Morphology of Spaces

Geometry
Volumes & Proportions

Spatial Patterns
Axes
Hierarchy of Spaces

Architectural Elements
Ornaments & Symbols
Materials

Landscape Elements
Water bodies and Land Water Interfaces
Plantations

Hindu temple reflects a synthesis of arts, the ideals of dharma, beliefs, values and the way
of life cherished under Hinduism. It is a link between man, deities, and the
Universal Purusa in a sacred space. It is a sacred site whose ambience and design attempts
to symbolically condense the ideal tenets of Hindu way of life. ( George Michell (1988), The
Hindu Temple: An Introduction to Its Meaning and Forms, University of Chicago Press, ISBN
978-0226532301, Chapter 1)
The principle architectural elements of the classical temple may be noted as:
the geometry of thevaastupurushamandala: a grid orienting and proportioning the
plan,
an elevated plinth,
a centralized seat of the deity or garbha griha (womb chamber), which marked the
base of the cosmic pillar (the primary vertical axis),
masses and volumes gradually projecting and recursivelyexpanding around the
womb chamber in the manner of an unfolding cosmos, with
a superstructure(shikhara or vimaana) culminating in an apex along the ideational
cosmic pillar,
a predominant longitudinal axis marking the devotees progress and access to the
womb chamber, often elaborated with a progression of secondary spaces and halls
like ardhamandapa, mandapa, etc, sometimes, with
circum-ambulatories (pradakshinapatha) around the womb-chamber, and
a multiplicity of images of deities, icons, and ornaments forming the external fabric.
The resultant physical characteristics were succinctly described by Hardy, as: *+ imagery
and expression are chiefly in the sculpted exterior. Expression of structure, of load and
support, is simply not an issue in this universe of weightless, interpenetrating, heavenly
volumes; still less the expression of material or construction.12
There are many Hindu temple styles, but they almost universally share common geometric
principles, symbolism of ideas, and expression of core beliefs. (Stella Kramrisch, The Hindu
Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3)

The 9x9 (81) grid Parama Sayika layout plan (above) found in large ceremonial Hindu
Temples. It is one of many grids used to build Hindu temples. In this structure of symmetry,
each concentric layer has significance. The outermost layer, Paisachika padas, signify aspects
of Asuras and evil; while inner Devika padas signify aspects of Devas and good. In between
the good and evil is the concentric layer of Manusha padas signifying human life; All these
layers surround Brahma padas, which signifies creative energy and the site for temples
primary idol for darsana. Finally at the very center of Brahma padas is Grabhgriya (Purusa
Space), signifying Universal Principle present in everything and everyone. (Stella Kramrisch,
The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 978-81-208-0222-3)

Ancient India produced many Sanskrit manuals for Hindu temple design and construction,
covering arrangement of spaces (above) to every aspect of its completion. Yet, the Silpins
were given wide latitude to experiment and express their creativity. (Michael Meister
(1983), Geometry and Measure in Indian Temple Plans: Rectangular Temples, Artibus Asiae,
Vol. 44, No. 4, pp 266-296)

A Hindu temple has a Sikhara (Vimana or Spire) that rises symmetrically above the central
core of the temple. These spires come in many designs and shapes, but they all have
mathematical precision and geometric symbolism. One of the common principles found in
Hindu temple spires is circles and turning-squares theme (left), and a concentric layering
design (right) that flows from one to the other as it rises towards the sky.( Michael W.
Meister, Journal of the Society of Architectural Historians, Vol. 65, No. 1 (Mar., 2006), pp 2649)

The appropriate site for a Mandir, suggest ancient Sanskrit texts, is near water and gardens,
where lotus and flowers bloom, where swans, ducks and other birds are heard, where
animals rest without fear of injury or harm.( Stella Kramrisch, The Hindu Temple, Vol 1,
Motilal Banarsidass, ISBN 978-81-208-0222-3)
While major Hindu Mandirs are recommended at sangams (confluence of rivers), river
banks, lakes and seashore, Brhat Samhita and Puranas suggest temples may also be built
where a natural source of water is not present. Here too, they recommend that a pond be
built preferably in front or to the left of the temple with water gardens. If water is neither
present naturally nor by design, water is symbolically present at the consecration of temple
or the deity. Temples may also be built, suggests Visnudharmottara in Part III of Chapter
93, inside caves and carved stones, on hill tops affording peaceful views, mountain slopes
overlooking beautiful valleys, inside forests and hermitages, next to gardens, or at the head
of a town street.( Stella Kramrisch, The Hindu Temple, Vol 1, Motilal Banarsidass, ISBN 97881-208-0222-3, page 5-6)

Bhutanatha temple at Badami, Karnataka