AIMIT CHAPEL DESIGN: PRELIMINARY GOALS AND CONCEPTS9/8/2012

Newton D’souzaAsha Kutty

Concept1 : Consider a landmark building which is unique to the region. For e.g. Designed by Santiago Calatrava, the Milwaukee Art Museum has become Milwaukee's most visually prominent cultural attraction and attracts thousands of visitors from outside.

Goal 1. The chapel should attract visitors from outside

Goal 2. The chapel should be contemporary in form to reflect the state-of-art image of the AMIT campus

Concept 2. Consider modern materials such as glass and steel that can be molded in any form allowing for allowing for maximizing natural ventilation, best possible views, and efficiency. For e.g. Moebius House, Sydney

Goal 3. While the form of the chapel is state-of-art, the architectural experience should derive from a regional architectural vocabulary

Concept 3a: The form of the chapel should embody local materials and aesthetic. For e.g. (top left)Church in Goa using local laterite materials. (Bottom left)Red-oxide flooring keeps the interiors physically and visually cool at Padmanabhapuram palace.

Concept 3b: Consider using elements of the old historic Aloysius campus and pay ode to the world famous Aloysius chapel interior

Concept 3c. Consider use of spatial layers that helps in weathering rain, natural ventilation and filtering harsh glare of the tropical Mangalorean climate. For e.g. (Top left) Use of open colonnades in chapel design by Asha Kutty. (Bottom) Outside layers protect the weathering of inner core in Padmanabhapuram palace.

Concept 3d. Consider use of roof apex to create stack effect, i.e. natural ventilation brought about by change in pressure between the bottom and top of a building. For e.g. (Top left) Use of open ventilation in chapel design by Asha Kutty. (Bottom) Roofs affording stack effect in Padmanabhapuram palace.

Goal 4. The Chapel should integrate Christian, Hindu and Arabic architecture of the region

Concept 4a. Avoid literal imitation of symbols and forms that might negate their puristic value. For e.g. Imitation of Buddhist Stupa in Jawahar Kala Kendra, Jaipur.

Concept 4b. The integration of Christian, Hindu and Arabic architecture should happen at a spatial level. For e.g. Cloister experience of a Hindu temple at Aihole and a Venetian church

Concept 4c. Instead of overt ornamentation and symbolism that might send mixed messages, consider minimalistic forms of architectural symbolism projecting an universal message of spirituality For e.g. (top left) Ignatius Chapel, Seattle, (bottom left) Padmanabhapuram palace, (bottom right) Ronchamp Chapel

Concept 4d. Integrate spatial compression and expansion experiences commonly found in Hindu temple, mosques and Christian churches. For e.g. (left and bottom). Successful spatial Compression in Hindu temple at Pattadkal leading to individual worship. (Right and bottom). Successful spatial Expansion in St. Paul's church England leading to mass worship.

Concept 4e. Integrate a cirumambulatory path (pradakshina patha) found in Hindu temples more implicitly and in churches, more implicitly. For e.g. (left) a pradakshina patha in a Hindu temple with guardian deities. (Right) a naïve consisting of the way of the cross stations in a Christian church

Concept 4f. Integrate commonly used features of soft filtered light into the chapel. For e.g. (top left) Stained glass window, Chatres cathedral. (Bottom left) Louvres in Padmanabhapuram palace. (bottom right) Jali work in Siddi Sayed Mosque, Ahmedabad; (center) proposal of a jali work with Christian motifs by Asha Kutty

Concept 4g. Consider separation of profane and sacred spaces through a change in level. For e.g. (top left) Split level in the North Christian Church , Indiana. (Bottom right) elevated plinth in the Belur temple.

Concept 4h. Consider interior aesthetics responsive to candle light -- which is a hallmark of many temples and churches. For e.g. (top left) an interior of a hindu temple. (Bottom left) an interior of a Christian Church.

Goal 5 . Being in an university campus, the chapel should also serve in a social role.

Concept 5a: Integrate social spaces for informal seating in and around the chapelE.g. Lauri Baker’s architecture

Concept 5b: Integrate social spaces such as open courts for student interaction. For e.g. (top left) Use of internal courtyards in Salvacao Church by Charles Corerrea in Mumbai. (Bottom left) Lauri Baker’s architecture.