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Multi Faith

The document discusses considerations for designing multi-faith worship spaces. It notes that while there are thousands of religions, some common elements in worship space design may include a sense of separation from the outside world and a transition into a sacred space. Light, nature, geometry, sound and silence are also discussed as design elements that both unite and vary across faiths. The document concludes by outlining specific design requirements for a proposed multi-faith space with facilities like a meditation hall, prayer halls, recreation areas and guest housing on a 1 acre site next to a hospital.

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Praba Kutty
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Download as PDF, TXT or read online on Scribd
89 views

Multi Faith

The document discusses considerations for designing multi-faith worship spaces. It notes that while there are thousands of religions, some common elements in worship space design may include a sense of separation from the outside world and a transition into a sacred space. Light, nature, geometry, sound and silence are also discussed as design elements that both unite and vary across faiths. The document concludes by outlining specific design requirements for a proposed multi-faith space with facilities like a meditation hall, prayer halls, recreation areas and guest housing on a 1 acre site next to a hospital.

Uploaded by

Praba Kutty
Copyright
© © All Rights Reserved
Available Formats
Download as PDF, TXT or read online on Scribd
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Multi-faith Spaces

Design Considerations

Introduction
The directive sounds simple—“provide a worship space for everyone to share, where all faiths
are welcome”—but given that there are thousands of religions in the world, what, if any, are the
common elements in worship space architecture? Is the sense of awe one gets when entering a
worship space a shared experience regardless of faith? Are highly revered and expected features of one
religion’s worship space offensive to other faiths? For example, the presence of iconography may be
important for worship to some, yet the same iconography may be objectionable to others. Is it possible
to create a shared worship space that is awe-inspiring and welcoming for everyone? Would our
understanding one another be enhanced if we were knowledgeable about each other’s worship space?

Multi-faith spaces are relatively new. Religious facilities throughout the world evolved from small
places serving individuals or small groups in caves, homes, or in the open air, to large structures that
serve centrally governed communities. The physical segregation of different cultures and religious
beliefs reinforced the development of specialized structures for specific faiths. Today, with
opportunities for people to study, live, and work almost anywhere in the world, dedicated multi-faith
buildings are fulfilling a need for community institutions to serve a diverse global society. The
religions and the degree to which they are served in these places, reflects implicitly and explicitly, the
values of those who construct them. A multi-faith building can provide an opportunity to teach, and to
satisfy curiosity about many different religions through its design. The design challenge is to speak a
multi-lingually through forms, surfaces, color and light, so that a space serves the functions of worship
by all and becomes a meaningful place.

One characteristic of worship spaces that may be found in most, if not all, is a strong sense of
a separation from surrounding contexts. This reinforces a sense of safety—of a place that is emptied of
ordinary, everyday, secular associations. The journey from the surrounding environment to the sacred
space is often part of the experience, part of the transition to a separate place. How does the
architecture contribute to, enhance, or impose these experiences?

How followers of different religions use the space, furniture, and other elements in the
worship space may inform what is necessary for inclusive multi-faith space. A look at the rooms used
by major world religions reveals many variations within each faith thus complicating the search for
universal worship space elements. The concept of, reverence for, and attitudes about the use and
presence of light and nature among the different religions show common themes as well as striking
differences. Is it any wonder that so many of these places are white boxes, plain rectangle volumes
painted shades of white and sparsely furnished?

Darkness & Light


Light in some form—for example natural sunlight, artificial, or colored light—is a design
element used by designers as carefully as if it were a tangible building material such as stone or wood.
Light can evoke transformational emotions and contribute to ineffable qualities of a space. Light can
be juxtaposed with darkness, or can stream from a window as a beam illuminating one object in a
space, or can be a presence without a visible source. Historic examples of the churches, synagogues,
and mosques of the Abrahamic faiths have large areas of stained glass that filter light into large
worship spaces as spectacular contrasts to surrounding secular buildings. The Shinto and Buddhist
temples of Asia use light as a connection to the spiritual element of fire. Candles or oil lamps are used
and large window openings are not commonly found. Some temples located in moderate climates have
no roofs or large openings that could focus light on a special feature of the worship space. The use of
fire, a central focus in many religions, can be in conflict with modern building codes and a
management challenge in a multi-faith space.
Nature
References to the natural world through the use of particular building materials may reveal
shared values among different faiths. Wood, stone, glass, and clay products such as tile and brick are
examples of materials from nature that are often seen used in ways that celebrate their natural state.
The structural support of buildings may mimic the vertical trees and stones that support structures
and caves found in nature. Water used in pools and fountains add sensory elements to the experience,
as can live plants and music. The use of decorative calligraphy, or murals that recall shapes, textures,
and colors found in nature, unites the space with the primal world.

Geometry
The shape, or geometry, of the worship spaces for different religions depends a lot on the way
the spaces are used, the necessary orientations and the hierarchies of religious leadership. Overlaying
these requirements reveals some commonalities and differences. The direction to Mecca may not align
with the direction of the sunrise. The location of a focused area may be a cause to consider a dome
shape for the ceiling or a place for a change in ceiling height to permit a shaft of light to shine on a
sacred object or place. Some of these considerations have led designers to consider floor plans that are
circular, free-form, or polygonal to democratize the use of the space. Mandalas, labyrinths, or ordered
geometric shapes found in the plan views of the buildings of many world religions may be a resource
for use in a multi-faith design.

Sound & Silence


Acoustic provisions for music and for preaching or speaking to groups differ. Music is best in
a space with a lot of reverberation while speech is supported in a space with little reverberation. A
multi-faith space should support both, and to do so the acoustic properties should be considered from
the earliest stages of design. Sound and silence are powerful design elements that can be used to
enhance the ineffable experience of a space.

Design Requirements
 Meditation Hall (Capacity 150 people)
 Prayer Hall 4 Numbers (Capacity 50 people each)
 Lobby
 Toilet and rest rooms for Both Ladies and Gents
 Recreation area
 Kids Play Area
 Cafeteria
 Administration /Maintenance room
 Office
 Clock Room
 Guest House
 Dormitories

Site: 1 Acre of land next to Hospital
Deliverables (Size of Sheet is : Min A1 Size)
 Concept and Zoning
 Site Plan and master plan 1:100
 Floor Plans 1:50
 2 Sections in 1:50
 4 Elevations in 1:50
 View

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