The document outlines preliminary goals and concepts for the design of the AIMIT Chapel. It discusses 5 main goals: 1) attracting outside visitors, 2) having a contemporary design reflecting the campus, 3) deriving architecture from regional styles while keeping a modern form, 4) integrating Christian, Hindu, and Arabic architectural elements, and 5) serving a social role as part of the university campus. For each goal, several concepts are presented with examples of relevant architectural works. The concepts focus on embracing modern materials, acknowledging local influences, and incorporating spatial experiences from different religious traditions to create a unique and spiritual space.

1. AIMIT CHAPEL DESIGN: PRELIMINARY GOALS
AND CONCEPTS
9/8/2012
Newton D’souza
Asha 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 Milwaukee's most visually
prominent cultural attraction and attracts
thousands of visitors from outside.

3. 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

4. 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.

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

6. 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.

7. 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.

8. 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

9. 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

10. 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.

11. 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

12. 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

13. 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.

14. 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.

15. 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 chapel
E.g. Lauri Baker’s architecture

16. 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.