Recommended
More Related Content
What's hot
What's hot (20)
Similar to Lotus Temple: Case Study
Similar to Lotus Temple: Case Study (20)
Recently uploaded
Recently uploaded (20)
Lotus Temple: Case Study
- 1. PHAROS UNIVERSITY IN ALEXANDRIA ARCHITECTURAL ENGINEERING DEPARTMENT THEORIES OF ARCHITECTURE 2 EA331 DR. NOURHANE EL HARIDI LOTUS TEMPLE Case Study
- 2. In the architecture of India, perhaps more than in other places, it is possible to the see the religious roots in a clear and different manner. The representative symbols which can be seen on the buildings and in their decorations, and which include the surroundings in which they have been placed, are inspired by the religious convictions of the people; convictions which are integrated and form part of the way of life of the country. INTRODUCTION
- 3. The temple was built in the village of Bahapur, Kalkaji, in the South of New Delhi and to the West of Connaught Place in Mandir Marg; a secluded area of the bustling centre of India‘s capital. LOCATION
- 4. Fariborz Sahba developed the project for the temple inspired conceptually the lotus flower. which symbolises purity and cleanliness in Hindu tradition. CONCEPT
- 6. The building’s twenty seven structures of reinforced concrete in the shape of petals, clad in marble, were arranged in groups of three, to create the nine faces. STRUCTURE
- 7. The whole superstructure is designed to function as a skylight. The interior dome is spherical and patterned after the innermost portion of the lotus flower. NATURAL LIGHT
- 8. The surfaces created by the shell on each side of the entrance-ways and the outer leaves are formed by spheres of different radii, with their centres located at different points of the interior of the building. There is a group of spheres for the leaves of the entrance, some of which define the interior surfaces and others which define the exterior surfaces of the shells. MASSING
- 9. • Arches The nine arcs were built one after the other until the circle was complete. The dismantling of the soffit of each arch was done once the adjacent arches could provide the necessary resistance. • Inner leaves, radial beams and central axis Once all the arches were completed, the interior steel structure of panels was raised. • Interior dome After fixing the interior panels, the steel cladding was modified and the folds of the shells of the interior dome were made one after the other. PLAN TO SECTION
- 10. With respect to the main entrance of the site, the temple entrance is oblique approach circulation: entry information centreview of temple on right from entrance view from main node configuration of path linear path path-space relationship path passes by the spaces. It is done by planting avenue trees CIRCULATION TO USE-SPACE
- 11. • A SPACE MAY BE CONTAINED WITHIN THE VOLUME OF A LARGER SPACE. Spatial organization- centralized organization organization of space: green site as space prayer hall as space within space as it is at common plinth • All the spaces are arranged around the central prayer hall covered by leaves. Pattern of organization in this case the pattern is terminating in or around the central space. Main space (prayer hall) secondary spaces (water bodies ) GEOMETRY
- 12. HIERARCHY • The hierarchy is marked by the entrance to the temple. • At the main entrance, there are long steps being an exception to an otherwise regular pattern.
- 13. • There are 2 other pathways marking the entry/exit to the temple, but are less in width marking the hierarchy of spaces. • All the other spaces do not have separate pathways to access, but are on platform. HIERARCHY
- 14. • Radial symmetry refers to the balanced arrangement of similar, radiating elements such that the composition can be divided into similar halves by passing a plane at any angle around a center point or along a central axis. SYMMETRY
- 15. • Bilateral symmetry is shown in elevation and entrance of the building. There is one vertical reflection mirror through the middle. SYMMETRY
- 16. THANK YOU Mohtady Mohamed 5317388 Mohamed Yasser 5317338 Mohamed ElShazly 5316259 Sherif Ashraf 5317156 Omar Abdelaziz 5317228 Mohamed ElSayed 5313427
Editor's Notes
- In the architecture of India, perhaps more than in other places, it is possible to the see the religious roots in a clear and different manner. The representative symbols which can be seen on the buildings and in their decorations, and which include the surroundings in which they have been placed, are inspired by the religious convictions of the people; convictions which are integrated and form part of the way of life of the country. The bushes which grow in the corner of a temple courtyard or the colour of its walls can indicate to us to which religion the temple is dedicated. In this way we can also discover the allegorical significances which the forms, colours or statues wish to convey to us, in such a way that we can consider Indian architecture as an architecture of story-telling and symbols, in which hidden meanings dwell in every form. These hidden meanings have an intimate and inspired connection with the lives of the people of this place.
- Observing Hindu architecture, you can see that despite the external difference between the various temples, they all show meaningful and sacred symbols common to all of India’s religions. These are symbols which have emerged in other countries and religions. One of these symbols is the sacred flower of the Indians: the lotus flower. Fariborz Sahba developed the project for the temple inspired conceptually by this flower which symbolises purity and cleanliness in Hindu tradition. This concept had to be converted into defined geometric forms, such as spheres, cylinders, toroids and cones, which were translated into equations and later used as a base for the structural analysis and engineering plans. The resulting geometry was so complex that the plans for the temple took two and a half years to complete.
- The building’s twenty seven structures of reinforced concrete in the shape of petals, clad in marble, were arranged in groups of three, to create the nine faces. All Bahá’í Houses of Worship share certain architectural elements, such as the circular shape with nine sides specified in Bahá’í’s scriptures. Although nowadays all Houses have a cupola, it is not considered an essential element of the architecture. The scriptures also dictate that no painting, statue, image, pulpit or altar can be added as an architectural element.
- The whole superstructure is designed to function as a skylight. The interior dome is spherical and patterned after the innermost portion of the lotus flower. Light enters the hall in the same way as it passes through the inner folds of the lotus petals. The central bud is held by nine open petals, each of which functions as a skylight. 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 surfaces created by the shell on each side of the entrance-ways and the outer leaves are formed by spheres of different radii, with their centres located at different points of the interior of the building. There is a group of spheres for the leaves of the entrance, some of which define the interior surfaces and others which define the exterior surfaces of the shells. The diameters of the spheres have been fixed to satisfy the structural consideration of the varying thicknesses of the petals. For the outer leaves, another group of spheres define the interior and exterior surfaces of the shells, but in this case the thickness of the shell is uniform: 1.33m thick toward the lower part and 2.55m toward the upper extreme. The outer leaf in the entrance zone to the temple is 15.4m wide and rises 22.5m above the podium. The interior is 18.2m wide in the entrance area and rises 7.8m above the level of the podium.