Dadar, Bombay I Salvacao Church 1974-77, 1983-85 ‘Taking a series of ideas from early Christian churches, che architect has attempted return to original basis. The design is based on the life of Christ expresed through Baptism, the Public Life and the Crucifixion; each ofthese corresponding theologically to Preparation, Instruction of Enlightenment and the Final Sacrifice. Liturgcally, these ideas find their ‘expresion in the Baptismal Font and Con- fesionals; the Pulpit and Alur; and. the “Tabernacle. In the eaelychurchesthe plan and disposition of physical clements clearly reflected these concems. In later churches these elements were integrated under esen tially one major space The design of this church in the Dadar neighbourhood of Bombay commenced in 1974 and the work completed in 1977. The church consists of a series of intetlocking courtyards and covered spaces which allows any of the functions to take place indoors or ‘outdoors depending on the weather. The covered spaces are caped by giant concrete shells the “canons” of eatier works) which actasflues forthe rising hot air. All the areas, ‘both indoor and outdoor, interconnect 50 thatthe spaces — and the breezes — flow across the sie. ‘The bare strength ofthe exposed concrete work provides a stark environment for wor- ship. Ths use of concrete inthe structure and paving, the use of simple woodwork and fir ‘ture contrasts with the richness ofthe altar and the fresco on glass by the famed Indian artist Magbool Fida Husiin for che ceiling light ofthe main shell. Inthe architect's con cept this area represents the extrovert and social aspects of rclgion. Husain’s work ills- trates the Biblical tle of the “Loaves and Fishes" in the glass painting which is divided {nto several segments in the manner of sained~ {gs windows. The artist hat been commis soned to paint a fresco for the ceiling in the same space. The fresco, on the enormous warped shell surface, will depict giant mage of Chris as shepherd watching over his flock. Husain intends to dedicate the fresco to Cimabue, the fountainhead of Ia~ lian Renaissance painting, and intends to use the strong concrete pattems and textures 0 give his work a lean and muscular line. Over the years, de to the humid climate ‘of Bombay, the exposed concrete discolour- ced and ie became necestary to paint the outer shells and beams. In 1983 Correa added to the entrance area ofthe church and changed the facades to add curves where once there were wing the RCC matrix at sitand by the addition ‘of brick stub walls. This softens the Corbu- sian forms he originally used to create the church which adapted the “closed-box archi- tecture of the North” to Indian conditions. ‘The changes, some ten years afer the building's conception, the architect has en= riched views across the sive, generated additional alcoves for worship, and created a more evocative and flamboyant building in this now context Fon ih C ef le See oS sce ae