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Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
Aimit chapel project
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Aimit chapel project

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  • 1. AIMIT CHAPEL DESIGN: PRELIMINARY GOALSAND CONCEPTS9/8/2012Newton D’souzaAsha Kutty
  • 2. Goal 1. The chapel should attract visitors from outside Concept1 : Consider a landmark building which is unique to the region. For e.g. Designed by Santiago Calatrava, the Milwaukee Art Museum has become Milwaukees most visually prominent cultural attraction and attracts thousands of visitors from outside.
  • 3. Goal 2. The chapel should be contemporary in form toreflect 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
  • 4. Goal 3. While the form of the chapel is state-of-art, the architecturalexperience 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.
  • 5. Concept 3b: Consider usingelements of the old historic Aloysiuscampus and pay ode to the worldfamous Aloysius chapel interior
  • 6. Concept 3c. Consider use of spatial layersthat helps in weathering rain, naturalventilation and filtering harsh glare of thetropical Mangalorean climate. For e.g. (Topleft) Use of open colonnades in chapel designby Asha Kutty. (Bottom) Outside layers protectthe weathering of inner core inPadmanabhapuram palace.
  • 7. Concept 3d. Consider use of roofapex to create stack effect, i.e.natural ventilation brought about bychange in pressure between thebottom and top of a building. For e.g.(Top left) Use of open ventilation inchapel design by Asha Kutty.(Bottom) Roofs affording stack effectin Padmanabhapuram palace.
  • 8. Goal 4. The Chapel should integrate Christian, Hindu and Arabicarchitecture 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
  • 9. Concept 4c. Instead of overt ornamentationand symbolism that might send mixedmessages, consider minimalistic forms ofarchitectural symbolism projecting anuniversal message of spirituality For e.g. (topleft) Ignatius Chapel, Seattle, (bottom left)Padmanabhapuram palace, (bottom right)Ronchamp Chapel
  • 10. Concept 4d. Integrate spatialcompression and expansionexperiences commonly found inHindu temple, mosques andChristian churches. For e.g. (leftand bottom). Successful spatialCompression in Hindu temple atPattadkal leading to individualworship. (Right and bottom).Successful spatial Expansion inSt. Pauls church England leadingto mass worship.
  • 11. Concept 4e. Integrate a cirumambulatorypath (pradakshina patha) found in Hindutemples more implicitly and in churches, moreimplicitly. For e.g. (left) a pradakshina patha ina Hindu temple with guardian deities. (Right) anaïve consisting of the way of the crossstations in a Christian church
  • 12. Concept 4f. Integrate commonly usedfeatures of soft filtered light into the chapel.For e.g. (top left) Stained glasswindow, Chatres cathedral. (Bottom left)Louvres in Padmanabhapuram palace.(bottom right)Jali work in Siddi SayedMosque, Ahmedabad; (center) proposal of ajali work with Christian motifs by Asha Kutty
  • 13. Concept 4g. Considerseparation of profane andsacred spaces through achange in level. For e.g. (topleft) Split level in the NorthChristian Church , Indiana.(Bottom right) elevated plinth inthe Belur temple.
  • 14. Concept 4h. Consider interioraesthetics responsive to candlelight -- which is a hallmark of manytemples and churches. For e.g. (topleft) an interior of a hindu temple.(Bottom left) an interior of aChristian Church.
  • 15. Goal 5 . Being in an university campus, thechapel should also serve in a social role. Concept 5a: Integrate social spaces for informal seating in and around the chapel E.g. Lauri Baker’s architecture
  • 16. Concept 5b: Integrate socialspaces such as open courts forstudent interaction. For e.g.(top left) Use of internalcourtyards in Salvacao Churchby Charles Corerrea inMumbai. (Bottom left) LauriBaker’s architecture.

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