 meters wide, which is surrounded by cloisters containing triple row of pillars - providing a guided pathway.

• Entrance is made through three gopurams, those on east and south being more important - attracting people to enter.

• There are six separate structures, mostly in the form of pillared halls. The largest is the main temple occupying the center - showing emphasis on special arrangement.

• The central building is dedicated to Lord Vishnu in the form of Vittala (Panduranga) and is a low structure of one storey averaging 7.5 meters in height and 70 meters in length aligned from east to west.

It consists of the following three compartments.

• Ardha-mandapa or open pillared portico in the front.

• Mandapa or closed Assembly hall in the middle.

• Garbha-griha or sanctuary in the rear.

ARDHA-MANDAPA OR OPEN PILLARED PORTICO

This south view of the entrance porch illustrates some of the original splendor of the building. One thing to notice here is the Chinese-style "S"- curved roof, which contains stone loops at the corners (underneath the tips of the eves) for the insertion of flagpoles. Three such loops are visible here, one at the upper left corner and two at the upper right of the photo.

• The compartment which first attracts is Ardha-mandapa or a columned pavilion measuring 30 metres side with deeply recessed sides - showing consideration towards thermal comfort of the users.  

• This stands on a molded plinth, 1.5 metres high with flights of steps elephant guarded on its three free sides - emphasis of the premises by increasing the elevation of the most important place.  

• The whole is heavily shadowed by means of an immensely wide eave and above the parapet raises an irregular outline of brickwork turrets - relief from the harsh external features like sun, rain, etc.  

MANDAPA OR CLOSED ASSEMBLY HALL

• The chief feature of this columned hall is its range of pillars, 56 in numbers each 3.6 metres in height - letting visual connection from the exteriors.  

• Each pier comprises an entire sculpted group, being fashioned out of one large block of granite - letting people to indulge with the architecture itself.  

• Cluster of delicately shaped columns form the central portion of these broad supports, while interposed between them is the rearing animal motif, half natural half mythical but wholly rhythmic - strictly following harmonics. 

• This cluster design is united with a single capital above and a molded pedestal or base below.  

• Over these piers are bracket supports of large size combined with profusely carved entablatures and above all a flat ceiling ornamented with sunken lotus flowers.

DRUMMER 

This drummer is one of the statues that graces the "hall of music" inside the temple.

Apparently the colonettes, when lightly tapped by a wooden stick, produce "musical" tones - setting the mood of playfulness and aiding in leaving their normal lives behind.

GARBHA-GRIHA OR SANCTUARY

• The mandapa and sanctuary combined is a rectangle of 41 metres long and 21 metres wide.  

• This is entered from east.  In addition it has two side entrances each having steps and porch.  

• Least amount of ornamentation and light.  

• At the other end is the Garbhagriha measuring externally 23 metres side. 

ARCHITECT AND HIS DESIGN PHYLOSOPHY - DANIEL LIBESKIND

ARCHITECT AND DESIGN PHILOSOPHY

Ar. Daniel Libeskind, an internationally acclaimed architect and  urban designer, is well known for introducing a new critical discourse on architecture and for his multidisciplinary approach. 

His practice extends from building major cultural and commercial institutions—including museums and concert halls—to convention centers, universities, housing, hotels, shopping centers, and residential work. He also designs opera sets and maintains an object design studio.

DESIGN PHILOSOPHIES

Transforms lofty ideas and powerful emotions into the physical forms of buildings.

He collects ideas about the social and historical context of a project, mixes in his thoughts, and transforms it all into a physical structure representing a deep symbolic meaning.

Famously known as 'de-constructivist’.

His style constitutes a recognizable "brand". The brand consists of sharp, angular, metallic shards, with gravity-defying walls, and conveys the unmistakable thrill of indiscretion.

HIS WORKS INCLUDE

1) 18.36.54 House, Connecticut, USA

 Its18 folds yield 36 knifelike points and 54 lines (both folds and edges) following a mathematical series that guided Libeskind and gave the house its name “18.36.54″. 

2) The Jewish Museum, Berlin

The Jewish Museum Berlin, which opened to the public in 2001, exhibits the social, political and cultural history of the Jews in Germany from the 4th C to the present.

It is not specifically a Holocaust museum; its purpose is to illustrate the intellectual, economic and cultural contributions of Jewish citizens in Berlin, to highlight the void left because of World War II, and to cultivate a collective memory that goes beyond Jewish consciousness to all cultures and permeates the entire social fabric of the city.

Within the post-modern approach, Libeskind employed the theories of deconstructivism, which is characterized by fragmentation, non-rectilinear shapes and a manipulation of a structure’s facade in order to create a controlled chaos that heightens the user experience.

Internally, the museum’s circulation is a collection of interconnected pathways and voids, which segment the user experience, forcing visitors to pause and reflect.

Externally, the museum’s fragmented form takes on the shape that of a large zigzag line, which earned it the nickname "blitz", German word for thunderbolt.

3) WTC (Freedom Tower), New York City

Competing against many of the world's most accomplished architects, Libeskind conceived a design (won the competition in February 2003) that incorporated, in its every aspect, the significance of the tragedy that took place at that site on September 11, 2001, when terrorists attacked the twin towers of the World Trade Centre. 

The design included a series of buildings to hold offices, residences, a performing arts center, and shopping centres; the tallest building was to be 1,776 feet, a number chosen by Libeskind to recall the year the United States gained independence from Britain. The shape of the building, which was to be topped by a tall spire, would echo that of the nearby Statue of Liberty.