DISSERTATION

Year: 2021-22
Batch No. 19

CONTEMPLATIVE SPACES IN ARCHITECTURE

Undertaken by:

Shivika Agrawal

Enrollment No.: 17E1AAARF45P106

V Year B.Arch. (C)

Prof. ANUBHAV MITTAL Prof. ARCHANA SINGH

GUIDE RATHORE
COORDINATOR

Aayojan School of Architecture

ISI-4, RIICO Institutional Block,
Sitapura, Jaipur-302022
 APPROVAL

The study titled “Contemplative Spaces in Architecture ” is hereby approved as an original work of
Shivika Agrawal enrolment no. 17E1AAARM40P021 on the approved subject carried out and
presented in manner satisfactory to warrant its acceptance as per the standard laid down by the
university. This report has been submitted in the partial fulfillment for the award of Bachelor of
Architecture degree from Rajasthan Technical University, Kota.

It is to be understood that the undersigned does not necessarily endorse or approve any statement
made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose
it has been submitted.
12.12.2021
Jaipur

EXTERNAL EXAMINER 1 Prof. K.S. MAHAJANI

PRINCIPAL

EXTERNAL EXAMINER Prof. ARCHANA SINGH

RATHORE

i
 DECLARATION

I, Shivika Agrawal, here by solemnly declare that the research work undertaken by
me, titled ‘ Contemplative Spaces in Architecture ’ is my original work and wherever I have
incorporated any information in the form of photographs, text, data, maps, drawings, etc. from
different sources, has been duly acknowledged in my report.

This dissertation has been completed under the supervision of the guide allotted to
me by the school. Further, whenever and wherever my work shall be presented or
published it will be jointly authored with my guide.
Shivika Agrawal
V Year B.Arch (C)
Aayojan School of Architecture, Jaipur

CERTIFICATE

This is to certify that the research titled, Contemplative Spaces in Architecture is a bonafide work by
Shivika Agrawal of Aayojan School of Architecture, Jaipur. This research work has been completed
under my guidance and supervision in a satisfactory manner. This report has been submitted in partial
fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University,
Kota.This research work fulfills the requirements relating to the nature and standard laid down by the
Rajasthan Technical University.

Prof. Anubhav Mittal

Guide
Aayojan School of Architecture,Jaipur

ii
 ACKNOWLEDGEMENT

This report has been as essential part of my architecture education, and

helped me broaden my field of knowledge. It would not have been possible
without the support of the institution to take up this dissertation research
for which I would like to thank, Principal and Director, Prof. K.S. Mahajani
for providing a conducive environment and the proficient faculties who
made this dissertation a fruitful learning process.

I would also like to thank the Dean of Academics, Prof. N.S. Rathore for his able advice and valuable
time throughout the research process.

I would like to express gratitude to Dissertation and Thesis Coordinator, Prof. Archana S. Rathore, for
giving me a chance to take up this research and constant motivation throughout.

My sincere thanks to my dissertation guide, Prof. Naveen Sharma for his valuable advices and
criticisms throughout my research journey, which helped me learn better and produce better results.

Lastly, I would like to express my heartfelt gratitude to my friends and family who have constantly
motivated me throughout my journey, without whom this would not have been successful.

Shivika Agrawal
V Year B.Arch. C
Aayojan School of Architecture, Jaipur

iii
 ABSTRACT

Space for contemplation helps architecture reach more spiritual realms. By allowing users to have a space
where they can think, pray, meditate, or simply just be in the present moment. Contemplative spaces
create an environment for user where one can achieve mindfulness. One needs a certain time for
ourselves to realize and analyze the inner most consciousness, Humans have now got a tendency to get
attracted to what is outside them and not what lies within. Though peace can be found anywhere and
everywhere but, because of the hush and bush around, people are getting away from the real spirituality
Le. '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
forward 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.

This research studies the qualitative parameters of contemplative spaces such as philosophy and various
elements which helps in creating the experience soul stirring for the user. The cases which were required
to direct this research are: Widhover Contemplative Center, Shreyas Retreat Centre, Jawahar Kala Kendra
and Osho Dham. The research also focuses on the experience of human beings in such spaces.

The method used in this research is based on literature review for collecting data and observation to
identity and analyze the qualities of various spiritual spaces. By comparing the result of identified cases
the final result would be obtained.

The study would conclude that the Fundamental elements of contemplative center enhances the user
experience. Various design elements would be recommended that helps in enhancing the user experience.

iv
 CONTENTS

Approval
Declaration
Certificate
Acknowledgement
Abstract
Contents
List of illustrations
List of fables

CHAPTER 1 : INTRODUCTION 1-5

1.1 Background of the study
1.2 Criteria of selection
1.3 Hypothesis
1.4 Aim
1.5 Objective
1.6 Scope
1.7 Methodology

CHAPTER 2 : CONTEMPLATIVE SPACES AND ITS CHARACTERISTICS 6-11

2.1 Introduction
2.1.1 Contemplation
2.1.2 Contemplative Spaces
2.2 Types of Contemplative Spaces
2.3 Qualitative parameters

v
CHAPTER 3 : IDENTIFIED CASES OF BUILT ENVIRONMENT 12-24

3.1 Secondary Case-Studies

3.2 Primary Case- Studies

CHAPTER 4 : ANALYSIS 25-26

4.1 Comparitive Analysis of Case Identification

CHAPTER 5 : CONCLUSION 27-28

5.1 Conclusion
5.2 Recommendations
Bibliography

vi
 List of Illustrations

Figure Illustration Title Page No. Source

Chapter 1 : Introduction

Firmitas, utilias, venustas 1 https://images.app.goo.gl/

Fig 1.1
NykP5MuBgzMCJ4CM8
https://specgradeled.com/wpcontent/
Fig 1.2 Contemplative environment 1
uploads/2020/01/sportslight1.jpg

Fig 1.3 Mind, Body and Soul 2 http://westinghouselighting .com/color-

temperature.aspx

Chapter 2 : Contemplative spaces and its Characteristics

Fig 2.1 Interrelation chart 6 https://www.youtube.com/watch?

v=BUYeQa_-ojk

Fig 2.2 Contemplative tree 6 https://www.youtube.com/watch?

v=BUYeQa_-ojk

Fig 2.3 Landscape contemplative 6 https://www.archdaily.com/

Fig 2.4 sketch showing sanctuary mode 7 Author

Fig 2.5 Aerial view 7 https://www.google.com/imgres

Fig 2.6 Theatric mode 7 Author

Fig 2.7 Aisle view 7 https://en.m.wikipedia.org/wiki/

File:Temple_de_Louxor_68.jpg

Fig 2.8 sketch showing contemplation 8 Author

mode

Fig 2.10 Color pyschology 9 istock.com

Fig 2.11 Sketch showing creek 9 Author

Fig 2.12 Fountain 9 https://oshoworld.com/oshodham/

9 https://www.architecturalrecord.com
Fig 2.13 Light role

10 https://www.architecturalrecord.com
Fig 2.14 Widhover view
 Fig 2.15 shaded spiral pathway 10 https://www.youtube.com/watch?
v=BUYeQa_-ojk

Fig 2.16 View 10 https://www.youtube.com/watch?

v=BUYeQa_-ojk

Fig 2.17 Light and shadow 10 Book : Psychological impact of light and
colour

Fig 2.18 Transitional space 8 https://oshoworld.com/oshodham/

Fig 2.19 Entrance 11 https://www.google.com/imgres

Fig 2.20 Sketch Author

11

Fig 2.21 Entrance of oshodham 11 https://oshoworld.com/oshodham/

Chapter 3 :

Fig 3.1 Frequencies of light 6 https://www.google.co.in/maps

Fig 3.2 Speed of light 6 https://www.architecturalrecord.com

Fig 3.3 Picture showing the role of 7

https://www.architecturalrecord.com
light

Fig 3.4 Glass facade 13 https://www.architecturalrecord.com

Fig 3.5 Rammed earth walls 14 https://www.architecturalrecord.com

15 https://www.architecturalrecord.com
Fig 3.6 View

Fig 3.7 Plan and Section 16 https://www.architecturalrecord.com

Fig 3.8 Color psychology https://eduindex.org/2021/07/11/color-

psychology/

Fig 3.9 View from courtyard https://www.architecturalrecord.com

Fig 3.10 Stawberry creek sketch Author

Fig 3.11 creek running along the https://www.archdaily.com/608268/

edge windhover-contemplative-center-aidlin-
darlin-design
Fig 3.12 Light and shadow 15 https://www.archdaily.com/608268/windhover-
contemplative-center/

Fig 3.13 Corridor sketch 15 Author

Fig 3.14 Corridor acting as 15 https://www.archdaily.com/608268/windhover-

threshold contemplative-center/

Fig 3.15 Creek flowing through 16 https://www.architecturalrecord.com

side’s edge
Fig 3.16 view 16 https://www.archdaily.com/608268/windhover-
contemplative-center/
Fig 3.17 Sketch showingstawberry 16 Author
creek

Fig 3.18 Google maps showung 17 https://www.google.co.in/maps

location of Shreyas Retreat

Fig 3.19 Master plan https://www.archdaily.com/795356/

17
Concept and Philosophy shreyas-retreat-the-purple-ink-studio

Fig 3.20 Role of light 18 https://www.archdaily.com/795356/

shreyas-retreat-the-purple-ink-studio
Fig 3.21 Brick jaali facade 18 https://www.archdaily.com/795356/
shreyas-retreat-the-purple-ink-studio

Fig 3.22 Courtyard 18 https://www.archdaily.com/795356/

shreyas-retreat-the-purple-ink-studio

18 https://www.archdaily.com/795356/
Fig 3.23 shreyas-retreat-the-purple-ink-studio

Fig 3.24 Suken Exterior 19 https://www.archdaily.com/795356/

shreyas-retreat-the-purple-ink-studio

Fig 3.25 Pergola 19 https://www.archdaily.com/795356/

shreyas-retreat-the-purple-ink-studio

Fig 3.26 Transitional space 19 https://www.tripadvisor.in/

Fig 3.27 Courtyard 19 https://www.archdaily.com/795356/

shreyas-retreat-the-purple-ink-studio

Fig 3.28 Location 20 https://www.google.co.in/maps

Fig 3.29 Concept 20 https://oshoworld.com/oshodham/

Fig 3.30 Meditation 21 https://oshoworld.com/oshodham/

Fig 3.31 Sound Vibrartion 15 https://oshoworld.com/oshodham/

Fig 3.32 Circular pathway 15 https://www.tripadvisor.in/

Fig 3.33 Outdoor landscape 15 https://www.tripadvisor.in/

Fig 3.34 Meditation Hall 16 https://www.tripadvisor.in/

Fig 3.35 Location 16 https://www.google.co.in/maps

Fig 3.36 Concept and Philosophy 16 https://thinkmatter.in/2021/07/02/

modern-heritage-jawahar-kala-kendra-
jaipur/
Fig 3.37 Zoning 17 Author

Fig 3.38 Circulation 17 Author

Fig 3.39 Hardscape -landscape plan 24 Author

Fig 3.40 View from courtyard 24 http://jkk.artandculture.rajasthan.gov.in/

content/ArtandCulture/

Fig 3.42 Light and shadow play 24 http://jkk.artandculture.rajasthan.gov.in/

content/ArtandCulture/

Exhibition hall http://jkk.artandculture.rajasthan.gov.in/

Fig 3.43 24
content/ArtandCulture/

Fig 3.44 Stepped Seatings 24 http://jkk.artandculture.rajasthan.gov.in/

content/ArtandCulture/

Chapter 5 :

Fig 5.1 Transitional space 27 https://www.tripadvisor.in/

Fig 5.2 Courtyard 27 https://www.archdaily.com/795356/

shreyas-retreat-the-purple-ink-studio

Fig 5.3 Location 28 https://www.google.co.in/maps

Fig 5.4 Concept 20 https://oshoworld.com/oshodham/

Fig 5.5 Meditation 21 https://oshoworld.com/oshodham/

 CHAPTER 1
INTRODUCTION
1.1 BACKGROUND OF THE STUDY -

Thesis Topic - Artists Residency, Allepey, Kerala

The earliest surving unting on the subject of architecture is

Vitruvaus De architectura from the 1" century BCE. According
to Vitrumus, a good building should satisfy the three principles
of firmitas, utits and venustas.
The first two principles, durability and utility are
straightforward and rational objectives, practical requirements
that a building should meet in order to shelter and protect its
inhabitants.
It is the third principle, beauty, which appears to be more
complex and raises some interesting architectural, psychology
and philosophical a significance. Figure 1.1 Firmitas, utilias, venustas

According to Pallasma, an impressive architectural experience sensitises our whole physical and
mental receptivity. After decades of abstract scientific theory, it is urgent that we return to a
qualitative, phenomenological understanding of architecture Aravet, who stresses the importance of
phenomenology in contemporary architectural discourse, describes phenomenology as "a core field of
philosophy that is rooted in the first person.

Architecture is a phenomenon that defines the

quality of the built environment whilst
accommodating various funcfions and an expression
of thoughts, preferences, beliefs and emotions in
built form, symbolically communicating with its
users.
Architecture relates to the spirit of a place an
environment where user engages for his daily
activities. Such a place can be defined by cosmic,
spiritual and natural qualities.
Figure 1.2

1
 1.2 CRITERIA OF SELECTION

Space for contemplation helps architecture reach more spiritual

realms. By allowing users to have a space where they can think,
pray, meditate, or simply just be in the present moment.
Contemplative spaces create an environment for user where one
can achieve mindfulness.
The Study will help in understanding Contemplative spaces and its
fundamental parameters. Contemplation architecture involves built
environment that serves as a space for direct and purposeful
meditition.
Figure 1.3 Mind, Body and Soul

Therefore a detailed study of spaces that is helpful in making an atmosphere for contemplation is
important. The quality of built environment will have a major role in this research.

1.3 RESEARCH QUESTION

1) What are qualities of a space that makes it contemplative ?

2)What parameters are considered while designing such a space?

3) What are contemplative spaces and why is it important?

4) How can nature enhance contemplative experience?

5) How will the elements of Architecture favorable for Contemplative experience?

2
HYPOTHESIS

Fundamental elements of Contemplative space enhances user experience

AIM -

Analysing the qualities of Architecture that contributes in making the environment helpful in
achieving mindfulness.

SCOPE :
Research would include the study of the qualitative parameters of a Contemplative Spaces . The study
will also focus on the comparitive analysis of the case-studies.

LIMITATION :
The study will be limited to qualitative parameters of contemplative spaces, it will not include
phenomological aspect of the contemplative spaces.

OBJECTIVE:

1) To understand Contemplative Spaces and Qualitative parameters of Contemplative Space.

2) To compare the built environment of various Identified cases

4) To conclude the physical paramters of the contemplative space help users in achieving the state of
contemplation

3
1.7 RESEARCH METHODOLOGY

Selection of Topic
Contemplative Spaces in Architecture

Formulating Research Questions

Hypothesis Statement:
Fundamental elements of contemplative space enhances user ecperience

Aims and Objectives

Understanding scope and Limitation of study

Analyzing the qualitative Understanding the spatial

parameters and design requirements of the space
strategies used

Research Papers Literature

Surverys Studies
case-studies Books

Analysis

Conclusion and Recommendations

4
 CHAPTER 2
CONTEMPLATIVE SPACES
AND ITS
CHARACTERISTICS
 1.1 Contemplation

con·tem·pla·tion  
Contemplation
1. The act or state of contemplating. 
2. Thoughtful observation or study. 
The word contemplate is derived from the Latin word, meaning Mental Health
Architecture
"to observe, especially in a space marked off for observation".
With the word space integrated into the actual origin of the
word, inherently a concern for the relation between the designed
Mindfulness Neuroscience
space and the act of contemplating arises.

Figure 2.1

The dictionary explains contemplation equals meditation on spiritual matters, but contemplation can’t be
considered to be an equivalent of meditation. Meditation is focussed on something or someone specific; a
subject. In modern society, the definition of contemplation is often used in a non-religious context. It is
referred to as a mode of profound self-reflection, the devotion is not necessarily addressed , but rather
towards the essence of the subject’s own spirit. In this research, only non-religious manifestations are
considered.

2. 2 What are Contemplative Spaces ?

Contemplative spaces are the spaces designed that create an environment where the act of contemplation
can be achieved very easily. These are not to be considered as isolated building typologies, just like
churches or sanctuaries, but as integrated accessories for different building uses. The physical design
responsible for such movement can be a range of contexts, from sacred spaces such as religious buildings,
to calming gardens, to spaces of refuge in vibrant urban centres.  

Figure 2.2 Figure 2.3

6
 2.2
2.3 Types
Types of
of Contemplative
Contemplative Spaces
Spaces

1. Sanctuary mode

This type entails architectural forms that simply provide boundaries between the wider, presumably
more prosaic, environment.

Example :

The Christian abbey or monastery

is a clear example of a building in
sanctuary mode.

Figure 2.4 Figure 2.5 Aerial View

2. Theatric mode

The theatric mode involves architectural forms creating a stage-setting or backdrop for theatrical
spiritual activities. This can be seen in most churches which feature raised pulpits or stages where
sermons can be performed.

Example :
Traditional protestant cathedral is a clear example of this mode, with its
clear focus point on the altar and the spectacle of the mass, the building has
a clear facilitating theatrical function, giving meaning through its scale and
impressive but modest architecture.
Figure 2.6

Figure 2.7

7
3. Contemplation mode

This involves built configurations that serve as the actual object of direct and purposeful, meditative
attention. This is when architecture not only facilitates a contemplative experience, but is also crucial
in instigating it.

Examples :

The Temples in Cambodia like Angkor Wat and

Borobudur are prime examples of this, as is the
iconic Hajj in Mekka

Figure 2.8

Figure 2.9

8
2.3 Qualitative Parameters of Contemplative Spaces -

Color Theory -

There are millions of variables that come into play in

influencing a person’s “mood”

Color theorists have ascribed specific psychological and

perceptual effects to warm colors that contrast those of
cool colors.

• Warm colors, often said to be hues from red through

yellow (and includes browns and tans), are thought to
arouse or stimulate the viewer.

• Cool colors, often said to be hues from blue green

Figure 2.10
through blue violet, are said to calm and relax the
viewer.

• White color depits calm and soothing space

Sound Vibrations -

The sound vibrations emitted in a space have a profound effect on the atmosphere and on the users. The
sounds that are emitted in a space consequently create a particular atmosphere that is conducive to
particular activities.
In the end, the sounds that reverberate inside a space indeed impart the place’s sacredness or otherwise.

Complete
Figure 2.11silence can also be very spiritual. By2.12
Figure removing all the sound of a space,
Figure a2.13
mysterious quality
could emerge, one
that differentiates from normative human interactions.

9
Connection with Nature -

The physical manifestation of architecture. When a person occupies an architectural space that is
connected to the natural world, he or she experiences being part of a logical and harmonious place.

Figure 2.14 Figure 2.15

Nature also has a mystical, underlying logic to its design, and many architects, past and present, have
attempted to reproduce this harmonious logic in their built work.

Light and Shadow -

Light and shadow are an essential part of sacred

architectural spaces.
Natural light and artificial light both have a
powerful effect on the atmosphere of a sacred
space.
As stated by Kreuz, “when use in the right
Figure 2.16
amount at the right time and in the right place,
light can accentuate, direct attention, create an
atmosphere of contemplation and composition
and
composure, foster togetherness in prayer, or
underline the solemnity or festiveness of an
occasion.”
Figure 2.17

10
Threshold -

The threshold of a sacred space is important because it

separates the outer world from the inner space. The
importance of the threshold lies in that it must mediate
between these two contrasting spaces.

The qualities of a threshold may vary from a simple series

of doorways to a long, complex and dimly lit corridor. The
procession between the outer and inner space can also vary
in the length of time needed to go from its beginning to its
end. In either case, the threshold’s design and length should
have an affect that changes a person’s mindset from one
state to another.
Figure 2.18

The threshold in this case is a transitional

space from one that is quiet to one full of
noise.

A threshold into a sacred space also varies according to context. For example, in a quite, peaceful village
in the foothill of the Swiss Alps, a sacred space may contrast its context and be filled with noise.

Figure 2.19 Figure 2.20

11
 CHAPTER 3
IDENTIFIED
CASES
 3.1 Widhover Contemplative Centre

Location : 370 Santa Teresa St, Stanford, CA

94305, United States

Architect : Aidlin Darling Design

Area : 4000 sq. ft

Year : 2014

Site Description : At Stanford’s campus

Figure 3.1 Google map image showing location of Widhover

Contemplation cnter

The Windhover Contemplative Center is a retreat on the Stanford campus, US with the aim of
supporting self-renewal. During observation, contemplative elements are also present in the
architecture to form contemplative property.

Criteria for Selection :

Widhover is designed to bring together
art, landscape and architecture to nourish
and invigorate the spirit.

Figure 3.2

Role of Light -

The following is an observation of how light affects

elements and also the contemplative property of
architecture:
• Channelization in this building contributes to
deepening the quality of imageability and the
inhability of buildings.
• Light channelization is focused to increase the
focus and attention of people to the reference point
in the building. Figure 3.3 Picture showing the role of light

12
 MATERIAL -

The space is composed primarily of three materials: stained oak, rammed earth, and glass.

Glass : Rammed Earth walls : Stained Oak :

Figure 3.4 Figure 3.5 Figure 3.6

Glass is used to connect the spaces Rammed earth walls use a mix The stained oak brings the
visually but separate them of various materials to create interior light down to create a
processionally. elegant striations. grotto condition.

From the gravel at the entry to the trees in the courtyard, each object is carefully chosen to create a
continuous color palette to reinforce a calming atmosphere, enhancing the main refuge pattern.

Figure 3.7 Plan and Section

13
 Based on the site’s contextual condition, it is shown that how the elements of contemplative space are
used here in the design to create a better environment for the users.

COLOR THEORY -

Colors incorporated into to the sacred space

is integrally connected to light, indicating
the days progression through visual means.
For instance, during morning time the space
may be one color, at noon another, and in the
evening yet another, connecting those within
Figure 3.8 Figure 3.9
the space with the day’s natural cycle.
Earthy and natural tones have been used in the design
which gives calming and soothing feel to the users

CONNECTION WITH NATURE -

Strawberry Creek running along the site’s edge gives the student a visual and audible connection
throughout. Inside the space the will also be a tree on a different level than the main space.

Figure 3.9
Figure 3.10 Creek running throught the edge of site

The connection with the natural surrounding lanscape is an important focal point of the project. Most
of the contemplation spaces have a visual, audial, tactile and factory connection to the creek, the
flora, and fauna.

14
 LIGHT ROLE -

Little light will enter the threshold, placing the individual in a polar
opposite from the daylight outside the sacred space. As one exits the
threshold, he or she enters the main space and again meets the sunlight.

Vertical louvers along the eastern

wall mimic the non-rhythmic
layering of tree trunks while
casting dynamic shadows along
the dark oak flooring.

Figure 3.11 Figure 3.12 Light and Shadow

THRESHOLD -

The threshold will serve as a transitional space that removes the students from their day-to-day living
routine and places them into a sacred space.

Upon entering the first

space, one sees that the
walls are inscribed with
ancient text written in a
mood of oneness or
soleness.

Figure 3.13 Corridor sketch Figure 3.14

When a person experiences a new space whose characteristics are similar to a memorable sacred space
they were once in, they begin to recollect feelings and emotions of the previous sacred space they were in.
In this way, memory, sacredness, and architecture all link together.

15
When a person experiences a new space whose characteristics are similar to a memorable sacred space
they were once in, they begin to recollect feelings and emotions of the previous sacred space they were
in. In this way, memory, sacredness, and architecture all link together.

SOUND VIBRATION -

Figure 3.16

Figure 3.15 Creek running along side’s edge Figure 3.17 Sketch showing Stawerry Creek

For the majority of the time the only sound that enters the space is that of flowing water in the
creek. It produces the calming and soothing feel for the users. Sound vibration can be used as an
important design element to make spaces that will help the users in artist residency.

16
3.2 SHREYAS RETREAT CENTER, BANGALORE

Location : Bengaluru, Karnataka

Architect : The Purple Ink Studio
Area : 20000 sq. ft
Project year : 2016
Category : Well being

Figure 3.18 Google maps showing location of Shreyas Retreat

Figure 3.19

CONCEPT AND PHILOSOPHY

The design is focused on an

integrated approach to crafting a
unique retreat center with an
approach that encompasses art,
landscape and sustainable
ideologies .

mudra : a symbolic gesture used in yoga

Figure 3.19

17
 Based on the site’s contextual condition, it is shown that how the elements of contemplative space are
used here in the design to create a better environment for the users.

LIGHT ROLE :

The design makes clever use of natural light, which renders the exposed
walls and ceilings with a serene glow and a magnificent play of light and
shadows. Various design elements such as handcrafted jaali screens and
solid wood doors and creating connection between the spaces. The bond is
further strengthened by the different openings that help merge the interiors
and exteriors seamlessly.

Figure 3.20 Figure 3.21 brick jaali Figure 3.21 Transitional space

MATERIALS :

The Materials used are concrete, wood, stone and glass ; providing a serene, beautiful and serene
environment, where light plays a fundamental role. The materials are balanced with each other, since wood
gives warmth, concrete solidity, stone connection with the earth and glass reflection of light.

Glass Wood :
It provides
warmth to
the users

Concrete :
Concrete as a material
provides solidity

Figure 3.22 Courtyard Figure 3.23

18
 CONNECTION WITH NATURE :

The landscape merges the geometry of network of the surrounding paths to form break-away spaces for
the guests to lounge. These buffer zones create smooth transitions from the exterior, to semi covered
spaces, and also offer a beautiful play of light.

Figure 3.24 Exterior Figure 3.25 Pergola

The designed spaces growing from the sunken ground The landscape integrates flawlessly with
towards the sky, are an epitome of tranquility. the built pathways, creating break-away
spaces for the users to relax

THRESHOLD :

• The shaded pergola is sorrounded by

landscape and serves as a transition
space.
• It provides serene environment around it
acts as calming feel to the users
• The transition spaces looks inviting and
aesthetically pleasing
Figure 3.26 Transitional space

In a courtyard, hot air rises up and it maintains the

thermal comfort, it produces a calmiing feel to the users
and provides mood of oneness

Figure 3.27 Courtyard

19
 3.3 OSHO DHAM , NEW DELHI.

Location -Najafgarh, New

Delhi, Delhi

Project Facts -

Architect - Ar. Snehsanu

Mukharjee

Year - 1996

Site area - 9 acres

Figure 3.28 Google maps

Introduction -
Osho center is designed by Ar. Snehsanu Mukharjee, a delhi based architect. Oshodham offers a very
green, aesthetic, and peaceful environment for those on inner journey . OshoDham has a meditation
supported by residential facilities for long term-sterm stays.

Design Concept -

Figure 3.29 Concept

The design concept of the centre is based on enlightenment, mental peace and physical satisfaction. Once
one enters the centre, one is abushed with the immmense amount of mental peace and satisfaction.

20
Features :
Sound Vibration -

Figure 3.30 Figure 3.31

The meditation hall is incorporated with a The cherubic sound of gurging water bodies and
humidification system which helps to bring fountains with the chirping of birds belp the
down the ambient air temperature during the meditators to go deep on the path of awareness
warm summer months. through meditation.

Pathways -
Connection with Nature -

Figure 3.32 Figure 3.33

The provision of spiral path throughout the The outdoor landscape forms part of the functions
centre seems quite interesting. This has helped of the centre for spiritual practices to take place in
to achieve a compact organisation of spaces nature Landscaping elements.
which leaves the rest of the land free for natural
farming

Role of Light -

• It is observed that the form has

symbolic meanings
• while the interplay of light and shadow
was also included the design.

Figure 3.34 Figure 3.35

21
 Jawahar Kala Kendra
Architect-Charles Correa

Construction-1992

Clients-Rajasthan Art & Culture

Department

Site Area-38445 sqm

Ground coverage-15%

Figure 3.35 Google maps

CONNECTIVITY :
Jaipur Airport-7 km
Jaipur Gandhinagar Riway Station-1.5 km
High Court Circh Bus Stop-100 m
SMS Stadium Metro Station-1,7 km

ACCESS:
The site is well connected with roads and streets touching the site on three sides.

CLIMATE :
Jaipur has a hot semi-arid climate it receives over 63 cm of rainfall annually, butmost rains occur in
the monsoon months between June and Septem ber Temperatures remain relatively high during
summer & can go upto 450 Temperatures in winter days.

Concept and Planning :

This Study comprises of Zoning and

Circulation , Planning, Climate Responsive
architecture, and Spatial Features of JKK

Figure 3.36

22
 Zoning And Circulation

Museum / Gallery

Learning Spaces

Recreational Spaces

Administration area

Figure 3.37

The centre is made in 8 blocks incorporating Art gallery, theatres, libraries, museums, studios,
administrative spaces, workshops and cafeteria. Two of the most active areas are Cafeteria and
Amphitheatre.

Internal Circulation

External Circulation

Main Features:
Entry 2 • Grid-Iron Planning
• Central Courtyard
• Two major Axes
• In this, entry 1 is pedestrian entry
while entry 2 is vehicular entry.

Entry 1
Figure 3.38

23
 Response to Climate :

Softscape

Hardscape

• Material : Red sand

marble stone and white
• Vastu symbols on facade
of each unit
• Small punctures on walls
for ventillations.
• Smaller openings
• Central courtyard bring in
light and air

Figure 3.39

Features :

Figure 3.40 Figure 3.42

Jkk has a peaceful sorrounding

environment, well designed pathways,
art galleries and well planned formal
and informal community areas making it
a great place for artists achieve
mindfulness/ act ofcontemplation.

Figure 3.43 Figure 3.44

24
CHAPTER 4
ANALYSIS
 CHAPTER 5
CONCLUSION AND
RECOMMENDATIONS
 5.1 CONCLUSIONS :

Qualities of architecture will influence the contemplatie experience.

The above research focused on the study of contemplative properties of built environment and the
understanding of qualitative parameters of contemplative spaces. The buildings analyzed have architectural
elements that make the journey through them soul stirring for the user. These elements enhance the spiritual
quality of a space as well as mental well being.

The study concludes that qualities of architecture contributes in making of the contemplative environment and
enhances the experience of contemplation for the users. These qualities of architecture can be used to design
and enhance the environment of a meditation center where people can experience spirituality.
In the end, we can prove that the fundamental elements enhances the experience of the users.

5.2 RECOMMENDATIONS :

Threshold :

1. The Threshold of a space should be visually appealing and it should be inviting.

Light and Shadow :

1. The clever use of natural light should be made in the spaces as light can affect the mood of a user.
2. For light and shadow play, jaalis or pergolas can be provided in the transition spaces which also
maintains the thermal comfort of a soace.

Figure 5.1 Figure 5.2

27
Sound Vibrations :

The sound vibrations emitted in a space consequently create a particular atmosphere that is conducive to
particular activities.

Water bodies as a part of landscape should be provided as it has profound effect and user and also helps in
maintaining the temperature around a space,

Figure 5.3 Figure 5.4

Material and Color :

Material:
Material and color should be used in the spaces according to their significance.

Color :
Color can have pyschological effect on a users mind:
Green can have calming effect on a users.
White color makes a space look larger and depicts purity

Figure 5.5

28
Glossary of terms :

1. Contemplation - The act or state of contemplating. 

2. Contemplative Space - Contemplative spaces are the spaces designed that create an environment
where the act of contemplation can be achieved very easily

3. Manifestation - A sign that something is happening

4. Prosaic- Lacking imaginativeness or originality

5. Altar - Shrine, sacred place, place of worship

6. Perceptual - Relating to the ability to interpret or become aware of something through the senses

7. Accentuate - To emphasize something or make something easier to notice

8. Invigorate - To give life and energy to something

9. Sacredness - Something that is dedicated or set apart for the service or worship of a deity

10. Tranquility - A state of peace and quiet

11. Cherubic - Having a peacful sound

12. Mindfulness - The quality or state of being conscious or aware of something

13. Consciouness - Awareness of internal and external existence

14. Phenomenology - Phenomenology is the philosophical study of the structures of experience and
consciousness
Bibliography :

BOOKS

Karim, I., 2010 Back to Future for Mankind

RESEARCH PAPERS

1. Businessworld, 2014. Calming Sounds Of Silence

2. Worksofteam, 2017, osho-dham

WEB-REFERENCES

1. oshoworld.com
2. rereeti.org
3. The art of contemplation: mindfulness in galleries | Blog | Royal Academy of Arts
4. Art and Contemplation: How Artists are Creating Mindful Spaces with their Work -
BeautyHarmonyLife
5. Contemplative Spaces: towards a new design approach (neuroarchitectura.com)
6. The Effects Of Contemplative Architecture (architecturecompetitions.com)
7. The art of contemplation: mindfulness in galleries | Blog | Royal Academy of Arts
8. Art and Contemplation: How Artists are Creating Mindful Spaces with their Work -
BeautyHarmonyLife
9. --Contemplative Spaces: towards a new design approach (neuroarchitectura.com)
10. The Effects Of Contemplative Architecture (architecturecompetitions.com)
11. Making use of that contemplative space that’s essential for creating art that lives - The Sunday
Guardian Live
12. rereeti.org
13. Contemplative Art – The Center for Contemplative Mind in Society