ANEKANTAVADA (RELIGIOUS PLURALISM) – which is explained as multiple viewpoints of the same entity as per the following explanation from the Jain concept
Jains contrast all attempts to proclaim absolute truth with andhagajanyāyah, which can be illustrated through the parable of the “blind men and an elephant“. In this story, each blind man felt a different part of an elephant (trunk, leg, ear, etc.). All the men claimed to understand and explain the true appearance of the elephant, but could only partly succeed, due to their limited perspectives. This principle is more formally stated by observing that objects are infinite in their qualities and modes of existence, so they cannot be completely grasped in all aspects and manifestations by finite human perception. According to the Jains, only the Kevalis—omniscient beings—can comprehend objects in all aspects and manifestations; others are only capable of partial knowledge. Consequently, no single, specific, human view can claim to represent absolute truth.
The origins of anekāntavāda can be traced back to the teachings of Mahāvīra (599–527 BCE), the 24th Jain Tīrthankara. The dialectical concepts of syādvāda “conditioned viewpoints” and nayavāda “partial viewpoints” arose from anekāntavāda, providing it with more detailed logical structure and expression. The Sanskrit compound an-eka-anta-vāda literally means “doctrine of non-exclusivity or multiple viewpoints (an- “not”, eka- “one”, vada- “viewpoint”)”; it is roughly translated into English as “non-absolutism“. An-ekānta “uncertainty, non-exclusivity” is the opposite of ekānta (eka+anta) “exclusiveness, absoluteness, necessity” (or also “monotheistic doctrine”).
Anekāntavāda encourages its adherents to consider the views and beliefs of their rivals and opposing parties. Proponents of anekāntavāda apply this principle to religion and philosophy, reminding themselves that any religion or philosophy—even Jainism—which clings too dogmatically to its own tenets, is committing an error based on its limited point of view. The principle of anekāntavāda also influenced Mohandas Karamchand Gandhi to adopt principles of religious tolerance, ahiṃsā and satyagraha.
philosophy of cubism planes start introducing multiple , infinite spaces which can be experienced in a space – time relationship , hence unfolding many spaces around you .as a result the childlike curiosity of trying to dissect or break a thing to know what is inside remains.
THE MURAL AT PEC HAS BEEN A TREMENDOUS EXERCISE
IN AN ATTEMPT TO BRING IN AN ATMOSPHERE THROUGH A MURAL , I USED THE EXISTING ELEVATION AS A REFERENCE POINT AND EXTENDED THE LINES ON THE ADJACENT SURFACE , SO THE MURAL IS BASICALLY AN IMITATION OF THE SIDE ELEVATION , HENCE IT IS RELATIONAL IN CHARACTER . THE WINDOWS ARE SLIGHTLY OVERSIZED , BUT TO ENRICH THE MURAL ONE MORE LAYER HAS BEEN INTRODUCED
THE NEXT LAYER IS THE HENRY MOORE SCULPTURES IN TWO DIMENSIONAL CHARACTER , PIXELATED , FINDING THEIR POSITIONS WITHIN THE LINES . THEY ARE 3 IN NO. ACCENTUATING THE ALTERNATIVE REPITITION RULE CREATING MULTIPLICITY OF SPACES AMONGST THEM . NOW TO FURTHER ENHANCE THE LAYERING , THE SCULPTURES ARE MADE TO APPEAR AS IF EXPLODING WITHIN THE FRAMEWORK IN THE LANGUAGE OF THE BRICK SIZE , HENCE THE ORIGINAL IDEA IS BEING BROKEN TO GENERATE FURTHER NEW SPACES OUT OF
THE IDEA OF INTRODUCING HUMAN FIGURES WAS NOT ACCEPTED , BUT THEN TO BRING IN AN ABSTRACT CUMMUNICATION WITH OPEN INTERPRETATION THE GRID WAS MADE UNIFORM AND A PART TO WHOLE COMPOSITION WAS INTRODUCED HERE THE METAPHOR WAS A FACE ( DEVOID OF THE SPECIES) THE TWO SMALLER SQUARES ARE THE EYES , AND THE TWO FACES ARE FACING EITHER ENDS WITH A SEEMLESS LINE WHICH KEEPS THE MIND TICKING, AND THE SCATTER GOES A LITTLE OUTSIDE THE BOx
THE END PRODUCT WAS LIKE THIS
- In bawa’s work one can see a smooth gradation of light for the fact that the plinth is seemless, there is no inside and outside plinth , so that enhances the theatrical character of the space its like a watercolor painting with huge washes and some fine details, so there is a presence of a larger whole, atmosphere etc.
- Also one can create mutants like zaha or like in some buildings in auroville, where the built form looks like a morphed image of a tangible form or seen before form , so it appears distorted by the architect, or references like melting ice cream , or forms of fruits pastries etc. mohe does create this but in an absolute abstract form like the classroom for iim in the form of caterpillar but the cater pillar is as mohe wants , doshi creates a module or a morphed form and then plays around with it, like CEPT , JDCA , hence it is important to abstract the form , that is the true sign of an artist as it becomes his interpretation , then leaving the observer in an engaged with the object trying to have a dialogue with the form .the spaces should appear unfolding so as to create infinite spaces , atmospheres .geometry is the ultimate abstraction .
- As a bottom line both spaces and forms should have layerings so that they appear juxtaposed with another space and form Space(PATTERN LANGUAGE) should look devoid of the real time, hence they woud look theatrical, form (FORM LANGUAGE) should look devoid of real form (like jatin das , henry moore, ( ISAMU NAGUCHI). As a result the idea of imitation gets followed and the mind swings between two entities and atmosphere gets created.
- The tree mural proposal at preeti residence , is chosen to be devoid of the real form , hence abstracted, but can imitate a dancing figure,this dancing figure can be a female , or a dancing giraffe, etc so there is an overlap of multiple spaces .so one has to be good at understanding of anatomy so that it can be interpreted into many things, hence there is richness, movements slowdown , physically and mentally, hence architecture happens , unlike west where the built form looks like the built form of the diagram , hence very meditative expression (not choreographed, hence nutral) , there is a one sided dialogue , and waiting for a response .remember the experience of looking at a guy with closed eyes sitting still and meditating is different from a guy chanting hymns in language not known but then there is a constant effort of relating the form language and the pattern language resulting memory and fantasy both
- Anything can be paused and transformed into the built form as well
- THE START OF DESIGN SHOULD BEGIN WITH THE IDEA OF CREATING ATMOSPHERE (generally created when many things come together)AND PHILOSOPHY OF THE METAPHOR(caves , forest ,being amongst kids so there are scaled down elements around etc), IS IT TANGIBLE, MUTANT (morphed species ETC) , THE EXPRESSION CAN VARY LIKE —
- MEDITATIVE EXPRESSION = NUTRAL SPACES = PLANE WALLS = MIES PAVILLION = LOUIS KAHN = LARGER THAN LIFE ATMOSPHERE = HIGH ABSTRACTIONS = LESS MORPHED OBJECTS IN NO ACTION
- CHOREOGRAPHED EXPRESSION = EMOTIONAL SPACES = EXPOSED BRICK = TEXTURES MATERIALS = GEOFFERY BAWA = KANNADE = HUMAN SCALE = FRIENDLIER ATMOSPHERE = LESS ABSTRACTIONS = MORPHED OBJECTS IN ACTION .CHOREOGRAPHY CAN BE MEDITATIVE LIKE PEOPLE PRAYING, CHANTING, MARCHING OR DYNAMIC LIKE PEOPLE SHOWING AGGRESSION, DANCING, FIGHTING ETC
- ALWAYS TRY TO CREATE THE EXPRESSION OF THE WHOLE AS MEDITATIVE (with or without metaphor like caves )AND THE PARTS REACHING THE WHOLE AS ENRICHED and CHOREOGRAPHED (MEDITATIVE OR DYNAMIC ) JESTURES hansmukh patel house
- THERE SHOULD NEVER BE A COMPROMISE ON EXPRESSION , IF THE SITE IS BIGGER , ELEMENTS CAN BE BROKEN OR DETAILED OUT, IF SITE IS SMALLER ELEMENTS CAN BE FUSED LIKE THE DRAWINGS OF KK HEBBER, JAMINI ROY
- FOR DETAILS OF EXPRESSIONS REFER KANNADE MOHE CHAPTER
THE OTHER DAY I WAS WONDERING WHY SPACES WITH ARCHES CREATE SO MUCH INTEREST , AND I UNDERSTOOD SOMETHING THAT WAS AN EXTENTION OF MY UNDERSTANDING OF SPACE. JUST LIKE THE CASE WHEN THE ARCHITECTURAL SPACE BECOMES THE FOCAL VISION , THAT IS A SITUATION WHEN U MOVE TOWARDS A SPACE WHICH ALLOWS U TO TURN AROUND SO THAT MULTIPLE SPACES ARE OPENED UP , THEN THE SPACE LOOKS MUCH MORE RICHER AND YOU GET A HEIGHTENED EXPERIENCE , SIMILARLY TO DEAL WITH THE MOVEMENT OF THE EYE THESE SPACES AROUND WHICH ONE CAN MOVE CAN BE TRANSFORMED INTO THE SHAPE OF AN ARCH , AS IN A CIRCLE EVERY POINT CHANGES WITH THE TANGENT SO THE VISUAL SPACE IN THE FORM OF AN ARCH WHICH IS NOW AN ARCHITECTURAL SPACE KEEPS UNFOLDING EVERY TIME ONE EXPERIENCES THE SPACE, HENCE INFINITE SPACES CAN BE SEEN , UNLIKE A SQUARE ARCH , WHICH IS MEANT FOR A VISION TO BE EXPERIENCED ONLY AT ONE POINT.
TODAY I REALISED THAT LIFE IS ALSO LIKE WATER COLOR PAINTING. WHEN U TAKE UP A JOB , THE MORE TIME U INVEST ON IT , THAT is MORE THE LAYERS OF APPROACHES U PUT IN , THE BETTER IS THE RESULT. ALSO ONE HAS TO LEARN TO WORK LIKE A MACHINE , THAT IS UNDERSTAND THE WORK AND WORK RIGOROUSLY TO TRANSFORM SOMETHING INTO SOMETHING ELSE
Unlike the classical approach of flw , the modern architecture is about creating unfolding spaces , infinite in number with planes creating the form language and also add a metaphor to the form language, but in this process architects have got carried away and lost the ability to create infinite places, which can be seen in the early works of doshi, late works of corb, scarpa , bawa,hansmukh patel,namita singh where the stress is only to create place making , its juxtaposition , multiple layers etc. And one is constantly in the atmosphere of over lapped places, and because abstraction is so high it appears meditative or mutant like but highly abstracted so no direct interpretation happens, but care is taken to make form and pattern language to appear configured and relational
Even in the architecture of mohe ( not the houses ) there are infinite spaces which make the pattern language appear meditative but devoid of places , that is the immediate next architectural jesture .
Finding two to three reasons in every element of architecture get taken care of, infinite pattern languages that is a space offering many patterns are created. Now because of this approach the abstraction of the form language is very difficult to interpret but still a part to whole composition makes it successful. The form and pattern language is relational and configured , but never just displayed so there is always a coherence between different stories and dialogues of the building.
All traditional buildings are full of places, which through familiarity accord well with the users. Human beings have evolved the ability to process information both immediate(which is embedded in our environment) and stored ( as mental images). Architects in the process of distancing their work from actuality have begun to rely more on stored information than immediate information. The ability to store an artificial representation can go awry when such an artificial image replaces the real world. This ultimately leads to a state of disconnection where human being connects with some senses and emotions, (like zaha) but not with others many contemporary architects in their efforts to impose abstract architectural and urban solutions on the environment, do just that
WHY IS THERE A NEED TO CREATE MUTANTS, AND WHAT MOTIVATES US TO DO THAT ?
The application of geometry was seen as one way in which human beings could improve
the imperfect world in which they found themselves. Geometric purity was thus seen
as a touchstone of the human ability, or perhaps duty, to make the world better. It is in this sense
that ideal geometry, as a way of imposing order on the world, is a characteristic of the ‘temple’.
The result was that architects produced designs for buildings which were composed
using perfect figures and geometric ratios. This, for example, is a copy of Wittkower’s diagrams of the geometric composition of the façade of the church of S.Maria Novella in Florence, designed By Leon Battista Alberti and builtin the fifteenth century.
Hence whenever we find something that reminds us of something tangible or intangible , we start finding an ideal geometry to make that tangible a perfect geometry , albetri and other renaissance did that with squares, circles etc .Today modern day architects like mohe make mutants by first drawing abstract images of the tangibles and then find perfect shapes, hence architecture helps one to perfect the imperfect world around you . But a non artistic approach of trying to create the perfect shape will be disaster, as the product has to continue make u remind of the tangibles and hence create a dialogue
COMPOSITION OF ANY DESIGN
A DESIGN BEGINS WITH THE IMMEASURABLE (PSYCHOLOGICAL FUNCTION), MOVES TO THE MEASUREABLE (PHYSICAL FUNCTION) AND FINALLY GOES BACK TO THE IMMEASURABLE ….LOUIS I KAHN
IMMEASURABLE AND MEASUREABLE
- IMMEASUREABLE –
- AIM AND OBJECTIVE – TO CREATE ATMOSPHERES (REFER SPACE, PLACE AND ATMOSPHERE, JUHANNI PALLASMA, THINKING ARCHITECTURE), SO AS TO FEEL DISCONNECTED FROM THE REAL WORLD AND CONNECTED TO THE CREATED ATMOSPHERE , BY CREATING MYSTERIOUS EXPERIENCE LARGER THAN LIFE, THERE HAS TO BE A CONSTANT DIALOGUE WITH THE FORM AND SPACE THAT ENGAGES YOU AND ELEVATES YOUR FEELINGS AND GIVES YOU A HEIGHTENED EXPERIENCE, THUS CREATING AN EXPRESSION.
- OBSERVING THE EXPERIENCES IN EVERYDAY LIFE THAT ONE LIKES AND DISLIKES AND UNDERSTANDING THE HIDDEN EMOTION BEHIND AND TRANSFORM THAT EMOTION INTO THE BUILT FORM
- TYPES OF ATMOSPHERES (REFER ERNO GOLDFINGER) – THE IDEA
- FORM LANGUAGE AND SPATIAL LANGUAGE – FORM AND SPACE ARE COHERANT , ONE CREATES THE OTHER
- WHATS A FORM LANGUAGE
- A FORM CAN RESULT INTO CREATING ATMOSPHERES
- SERVED SPACES
- SERVANT SPACES
- WHATS A SPATIAL LANGUAGE
- A SPACE CAN RESULT INTO CREATING ATMOSPHERES
- FACTORS GOVERNING THE MEASURABLE
- PLACE MAKING
- UNDERSTANDING THE IMMEASURABLES, AND THE MEASURABLES OF THE SUBJECT
- IDEAS TO THINK WITH
- DRAWING,IMAGES , PICTURES, ETC
- WRITING TO UNDERSTAND THE EXPRESSION OF FORM /SPATIAL LANGUAGE
- IDEAS TO THINK OF
- PROPOSITION DIAGRAM
- SITE LEVEL PROPOSITION DIAGRAM
- BLOCK LEVEL PROPOSITION DIAGRAM
WHATS A FORM LANGUAGE
ABSTRACTION OF THE REAL THAT COMMUNICATES AN EMOTION,OR THE SPIRIT OF A TANGIBLE FORM. HERE THE EMOTION CAN BE CHOREGRAPHED, MEDITATIVE ETC. ITS RELATIONSHIP TO OUR BODY HAS TO BE UNDERSTOOD, AND THE WAY IT ENGAGES US STARTS ANIMATING THE BUILDING LIKE FILM MAKING
- EXPRESSION OF DIRECTION
- OUR RELATIONSHIP TO THE FORM
WHATS A SPATIAL LANGUAGE
ABSTRACTION OF THE REAL THAT COMMUNICATES AN EMOTION,OR THE SPIRIT OF A TANGIBLE SPACE.THIS SHOULD DISCONNECT FROM THE REAL TIME AND TAKE YOU TO A TIMELINE CONVINVINGLY WHICH MAY BE TANGIBLE (REAL FORM) OR INTAGIBLE (MUTANT LIKE OR FORMLESS)
WHATS AN EXPRESSION
THE RE-PRESENTATION OF THE SELECTED ENTITY , IN THE REAL WORLD AND THEN KEEPING THE REST AS MYSTERY
WHATS AN ATMOSPHERE
- PRINCIPLES OF ARCHITECTURAL DESIGN PROCESS
- REPITITION (RIYAZ) – CONTINUOUS THINKING ABOUT THE ISSUE AND QUESTIONING YOUR INTENT , BY ENGAGIN IN CONVERSATIONS
- SUBJECTIVITY OF DESIGN – THERE IS NOTHING CALLED AS A WRONG IDEA, ITS JUST THE DEGREE OF EXPRESSION WHICH CAN BE SHALLOW OR MATURE
- IMPROVISATION –
- UNDERSTANDING CONSTRAINTS