DISSERTATION

Year: 2021-22
Batch No. 19

CONTEMPLATIVE SPACES IN ARCHITECTURE

Undertaken by:

Shivika Agrawal

Enrollment No.: 17E1AAARM40P021

V Year B.Arch. (C)

Prof. ANUBHAV MITTAL Aayojan School of Architecture Prof. ARCHANA SINGH

GUIDE ISI-4, RIICO Institutional Block, RATHORE
Sitapura, Jaipur-302022 COORDINATOR
 DECLARATION

I, Shivika Agrawal, here by solemnly declare that the research work undertaken by
me, titled ‘ Contemplative Spaces in Architecture ’ is my original work and
wherever I have incorporated any information in the form of photographs, text,
data, maps, drawings, etc. from different sources, has been duly acknowledged in
my report.

This dissertation has been completed under the supervision of the guide allotted to
me by the school. Further, whenever and wherever my work shall be presented or
published it will be jointly authored with my guide.
Shivika Agrawal
V Year B.Arch (C)
Aayojan School of Architecture, Jaipur
 APPROVAL

The study titled “vContemplative Spaces in Architecture ” is hereby approved as an original work
of Shivika Agrawal enrolment no. 17E1AAARM40P021 on the approved subject carried out
and presented in manner satisfactory to warrant its acceptance as per the standard laid down by
the university. This report has been submitted in the partial fulfillment for the award of Bachelor
of Architecture degree from Rajasthan Technical University, Kota.

It is to be understood that the undersigned does not necessarily endorse or approve any
statement made, any opinion expressed or conclusion drawn therein, but approves the study
only for the purpose it has been submitted.
………..…..2021
Jaipur

EXTERNAL EXAMINER 1
Prof. K.S. MAHAJANI
PRINCIPAL

EXTERNAL EXAMINER Prof. ARCHANA SINGH

RATHORE

i
 CERTIFICATE

This is to certify that the research titled, Contemplative Spaces in Architecture is a

bonafide work by Shivika Agrawal of Aayojan School of Architecture, Jaipur. This research
work has been completed under my guidance and supervision in a satisfactory manner.
This report has been submitted in partial fulfillment of award of BACHELOR OF
ARCHITECTURE degree from Rajasthan Technical University, Kota.This research work
fulfills the requirements relating to the nature and standard laid down by the Rajasthan
Technical University.

Prof. Anubhav Mittal

Guide
Aayojan School of Architecture,Jaipur

ii
Anubhav Mittal

Shivika Agrawal
V YEAR B.ARCH ( C )

iii
 CONTENTS

Approval

Declaration

Certificate

Acknowledgement

Abstract

Contents

List of illustrations

List of fables

CHAPTER 1 : INTRODUCTION
1.1 Background of the study
1.2 Criteria of selection
1.3 Hypothesis
1.4 Aim
1.5 Objective
1.6 Scope
1.7 Methodology

CHAPTER 2 : CONTEMPLATIVE SPACES

AND ITS CHARACTERISTICS
2.1 Introduction
2.1.1 Contemplation
2.1.2 Contemplative Spaces
2.2 Types of Contemplative Spaces
2.3 Qualitative parameters

v
CHAPTER 3 : IDENTIFIED CASES OF BUILT ENVIRONMENT

3.1 Primary Case-Studies

3.2 Secondary Case-Studies
3.3 Factors affecting the intent of interaction

CHAPTER 4 : ANALYSIS

4.1 Survey Analysis

4.2 Comparitive Analysis of Case Identification

CHAPTER 5 : CONCLUSION
5.1 Conclusion
5.2 Recommendations
Bibliography

vi
 CHAPTER 1

INTRODUCTION

1
1.1 BACKGROUND OF THE STUDY -

Thesis Topic - Artists Residency, Allepey, Kerala

The earliest surving unting on the subject o f

architecture is Vitruvaus De architectura from the 1"
century BCE. According to Vitrumus, a good
building should satisfy the three principles of firmitas,
utits and venustas.

The first two principles, durability and utility are

straightforward and rational objectives, practical
requirements that a building should meet in order
to shelter and protect its inhabitants.

It is the third principle, beauty, which appears to be

more complex and raises some interesting
architectural, psychology and philosophical a
significance.

According to Pallasma, an impressive architectural experience sensitises our whole

physical and mental receptivity. It is difficult to grasp the structure of the feeling
because of its vastness and diversity . After decades of abstract scientific theory, it is
urgent that we return to a qualitative, phenomenological understanding of
archi te ctu r e A r a v e t, who str e sse s the i m p o rta nce o f p he no m e no lo gy in
contemporary architectural discourse, describes phenomenology as "a core field of
philosophy that is rooted in the first person.

Giving Occupants Room to Breathe

Withi n a n a rchi te ctu ra l de si gn

narrative, it is wise to give
occupants room to breathe — to
absorb what they have
experienced and to prepare for
what is to come.

Heightening Connection with

Oneself

Space for contemplation helps

architecture reach more spiritual
realms. By allowing users to have a
space where they can think, pray,
meditate, or simply just be in the
present moment.
2
1.2 CRITERIA OF SELECTION

Space for contemplation helps

architecture reach more spiritual
realms. By allowing users to have a
space where they can think, pray,
meditate, or simply just be in the
present moment. Contemplative
spaces create an environment for
user where one can achieve
mindfulness.

The Study will help in understanding

Contemplative spaces and its
fundamental parameters.

1.3 RESEARCH QUESTION

1) What are qualities of a space that makes it contemplative ?

2)What parameters are considered while designing such a space?

3) What are contemplative spaces and why is it important?

4) Where are the climactic moment(s) within the occupant journey of my architectural

design?

5) Can the architectural language which makes up the contemplative space within my

design be used as the climactic moment — where it becomes a moment of grand

stillness?

3
HYPOTHESIS

Contemplative state of an user depends on the spatial Characteristics of a

space

Aim

To understand and imply the spatial Characteristics of a space that makes a

space contemplative.

Scope and Limitaions :

Scope:
Research would include the study will focus on the qualitative parameters of a
Contemplative Spaces and landscape contemplation. The study will also focus
on the comparitive analysis of the case-studies.

Limitation :
The study will be limited to qualitative parameters and Lanscape Contemplative,
it will not include phenomological aspect of the contemplative spaces

OBJECTIVE:

1) To understand Contemplative Spaces and Qualitative parameters of

Contemplative Space.
2) To compare the built environment of various Identified cases

4) To conclude the physical paramters of the contemplative space help users in

achieving the state of contemplation.

4
1.7 RESEARCH METHODOLOGY

Selection of Topic
Contemplative Spaces in Architecture

Formulating Research Questions

Hypothesis Statement:
Contemplative State of an User depends on the spatial characteristics of a space

Aims and Objectives

Understanding scope and Limitation of study

Analyzing the qualitative Understanding the spatial

parameters and design requirements of the space
strategies used

Research Papers Literature

Surverys Studies
case-studies Books

Analysis

Understanding the spatial requirements of the space

5
 CHAPTER 2

CONTEMPLATIVE
SPACES AND ITS
CHARACTERISTICS

6
2.1.1 Introduction
Introduction

con·tem·pla·tion  
1. The act or state of contemplating.  Contemplation
2. Thoughtful observation or study. 

The word contemplate is derived from Mental Health Architecture

the Latin word, meaning "to observe,
especially in a space marked off for
observation". With the word space
integrated into the actual origin of the
word, inherently a concern for the Mindfulness Neuroscience
relation between the designed space
and the act of contemplating arises.

The dictionary explains contemplation equals meditation on spiritual matters, but

contemplation can’t be considered to be an equivalent of meditation. Meditation is
focussed on something or someone specific; a subject.
In modern society, the definition of contemplation is often used in a non-religious
context. It is referred to as a mode of profound self-reflection, the devotion is not
necessarily addressed , but rather towards the essence of the subject’s own spirit. In
this research, only non-religious manifestations are considered.

2.1.2 What are Contemplative Spaces ?

Contemplative spaces are the spaces designed that create an environment where
the act of contemplation can be achieved very easily.
These are not to be considered as isolated building typologies, just like churches or
sanctuaries, but as integrated accessories for different building uses. The physical
design responsible for such movement can be a range of contexts, from sacred
spaces such as religious buildings, to calming gardens, to spaces of refuge in vibrant
urban centres.  

Built Contemplative Unbuilt

Configuration Spaces Configurations

7
2.2
2.2 Types
Types of
of Contemplative
Contemplative Spaces
Spaces

1. Sanctuary mode
This type entails architectural forms that simply provide boundaries between the
wider, presumably more prosaic, environment.

Example :

The Christian
a b b e y o r
monastery is a
clear example of
a building in
sanctuary mode.

2. Theatric mode

The theatric mode involves architectural forms creating a stage-setting or backdrop

for theatrical spiritual activities. This can be seen in most churches which feature
raised pulpits or stages where sermons can be performed.

Example :

Traditional protestant cathedral is a clear

exaple of this mode, with its clear focus
point on the altar and the spectacle of
the mass, the building has a clear
facilitating theatrical function, giving
meaning through its scale and impressive
but modest architecture

8
3. Contemplation mode

This involves built configurations that serve as the actual object of direct and
purposeful, meditative attention. This is when architecture not only facilitates a
contemplative experience, but is also crucial in instigating it.

Examples :

The Temples in Cambodia like

Angkor Wat and Borobudur are
prime examples of this, as is the
iconic Hajj in Mekka

9
 2.3 Qualitative Parameters of Contemplative Spaces -

Color Theory -

There are millions of variables that

come into play in influencing a
person’s “mood”
Color theorists have ascribed specific
psychological and perceptual
effects to warm colors that contrast
those of cool colors.
• Warm colors, often said to be
hues from red through yellow
(and includes browns and tans),
are thought to arouse or stimulate
the viewer.
• Cool colors, often said to be hues
from blue green through blue
violet, are said to calm and relax
the viewer.
• White color depits calm and
soothing space

Sound Vibrations -

The sound vibrations emitted in a space have a profound effect on the atmosphere
and on the users. The sounds that are emitted in a space consequently create a
particular atmosphere that is conducive to particular activities.
In the end, the sounds that reverberate inside a space indeed impart the place’s
sacredness or otherwise.

Complete silence can also be very spiritual. By removing all the sound of a space, a
mysterious quality could emerge, one
that differentiates from normative human interactions.

12
Connection with Nature -

The physical manifestation of architecture. When a person occupies an architectural

space that is connected to the natural world, he or she experiences being part of a
logical and harmonious place.

Nature also has a mystical, underlying logic to its design, and many architects, past
and present, have attempted to reproduce this harmonious logic in their built work.

Light and Shadow -

Light and shadow are an essential part of

sacred architectural spaces.
Natural light and artificial light both have a
powerful effect on the atmosphere of a
sacred space.

As stated by Kreuz, “when use in the right

amount at the right time and in the right
place, light can accentuate, direct
attention, create an atmosphere of
contemplation and composition and
composure, foster togetherness in prayer, or
underline the solemnity or festiveness of an
occasion.”

13
Threshold -

The threshold of a sacred space is important

because it separates the outer world from
the inner space. The importance of the
threshold lies in that it must mediate
between these two contrasting spaces.

The qualities of a threshold may vary from a

simple series of doorways to a long, complex
and dimly lit corridor. The procession
between the outer and inner space can also
vary in the length of time needed to go from
its beginning to its end. In either case, the
threshold’s design and length should have
an affect that changes a person’s mindset
from one state to another.

A threshold into a sacred space also varies

according to context. For example, in a
quite, peaceful village in the foothill of the The threshold in this case is a
Swiss Alps, a sacred space may contrast its transitional space from one that
context and be filled with noise. is quiet to one full of noise.

14
 CHAPTER 3

IDENTIFIED CASES

15
3.1 Widhover Contemplative Centre

Location : 370 Santa Teresa St, Stanford,

CA 94305, United States

Architect : Aidlin Darling Design

Area : 4000 sq. ft

Year : 2014

Site Description : At Stanford’s campus

The Windhover Contemplative Center is a retreat on the Stanford campus, US with the
aim of supporting self-renewal. During observation, contemplative elements are also
present in the architecture to form contemplative property.

Criteria for Selection :

Widhover is designed to bring together
art, landscape and architecture to
nourish and invigorate the spirit.

Role of Light -

The following is an observation of how

light affects elements and also the
contemplative property of architecture:

• Channelization in this building

contributes to deepening the quality of
imageability and the inhability of
buildings.

• Light channelization is focused to

increase the focus and attention of
people to the reference point in the
building.
16
MATERIAL -
The space is composed primarily of three materials: stained oak, rammed earth, and
glass.

Glass : Rammed Earth walls : Stained Oak :

Glass is used to connect Rammed earth walls use The stained oak brings
the spaces visually but a mix of various materials the interior light down
separate them to create elegant to create a grotto
processionally. striations. condition.

From the gravel at the entry to the trees in the courtyard, each object is carefully
chosen to create a continuous color palette to reinforce a calming atmosphere,
enhancing the main refuge pattern.

17
Based on the site’s contextual condition, it is shown that how the elements of
contemplative space are used here in the design to create a better environment for
the users.

COLOR THEORY -

Colors incorporated into to the sacred

space is integrally connected to light,
indicating the days progression through
v isu a l m e a ns. Fo r insta nce , du r i n g
morning time the space may be one
color, at noon another, and in the
evening yet another, connecting those
within the space with the day’s natural Earthy and natural tones have been used
cycle. in the design which gives calming and
soothing feel to the users

CONNECTION WITH NATURE -

Strawberry Creek running along the site’s edge gives the student a visual and
audible connection throughout. Inside the space the will also be a tree on a
different level than the main space.

The connection with the natural

surrounding lanscape is an important
focal point of the project. Most of the
contemplation spaces have a visual,
audial, tactile and factory connection
to the creek, the flora, and fauna.

LIGHT ROLE -

Little light will enter the threshold, placing the individual in

a polar opposite from the daylight outside the sacred
space. As one exits the threshold, he or she enters the
main space and again meets the sunlight.

Vertical louvers along

the eastern wall
mimic the non-
rhythmic layering of
tree trunks while
casting dynamic
shadows along the
dark oak flooring.

18
THRESHOLD -

The threshold will serve as a transitional space that removes the students from their
day-to-day living routine and places them into a sacred space.

Upon entering the first

space, one sees that
the walls are inscribed
with ancient text
written in a mood of
oneness or soleness.

When a person experiences a new space whose characteristics are similar to a

memorable sacred space they were once in, they begin to recollect feelings and
emotions of the previous sacred space they were in. In this way, memory,
sacredness, and architecture all link together.

SOUND VIBRATION -

For the majority of the time the only sound that enters the space is that of flowing
water in the creek. It produces the calming and soothing feel for the users. Sound
vibration can be used as an important design element to make spaces that will
help the users in artist residency
19
3.2 SHREYAS RETREAT CENTER, BANGALORE

Location : Bengaluru, Karnataka

Architect : The Purple Ink Studio
Area : 20000 sq. ft
Project year : 2016
Category : Well being

CONCEPT AND PHILOSOPHY

The design is focused on an

integrated approach to
crafting a unique retreat
center with an approach
that encompasses art,
landscape and sustainable
ideologies .

mudra : a symbolic gesture used in yoga

20
21
Based on the site’s contextual condition, it is shown that how the elements of
contemplative space are used here in the design to create a better environment for
the users.

LIGHT ROLE :

The design makes clever use of natural light, which

renders the exposed walls and ceilings with a serene
glow and a magnificent play of light and shadows.
Various design elements such as handcrafted jaali
screens and solid wood doors and creating connection
between the spaces. The bond is further strengthened
by the different openings that help merge the interiors
and exteriors seamlessly.

MATERIALS :

The Materials used are concrete, wood, stone and glass ; providing a serene, beautiful
and serene environment, where light plays a fundamental role. The materials are
balanced with each other, since wood gives warmth, concrete solidity, stone
connection with the earth and glass reflection of light.

Glass
Wood :
It provides
warmth to
the users

Concrete :
Concrete as a
material provides
solidity

22
CONNECTION WITH NATURE :

The landscape merges the geometry of network of the surrounding paths to form
break-away spaces for the guests to lounge. These buffer zones create smooth
transitions from the exterior, to semi covered spaces, and also offer a beautiful play of
light.

The designed spaces growing from the sunken The landscape integrates
ground towards the sky, are an epitome of flawlessly with the built pathways,
tranquility. creating break-away spaces for
the users to relax
THRESHOLD :

• The shaded pergola is

sorrounded by landscape and
serves as a transition space.
• It provides serene environment
around it acts as calming feel to
the users
• The transition spaces looks
inviting and aesthetically
pleasing

In a courtyard, hot
air rises up and it
maintains the
thermal comfort, it
p r o d u c e s a
calmiing feel to the
users and provides
mood of oneness

23
3.3 OSHO DHAM , NEW DELHI.

Location -Najafgarh, New

Delhi, Delhi

Project Facts -

Architect - Ar. Snehsanu

Mukharjee

Year - 1996

Site area - 9 acres

Introduction -
Osho center is designed by Ar. Snehsanu Mukharjee, a delhi based architect.
Oshodham offers a very green, aesthetic, and peaceful environment for those on
inner journey . OshoDham has a meditation supported by residential facilities for
long term-sterm stays.

Design Concept -

The design concept of the centre is based on enlightenment, mental peace and
physical satisfaction. Once one enters the centre, one is abushed with the
immmense amount of mental peace and satisfaction.

24
Features :
Sound Vibration -

The cherubic sound of gurging water

The meditation hall is incorporated with bodies and fountains with the chirping
a humidification system which helps to of birds belp the meditators to go deep
bring down the ambient air temperature o n the p a th o f a w a r e n e s s t h r o u g h
during the warm summer months. meditation.

Pathways - Connection with Nature -

The provision of spiral path throughout The outdoor landscape forms part of
the centre seems quite interesting. This the functions of the centre for spiritual
has helped to achieve a compact practices to take place in nature
organisation of spaces which leaves Landscaping elements.
the rest of the land free for natural
farming

Role of Light -

• It is observed that the

form has symbolic
meanings
• while the interplay of
light and shadow was
also included the
design.

25
 Jawahar Kala Kendra

Architect-Charles Correa
Construction-1992
Clients-Rajasthan Art &
Culture Department
Site Area-38445 sqm
Ground coverage-15%

CONNECTIVITY :
Jaipur Airport-7 km
Jaipur Gandhinagar Riway Station-1.5 km
High Court Circh Bus Stop-100 m
SMS Stadium Metro Station-1,7 km

ACCESS:
The site is well connected with roads and streets touching the site on three sides.

CLIMATE :
Jaipur has a hot semi-arid climate it receives over 63 cm of rainfall annually, butmost
rains occur in the monsoon months between June and Septem ber Temperatures
remain relatively high during summer & can go upto 450 Temperatures in winter
days.

Concept and Planning :

This Study comprises of Zoning and

Circulation , Planning, Climate
Responsive architecture, and Spatial
Features of JKK
 Zoning And Circulation

Museum / Gallery

Learning Spaces

Recreational Spaces

Administration area

The centre is made in 8 blocks incorporating Art gallery, theatres, libraries, museums,
studios, administrative spaces, workshops and cafeteria. Two of the most active
areas are Cafeteria and Amphitheatre.

Internal Circulation

External Circulation

Main Features:
• Grid-Iron Planning
Entry 2 • Central Courtyard
• Two major Axes
• In this, entry 1 is pedestrian
entry while entry 2 is vehicular
entry.

Entry 1
Response to Climate :

Softscape

Hardscape

• Material : Red sand

marble stone and
white
• Va s t u s y m b o l s o n
facade of each unit
• Small punc tu r es o n
walls for ventillations.
• Smaller openings
• Central courtyard
bring in light and air

Features :

Jkk has a peaceful sorrounding

environment, well designed
pathways, art galleries and well
planned
formal and informal community
areas making it a great place
for artists achieve mindfulness/
act of contemplation.
CHAPTER 4

ANALYSIS
Parameters Case 1 : Case 2 : Analysis
Osho Dham, Delhi Widhover
Contemlative Center,
Berkeley

Connectivity • Open planning of

and Location of spaces
Space • Planning is free from
any barrier
• Each space has it own
set of unbuilt space

Threshold The main entrance of the The threshold is serving The threshold of
c e n t r e w a s v e r y as a transitional space both the case-
welcoming . that removes the studies are
students from their inviting and
day-to-day living aesthetically
routine . appealing.

C o n n e c t w i t h • Built-Unbuilt spaces are Strawberry Creek In both the

Nature well connected. running along the cases, Built -
• Pathways - spiral site’s edge gives the unbuilt spaces
p a t h w a y s a r e student a visual and a r e w e l l
so r ro u nde d b y t r e e s
which gives a feeling of audible connection connected. The
calmness. throughout. sorroundings
are peaceful
making it a
contemplative
space.
Parameters Case 1 : Case 2 : Analysis
Osho Dham, Delhi Widhover Contemplative
Center, Berkeley

Color Theory Dark colors have been Colors incorporated into to The colors
used in the exterior the sacred space is used here
integrally conne cte d to gives a calm
light, indicating the days and soothing
progression through visual feel to the user
means.

L i g h t a n d Interplay of light and Little light will enters the In both the
Shadow shadow is included in threshold, placing the cases, there is
the design. individual in a polar abundunt
opposite from the daylight natural light .
outside the sacred space.
As one exits the threshold,
he or she enters the main
space and again meets the
sunlight.

Sound Vibration Water body creates For the majority of the time In Oshodham,
serene environment the only sound that enters water body
and cherubic sound
which creates a the space is that of flowing has been used
peaceful environment water in the creek. as an element
to produce
sound
vibration that
makes the
experience
peaceful and
calming for
the user.
 CHAPTER 5

CONCLUSION AND
RECOMMENDATIONS
5.1 CONCLUSIONS :

RECOMMENDATIONS

1. The Threshold of a space should be visually appealing

and it should be inviting.

Light and Shadow :

1. The clever use of natural light should be made in the spaces as light can
affect the mood of a user.
2. For light and shadow play, jaalis or pergolas can be provided in the
transition spaces which also maintains the thermal comfort of a soace.

Material and Color :

Material:

Material and color should be used in the spaces according

to their significance.

Color :

Color can have pyschological effect on a users mind:

Green can have calming effect on a users.
White color makes a space look larger and depicts purity
Sound Vibrations :

The sound vibrations emitted in a space consequently create a particular

atmosphere that is conducive to particular activities.

Water bodies as a part of landscape should be provided as it has profound effect

and user and also helps in maintaining the temperature around a space,
 Glossary of terms :

CONTEMPLATION -
Contemplative Space
Manifestation -
Prosaic-
Altar -
QUALITATIVE PARAMETER -
USER INTERPRETATION -
 Bibliography :

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BeautyHarmonyLife
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• thespaces.com
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Sunday Guardian Live
• rereeti.org
• Contemplative Art – The Center for Contemplative Mind in Society
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• Contemplative Art - the contemplative academy​
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• orsl.stanford.edu
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MLL Atelier
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contemplation
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Paradoxalism | Medium
• Layout 1 (virginia.edu)