Redefining the role of Sacred Spaces

"Does the spiritual experience get lost, if the religious structures become less monumental — or is it better if it meets everyday needs?"

Sacred spaces are no longer primarily designed as visual symbols but designed as multi-purpose spaces, shifting from monumental symbolism to community-centered spaces.  One’s perception of a religious space is always set towards their traditional form of architecture which is often designed very tall, with rich decorations, symmetrical layout and a central path to the altar. Rather than a materialistic approach, sacred spaces are influenced by the surrounding ‘Atmosphere’, meaning to perceive the structure in terms of people's experience; materiality; sound; temperature; the, light on things.

The ‘Loyola Chapel’, located in Trivandrum, Kerala by Laurie Baker in 1971, is a case study of sacred architecture, shifting from the monumental symbol to a community space.

It is located in the Loyola College Campus, within the Loyola College of Social Sciences. It is built adjacent to an auditorium which attends about a thousand students for prayer.

Laurie Baker was known for his simplistic and climate friendly works. He uses local materials and understands well how people will use the space. HIs ideas shaped the church into a different form rather than the grand ones. 

The brickwork around the perimeter creates a seamless connection with the divine. They are made of rat-trap bonds, with enough buffer space in between to keep the structure cool and well insulated. The double walls are punctured with jaali patterns throughout, which helps to keep the structure ventilated and allow natural light through the space, thus reducing the cost of artificial lighting and ventilation.

The structure is in two parts, one is the chapel which contains the Nave – which is the main central space where people gather for prayers, and the Sanctuary,  which is the most sacred space where God is worshiped and many rituals take place.Unlike the traditional church, here the nave and sanctuary are not in the same axis. The other part is the Auditorium which contains sitting at two different levels and a Stage with two green rooms at opposite ends.  The main access to the chapel is from the ground level itself with its exit on the opposite end, which then connects it to another level through which there are two ways — ne for the Balcony sitting on the 1st floor, and another towards the Auditorium Sitting. 

The brick work on the altar wall symbolises the divine presence in the church through the light source from the jaalis. Unlike the traditional churches designed to show grandiosity, here the chapel offers a more intimate and personal space. The use of skylight above, just slightly highlights the sanctuary, giving a sense of divinity. With the sloping roof and the light reflection on the wall, coming into a double height space from a small opening makes the experience of entering a sacred space unique/grand. 

Both the structures follow a similar kind of geometry, with a ‘crossing’ at the centre. Though the overall experience is very different from one another.

Laurie Baker philosophy of simplicity, with use of local material and vernacular techniques made the space more interactive I would say, reshaping the way we think of sacred spaces. This becomes a place when sacredness emerges from human connections.

Similarly, another such structure is the ‘Bait Ur Rouf Mosque’ , in Dhaka, built by Marinna Tabassum. Here also the mosque is not constructed like the traditional concept of big minarets or tombs, but here with the help of local materials she creates a well ventilated space, with jaalis walls across and skylight for natural lighting. It is built with exposed terracotta bricks.

"Built in brick, this mosque is an attempt at creating a language of architecture that takes its essence from the Sultanate period and gives it a contemporary expression," - Marina Tabbasum

The site dimensions proposed a square plan. So the inner space was tilted 13 degrees to make the prayer hall face the ‘Mecca’(their praying idol). A cylindrical column is added so that the prayer space increases. With rotation of the central hall, four voids were created in the corners which acts as courtyards and also with the brick jaali work, it allows air and light to filter through. 

The slit in the centre of the prayer hall filters in light and also indicates the qibla,( a line pointing towards Mecca). The central space is raised on eight columns, making the entire space huge and free flowing.

Apart from the traditional use or function of a mosque, which is just for prayers, this structure has also turned into a community centre.

Conclusion

Even if the sacred spaces are not built in its traditional form, through thoughtful design it does not lose the sense of sacredness. In both the examples, with the use of local materials, naturally ventilation and lighting, it made the space more spiritual.