Concepts of Space in Traditional Indian Architecture

HISTORY vs TRADITION
• History not frozen in time.

• Architectural heritage passed on as cultural

and Architectural tradition.

• Adaptive and Accommodative.

• Architecture as a living Tradition

Alchemy of Time and Space.
‘Multifunctionality’
• Birth, Death and Rebirth.

• Construction, Destruction and

Reconstruction.

• Concept of time and Concept of change

• Time, though cyclic, not Static. It is
Helical.

• A still center and Dynamic Periphery

• Hence Physical space in Indian context is

Vital, Vibrant and dynamic.

• Physical space as static and the functions

as Dynamic periphery.

• Density and shortage of built space as

reasons.
DUALITY
WORLD WITHIN A WORLD.

• Atman and Brahman

• Individuality vs Collective

• A Part and the Whole.

• Individual expression within Collective

confirmity.

• A need of Pluralistic society

DUALITY
World Within A World.

• Courtyard an Element of
Architecture that allows
individuality as well as fitting
with larger schema of the
structure.

A Haveli at Muli, Ranganath Temple,

Gujarat. Srirangam.

Udai Bilas palace,

Dungarpur.

Jagnivas Palace,
Udaipur.
DUALITY
Part and The Whole

Jaisalmer

Jaipur

‘Pols of Ahmedabad
BIPOLARITY OF EXISTANCE
OPPPSITES AS COUNTERPOINTS

• Notion of Counterpoints- opposites

reinforce each other.
The Sun Temple at Modhera, which is composed of
three distinct parts (the kund or tank, the hall or
mandapa, and the temple proper), explicitly uses
the ancient symbolism of interpenetrating triangles
which signify the notion of existence as bipolar.
Here, steps leading to the kund form an inverted
triangle (representing water, the female principle)
which reflects the upward-pointing triangle
(representing fire, the male principle) of the temple
and shikhara (spire).

The Courtyard as another instance of Bipolar

spaces coexisting. Its neither inside nor
Outside.

The Traditional Katta of houses, an apparent

existance of bipolar spaces, the inside and outise,
the private and the pubic.
Spatial Narratives
• Narrate is to communicate
Architecture communicates through spatial tools.

• Through space sequence and organization, elements of space

making or symbolism.

• Communication takes place at three levels: sensorial,

experiential and associational.

• Sensorial (bodily) perception is universal and are almost similar.

• Experiential perception is also universal but are dependent on
the mental and emotional states of the perceiver.
• Associational perception is dependent on pre conditioning and
familiarity with the context or the acquired information. Helps
in understanding cultural connotations.

• Complete communication happens through wholesome

balance of all three.
Spatial Narratives

Hindu temple through

architecture narrates the Hindu
notion of the act of prayer as
personal and one to one
connection between the god and
the devotee.
Spatial Narratives
Traditional Indian Architecture narrates,
communicates :

• through Kinesthetics –Kinetic Aesthetic

• Through Visual Framing and Imagery.

• Through Semiotics- signs, symbols and

motifs
Kinaesthetic:
Meenakshi Sundareshwar Temple
Madurai, 15th to 18th C
Kinaesthetic:
Hutheesing JainTemple
Ahmedabad, 19th C
Visual Framing & Imagery:
From spatial organization to symbolic
representation, narratives are creatively
fused into Indian architecture through
various means.

Primary among these are Visual framing

and Visual imagery.

Visual coordination and perception at

human level to create captivating visual
frames and compositions.

Juxtaposition of architectural elements to

create optical illusions creating eventful
journey through architectural space evoking
curiosity and surprise in the perceiver.
Use of Visual Imagery to communicate and Bibi ka maqbara,
narrate the ultimate goal or truth is part of aurangabad.
Indian architecture.

Fateh pur Sikri Sun Temple, Modera Kanchipuram

Pavilion, Jahaj Mahal, Mandu.

 Queen’s
Semiotics: step well
at Patan

Narratives through
semiotics: India is a
country enriched by
tradition and folklore,
almost every aspect of
Indian life has special
significance and this is
translated into symbolic
expressions.

Metaphors, Sign and

symbols are used as visual
cues creating allegories,
allusions and associations.
Organisational Principles for Spatial Narrative
In Indian Architecture.

• Disparate Visual and Physical Axis

Organisational Principles for Spatial Narrative
In Indian Architecture.

• Layering for sequential unfolding of

spaces
Organisational Principles for Spatial Narrative
In Indian Architecture.

• Movement- a key to conditioning of the

mind
Organisational Principles for Spatial Narrative
In Indian Architecture.

• Option of multiple movement paths

• Multiple Movement paths for Personal and
Intuitive Experience:

Baffles, Thresholds and voids help one to pause,

reorient and choose further movement path.

They help users to make informed choices of

movement based on individual preferences and
personal pursuits. Meenakshi Temple Madurai

These multiple built in paths for kinesthetics

celebrate multiplicity and diversity of pluralistic
society of India and multiple value systems.

It also respects Individual freedom and choice.

Padmanabhpura Palace,
Tiruvanantapura

Royal Complex, Fateh pur Sikri

• Multifunctionality of spaces and Kinesthetics:

Change in use of same space with passage of time

also leads to varied kinesthetcs .

Effective optimization of space resource over time

lends dynamic quality to the space.
MODHERA- SUN TEMPLE
Each of the three constituent parts of the Sun Temple is
complete in itself, but all are integrated into a unified
whole by a single east-west axis. Yet, as Pandya explains,
the ritual route deliberately breaks this spatial axis,
avoiding "a one-time registration of the overall complex",
because the journey through the temple is not merely
physical but also spiritual, involving a gradual progress
from the mundane world of the kund, through the sacred
space of the mandapa, and so on to the sanctum, the
abode of the god.

This breaking with imposed axialities, frequent changes in

direction, and gradual revelation of sacred mysteries is
also evident at other monuments.
At the KAILAS TEMPLE AT EIIORA, the blank wall with its small
entrance doorway gives the visitor no clue as to what lies
behind. It is only after one reaches the verandah to the upper
level that the magnificence of the temple is revealed,
impelling one forward through a circulation path that leads
from one defined space to another. Visual sculptural frames
add a further dimension to the journey, culminating in the
mysterious dimly lit space of the garbhagriha (sanctum
sanctorum)