IAFOR Journal of Education: Studies in Education

Volume 8 – Issue 4 – 2020Maṇḍala in Architecture: Symbolism and Significance for Contemporary Design
Education in India
Navin Piplani
Ansal University
India
Tejwant Singh Brar
Ansal University
India

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Abstract
This paper builds upon the understanding that the knowledge of traditional design concepts,
particularly the maṇḍala, is relevant for contemporary design education. The significance oftraditional principles and practices of design has been undermined by contemporary systemsof education. The theory and practice of the philosophy of design are explained using textualreferences from the ancient treatises on architecture, and analysing buildings and sites of
traditional and contemporary approaches to design. A specially devised framework ofanalytical indicators helps establish the relevance of traditional design concepts and processes
for use in contemporary architecture education. An exploration into the current architecture
pedagogy identifies the components of teaching structure where potential confluence zones aremarked for the inclusion of traditional knowledge content. It is argued that the vāstu purushmaṇdala is a philosophical vision and practical tool, which is readily applicable to design
education because of its multi-dimensional qualities. A full and in-depth knowledge of themaṇdala will provide value-addition to the critical history-theory and essential contextrelevance strands of design education.
Keywords: architecture education, design concept, design philosophy, Indian architecture
theory, vāstu purush maṇḍala

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Introduction
In an Indian context, the traditional building knowledge is codified in the Śāstras – the ancient
treatises on art and architecture. The Indian building traditions are thousands of years old, andthese are explained in much depth in the canonical texts. Sthapatis and Sompuras, as they are
known in southern and western parts of Indian sub-continent, are essentially master-builders
who practise this knowledge system, and hand it down to the next generation in its fullauthenticity and integrity.
“Vāstu Vidya or the ancient Indian knowledge of architecture has its first textual reference in
the Rig Veda and survives today as a continuing tradition, through its fragmentary application
by astrologers, craftsmen, conservation architects and priests” (Chakrabarti, 1998, p. 1). In thecontemporary practice of architecture, this knowledge, though uninformed and fragmentary,
has still found some use. The paper argues that contemporary design education does notprovide the desired emphasis on the traditional building philosophy, principles and practices.
The traditional principles of design and the traditional practices of building are both relevant
and significant for architecture education. This claim may seem unfounded in the context ofcontemporary understanding of design, which is largely a by-product of the colonial occupationin the sub-continent and a direct descendant of modernity. The academic content and teaching
methods are, to a great extent, drawn from the Western, or rather European, systems ofteaching. However, the main central argument of this paper is built upon the idea that thetraditional philosophy and methods of design need to be at the front and centre of design
education in India.
The rationale behind this argument lies in the concern that though a solid bedrock of traditionalbuilding knowledge was available in the ancient Indian context, it was never acknowledged orconsidered for erecting the foundations of modern education in the colonial India. The
knowledge of traditional design concepts needs to be disseminated widely, for it can be argued
that a majority of academics and practitioners are either ignorant, or only partially aware, of
the fundamental of traditional Indian theory of architecture.
Methodology
The methodology deployed for the study includes an in-depth discussion on the concept ofmaṇḍala in relation to design thinking. The paper has been developed on an inductive approach,guided by qualitative understanding and analysis of the subject matter. It involves a criticalinquiry into the two main strands of knowledge concepts, namely: traditional building
knowledge and architecture education.
The exploration is based upon a critical insight into secondary sources such as books, journals,
research theses and published papers. The observations are also derived from interactive
sessions and interviews with traditional knowledge holders and contemporary design educators
at building sites, traditional workshops and teaching institutions.
In addition to a critical theoretical context for the discussion, the study also illustrates design
projects as cases in point to substantiate the main central argument of the paper.

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Literary Context
At the outset, it may be worth clarifying that the paper deals with highly subjective areas ofmind and spirit. The discussion attempts to critically engage with the esoteric complexities of
traditional philosophies and principles of design. Unlike the more technical and scientificthemes of exploration, the traditional design concepts are drawn out using literature andpersonal interviews of traditional knowledge holders. There is a rather limited literary material
available to present a critique.
The design thinkers, academics and practitioners have examined the domains of philosophy,
education and practice in a considerable breadth and depth. It is argued that the roots ofarchitecture education in India are in the solid bedrock of traditional knowledge systems, andnot in the colonial sub-layer of imported education models. This argument finds resonance inthe writings of eminent scholars in the field of architecture education (Chhaya, 2004; Ganju
and Dengle, 2013; Mehta, 2001, 2006; Menon, 1998, 2000).
Ananth (1999) claims that the traditional building knowledge is losing its place in thecontemporary design sensibility, and schools are churning out professionals who are trained in
the Western traditions of aesthetics and art appreciation. Mehta (2006, p.1) suggests that,“while the professional attitude is a western import, the pedagogy requires the issues of a
distinct cultural identity and the resolution of the tension between tradition and modern
aspirations be integrally woven into the educational philosophy”.
There is work done, albeit limited, that examines the key traditional texts on architecture for
their relevance in design practice in India. Vāstu Śāstra (ancient treatises on architecture) and
Vāstu Vidya (traditional knowledge of architecture) are the key subjects of critical engagement
and assessment. Acharya (1922) has done seminal work in reading, analyzing and interpretingthe ancient treatises such as the Mānasāra and making these easily accessible to researchersand scholars working on this subject. His paper presents an overview of the branches of studies
that are most essential for an architect to be familiar with.
Chakrabarti’s (1998) research on the Indian architectural theory illustrates the contemporary
uses of traditional knowledge in architecture practice. Her work illustrates that a majority of
the users of Vāstu Vidya apply it with a partial understanding. They choose to refer to only that
aspect which serves their own purpose, and ignore the holistic nature of the original knowledge
system which they pretend to “know”. This paper argues that whereas the design practiceaccepts the relevance and uses of traditional building knowledge in a partial and selective
manner, the design education should be developed upon an understanding of its coherent natureand unified system.
Discussion
The context of traditional building knowledge is defined primarily, by a critical and in-depth
study of the Mānasāra, though other cognate texts are also referred. The oldest and mostcomplete canonical group of ancient texts includes Mayamata, Mānasāra, Samarāṇgana
Sūtradhāra, Rajavallabha and Vishvakarma Praksha. The paper considers the first three texts,
covering a time period during 6th Century CE to 11th Century CE.
In terms of traditional building knowledge practitioners, the traditional master-builders or
sthapatis, still continue to apply their age-old knowledge, experience and skills. In order to174

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gain an in-depth understanding of traditional design principles, structured interviews wereconducted with sthapatis. Whilst the theory and practice of traditional building knowledge isavailable in the text, the philosophy of the theory of knowledge is understood in detail only by
personal interactions with a sthapati. In Southern Indian context, a sthapati is entrusted withthe conception, design, execution, consecration and conservation of a temple building.
Some of the key research questions are: What is the conceptual base of design in a traditional
Indian context? In what way does the symbolism of vāstu purush maṇḍala inform the theory
and practice of the philosophy of design? What are the possibilities of integrating the traditional
knowledge of maṇḍala in contemporary design education in India?
Vāstu Vidya as the Basis of the Philosophy of Design
The discussion builds upon the theoretical underpinnings and practical application of theancient concept of the vāstu puruṣa maṇḍala. According to Vastu Vidya, the fundamental
aspect of the art and science of architecture is embedded in the “Spirit of the Site” – also knownas vāstu (Acharya, 2010a; Dagen, 1994; Sharma, 2012). The three critical attributes of a design
process are concept, rationale and tools; these are illustrated in what is known as a vāstumaṇḍala or a grid plan.
There are thirty-two types of maṇḍalas that could be applied to a site depending on the type,scale, function and complexity of a building. In each plan type, a specific place is assigned tothe presiding deity who in turn dictates the function or use of that space in a building. Thisapproach is applicable to both sacred and secular architecture.
The first is a site of one plot and is named Sakala. A plot could be square, rectangle, oval,
polygonal or circular. A site of four plots is named Paiśācha, of nine plots is named Pīṭha, of
sixteen plots is named Mahāpīṭha, of twenty-five plots is named Upapīṭha and so forth.
The principle of generating plots is:
sx = p(x2)‘sx’ is the site nomenclature‘p’ is number of plots in that particular site typeFor example:
s1 = p(12) = p = 1 plot (Sakala)s2 = p(22) = 4p = 4 plots (Paiśācha or Pechaka)s3 = p(32) = 9p = 9 plots (Pīṭha)s4 = p(42) = 16p = 16 plots (Mahāpīṭha)s5 = p(52) = 25p = 25 plots (Upapīṭha)This classification of sites is prescribed until the thirty-second type which has one thousand
and twenty-four plots and is named Chandra-kānta.
s32 = p(322) = 1024p = 1024 plots (Chandra-kānta)It is informative to understand the evolution of vāstu maṇḍalas or ground plans for the various
types of sites and buildings. Each plan is recommended for a specific function and building
type. For example, the Sakala plan (refer Figure 1) is proposed for “the worship of gods andpreceptors, for sacrifices with fire, for the seat (sitting room) and daily dinner (i.e. dining room)of sages, and for the usual ancestral worship (e.g. śrāddha, etc.)" (Acharya, 2010a, p. 25).

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Similarly, the Pechaka plan (refer Figure 2) is proposed for buildings “for domestic (public)
worship and public bath” (Acharya, 2010a, p. 25).

Figure 1: Site of one plot – Sakala

Figure 2: Site of four plots – Pechaka

Figure 3: Site of nine plots - Mahāpīṭha

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Figure 4: Site of sixteen plots - Upapīṭha

Figure 5: Site of twenty-five plots - Pīṭha
(Figures 1-5 are adapted from Acharya, 2010b)
The figures shown above illustrate a few of the many ways in which a plot of site may be subdivided using the concept of maṇḍala. An architect could apply the principle of generatingplots, as mentioned above, to develop a specific maṇḍala or grid plan for a specific site, use
and typology of a building.
The Symbolism of Vāstu Puruṣa Maṇḍala
The Mānasāra provides a conceptual base to conceive, design and develop the most useful andauspicious plan for a building type. In addition to these rather physical attributes, it also assigns
a spiritual meaning to the ground plan or maṇḍala that is selected and adapted for a site. The
presiding deities are assigned to the plots with Brahmā always at the centre of the plan; together
these constitute what is known as the “Spirit of the site” or vāstu puruṣa.

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Figure 6: Vāstu puruṣa maṇḍala(Kagak, C. (Ed.), 1986, Vistāra - The Architecture of India, Catalogue of the Exhibition
Released into the public domain in 2012-13)
The vāstu puruṣa maṇḍala aligns a building site in relation to the four cardinal and four ordinal
directions, namely: north, south, east, west, northeast, northwest, southeast and southwest. A
site good for construciton is always represented as a grid of squares with the bindu at the centremost point. This point of reference is both the void and the soul of the site.
The form of the vāstu puruṣa or the “figure of Man” overlaid on a maṇḍala or the grid is“beyond form” (Vatsyayan, 1997, p. 99). The Samarāṅgaṇa Sūtradharā explains this “figureof Man” as the “Spirit of the site”. The head of the Puruṣa is located in the northeast direction,whilst the feet go in the southwest direction. The knees and elbows signify the northwest andsoutheast directions. In the centre, and kept always clear, is the navel located at the intersectionof the cardinal and ordinal directions.

Figure 7: Vāstu maṇḍala
(Based upon discussion with Dr Narasimha)

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A 64-suqare maṇḍala, known as the chaṇdita (refer Mānasāra, chapter 7) is shown above. It
is developed upon discussions with Dr Narasimha, a renowned sthapati (master-builder) andsilpachariar (teacher) in Chennai. The centre-most part of the maṇḍala is called Brahmabindu,
and it marks the source of all energy. It is also the centre of the cosmos and establishes the
genius loci of the site. At this point and the immediate space around it is located the Brahmam– the Supreme Almighty; the arupa – the Formless, the Ultimate God or the Spirit of the place.
Vatsyayan (1986) explains the vāstu puruṣa maṇḍala as:
The mandala is not a plan; it represents an energy field. And, as in the case of the black
holes of outer space, at the dead centre of the vortex is Nothing…which is Everything.
It is both shunya (the Absolute Void) and bindu (the world seed and the source of allenergy). In all mandalas, at this centre is located Brahman, the Supreme Principle.
The Theory of the Philosophy of Design
The classical Indian philosophy of design is built upon the notions of the outer world and inner
self, and the material desires and spiritual consciousness. The symbolism of Puruṣa is key tothe understanding these interlinked notions of the macrocosm and microcosm: the whole andthe part.
Vatsyayan has done considerable research on this subject and has traced the symbolism andsignificance of vāstu puruṣa and maṇḍala from the Vedic period through the later treatises onart, architecture and sculpture. Her critical and in-depth study of Nāṭyaśāstra suggests that thenotion of vāstu puruṣa and the associated concepts of time, direction and space, were
understood and applied in the field of performing arts, particularly theatre, much before they
were used in architecture.
“In Bharata’s propitiation of the different directions and the deities of each of the direction, theestablishment of a centre and main axis and the placing of pillars, one may receive remarkablecorrespondence with the imagery of the Upaniṣads and the ritual of the Brāhmaṇas. Allestablish the relationship of the physical with the psychical and the metaphysical” (Vatsyayan,
1997, p. 40).
This understanding of the relationship between the physical and the metaphysical, and themicrocosm and the macrocosm provides a solid foundation and bedrock upon which traditionalbuilding knowledge has been erected.
In the ancient Indian design philosophy, the conceptual ideation of “form” deployed physicaland spiritual processes. Some of the critical approaches include the use of: the human body orPuruṣa as a measure of design; the rituals and ceremonies as metaphoric links between thephysical and metaphysical or the form and formless or the world order and the cosmic order;
the assigning of directions and locations to Gods and presiding deities; and the establishmentof the centre of a site and setting up of the axis mundi or stambha as a symbolic connection of
the earth with the heavens, of the microcosm and the macrocosm or of the part and the whole.
It has been established that this knowledge existed in the Vedic times and was passed downover several millennia to medieval times. Arguably so, but it may not be incorrect to claim thatcertain aspects of this ancient knowledge continue to be applied even today by traditional
master-builders.

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A full and in-depth understanding of the concept of a maṇḍala is key to architecture as acreative design discipline within this tradition and as a meaningful building activity. Whilst theknowledge of the traditional concepts of design is codified in sāstras – the ancient texts, theunderstanding of this knowledge and its practice resides in sthapatis – the traditional masterbuilders. A tangible concrete expression of this traditional building knowledge takes the formof standing buildings - sacred and secular - in which these age-old knowledge systems areembedded.
The Practice of the Philosophy of Design
The intention of establishing a correlation of architectural members in a building, particularly
a temple, with the figure of Man or Puruṣa was to reinforce the symbolic connection between
a finite structure and the infinite macrocosm. Further layers of symbolism were imbued invarious building elements like plinth, ceiling, projection, entablature, decorative carving,
sculpture, painting and so forth. Every architectural member of a building had symbolism or
meaning imbued in its form, location and expression, such that the overall building design, in
its entirety, was a true reflection of the larger whole or macrocosm.
In a building, particularly a temple, each component of its form and design relates to a specificaspect of the macrocosm and follows the consideration of the eight fundamental ingredients ofthe philosophy of Vāstu Vidya. These ingredients are: bhūta (material), kāl (time), prakṛti
(nature), diśās (directions), nakṣatras (planets), rasā (experience), yajna (ritual) and Puruṣa
(the self). Another critical element that is embodied in a building is “energy”.
Narasimha, in his explanation of temple design, lays a strong emphasis on the relationshipbetween design and energy. “Design provides energy to the lingam and sanctum sanctorum or
garbhagṛhā” (M. V. Narasimha Silpachariar, personal communication, February 2018)
The maṇḍala is not a mere diagram or a mathematical grid to be used as a base for theconceptual design and allocation of spaces and functions on a site. If understood fully andapplied judiciously, a maṇḍala symbolises an energy field. It is this energy and its modulationthat guides the design process. A maṇḍala is not a mere tool for design, it is the essence ofdesign. This understanding forms a critical conceptual base for traditional design process.
It is important not to view a construction site as physical ground only, for the earth is a primarysource of energy. The main objective of design is to engage with this energy through andaround a building. The experience of this energy is not as much associated with the aspects ofmass, as it concerns the attributes of life. The energy that is trapped in the deep core of theearth gets channelled up through the site and gets embodied in various parts of the building.
This transmission of energy takes place through the process of design, construction and yajña.
“When an empty space is enclosed by four walls it becomes a living organism”, says Narasimha(M. V. Narasimha Silpachariar, personal communication, February 2018). A space in adesigned enclosure is no longer a dead or empty space; it contains energy or life. It can be
modulated and assigned a use as per design and requirement. The architecture of a building
with its structure, sculpture and ornamentation renders this space alive, meaningful andpowerful.
The design of a building and its various elements is extremely crucial. It has the potential toaccentuate or undermine the impact of this energy at a metaphysical and experiential level.

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Each element of design contributes to this phenomenon of multiplying energy, which is further
augmented with proper recitation of the right mantrās and offerings by a temple priest.
“Mantrā, Yantrā and Tantrā – all three play an important role in temple design” (M. V.
Narasimha Silpachariar, personal communication, February 2018). Here, Mantrā is recitationof hymns for the invocation of Gods, Yantrā is a temple plan based on the Vāstupuruṣa
maṇḍala, and Tantrā is the ritualistic practice or methods for a divine experience.
There are innumerable examples of buildings and places, both in the traditional andcontemporary Indian context, which exhibit the relevance and use of traditional building
knowledge. These were designed on traditional principles of design, and constructed inconformity with traditional practices of building. We now discuss a couple of such examples
to illustrate the concept of a maṇḍala in design.
The Example of Shore temple, Mamallapuram, Tamil Nadu
The Shore temple was constructed during the reign of King Narasimhavarmā II (AD 700-728)(Meister, 1999; United Nations Educational, Scientific and Cultural Organization, 2018). In
1984, the site was inscribed on the UNESCO World Heritage List under the title “Group of
Monuments, Mahaballipuram” (UNESCO, 2018). The other sites in the group of monuments
include: rock-cut rathas, sculptured scenes on open rocks like Arjuna’s penance, the caves ofGovardhanadhari and Mahishasuramardini, the Jala-Sayana Perumal temple…
(Archaeological Survey of India, 2018). All these sites exhibit an outstanding quality of stone
work; cutting, chiselling, masonry, rock-cut, surface relief, carving and ornamentation.

Figure 8: The Shore temple, Mamallapuram
The temple is a complex of three shrines: west facing – Viṣṇucchanda vimāna (theRājasimhēśvara), east facing – Brahmacchanda vimāna (the Ksatriyaṣimhēśvara), and in
between these two and east facing – Narapatisimha Pallava Viṣṇugṛha (Meister, 1999). Hardy(1995) introduces a profound idea concerning classical Indian temple architecture. He suggests

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that the “architectural forms embody an Indian concept of manifestation, of the coming into
concrete form of the divinity and, on a cosmic level, of the transmutation of the eternal andinfinite into the shifting multiplicity of existence, and the reabsorption of all things into thelimitless unity from which they have come” (p. 4).
Hardy’s suggestion forges an inextricable connection between the architectural form and faith,
at a metaphysical level and between the built form and conceptual ideas, at a more tangible
level. Built form is a manifestation of ideas, and the ideas give symbolism to form. This is an
Indian approach to design thinking and practice and is one of the fundamental aspects oftraditional building knowledge.
The understanding of the concept of manifestation is explored further by Kramrisch (1946, p.
165): “The temple is the concrete shape (mūrti) of the Essence; as such it is the residence andvesture of God”. A temple building, along with its form, space, composition, imagery andmaterial is the tangible construct of the Spirit or the Brahmam. It is a concrete representationof the microcosm and macrocosm, of the man and universe, and of the cosmic Man and cosmos.

Figure 9: Sketch of a Maṇḍala in relation to the Plan of the garbhagṛha of the Shore temple,
Mamallapuram(Adapted from Meister (Ed.), 1999)
Photo: American Institute of Indian Studies (Permission granted 19.11.20)
Architecture is perceived and experienced as a form of energy and movement; it is not a static
form of expression. It has its own kinetics and dynamism, which might be more evident in one
kind of architecture than in another. In the classical Indian temple buildings, it is one of theessential governing aspects of design, construction and experience. The most evident design
element in a temple building that conveys the notion of movement or energy is the vimāna.
The energy is drawn from the inner depths of earth towards the central point of the garbhagṛha,and from here it moves upwards and inwards. In architectural terms, the building mass expands
from the centre of the garbhagṛha in all directions in the horizontal plane. This mass with, its
formal, decorative and other constituent elements, reduces to a point at the top-most level of182

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the superstructure. The formal treatment of the garbhagṛha and the vimāna embody thisdynamism or transmission of energy.

Figure 10: Section through the Shore temple, Mamallapuram(adapted from Meister (Ed.), 1999)
Photo: American Institute of Indian Studies (Permission granted 19.11.20)
The figure presents a section through the garbhagṛha and the vimāna of the Śiva of the Shore
temple. The two-way arrows illustrate the flow of energy and the underpinning of the Spirit of
the site. The movement of energy is not only upwards, but also downwards. Whilst the overall
form of the vimāna is seen to be receding upwards, the architectural and decorative elements
seem to reveal the cosmic and mythological symbolism as the whole shrine expands
downwards (Hardy, 1995).
The Example of Jawahar Kala Kendra, Jaipur
Designed by Charles Correa in 1986, the Jawahar Kala Kendra functions as a cultural centre
for the city Jaipur, Rajasthan State, India. The centre is dedicated to the memory of India’s
great leader Jawaharlal Nehru.
Correa explains that the Jawahar Kala Kendra is “a contemporary construct based on an ancient
perception of the non-Manifest World, as expressed in the vastu-purush-mandalas – thosesacred Vedic diagrams that have been of seminal importance for Hindu, Buddhist and Jain
architecture over many centuries”. (Correa, 1996, p. 28). A maṇḍala with a central space as an
absolute void or nothingness (shunya), and simultaneously a point source of all energy or
everything (bindu), is a “truly mind-blowing concept”, says Correa, “similar to the black holesof contemporary physics” (Cruickshank, 1987, p. 57).
It is important to note that this design evolved from a renewed interpretation of the original
concept of vāstu purush maṇdala. It is a nine-square plan, but the squares are not assigned toGods. Correa’s maṇdala illustrates the adaptation of the original and traditional knowledge

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concept. Here, the nine-square grid signifies the Navagraha – the nine planets, and each squaredenotes a planet and contains functions that relate to that planet. The central square denotes
surya – the source of all energy and creation.

Figure 11: Floor plan, Jawahar Kala Kendra, Jaipur
https://archeyes.com/wp-content/uploads/2020/02/concept-drawings-jawahar-kala-kendracharles-correa-museum-floor-plans-4.jpg?w=150(Copyright, Charles Correa Associates, courtesy Charles Correa Foundation, permission
granted 19.11.20)
The design of the centre has remarkable similarity with the plan of the historic city of Jaipur.
The conceptual approach draws inspiration from the original city plan of Jaipur, “drawn up by
the Maharaja, a scholar, mathematician and astronomer, Jai Singh the Second, in the mid-17th
century” (Khan, 1987, p. 142). Jai Singh’s plan was strictly based on a 9-square maṇdala ornine houses representing the nine planets. Due to the presence of a hill to the north of the city
plan, the square along the northwest direction was moved to the bottom, along the square along
the southeast direction.

Figure 12: Plan of the historic city of Jaipur
Kagak, C. (Ed.), 1986, Vistāra - The Architecture of India, Catalogue of the Exhibition)(Copyright, Charles Correa Associates, courtesy Charles Correa Foundation. Permission
granted 20.11.20)

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Correa’s plan invokes the navagriha or nine house maṇdala. Analogous to the original city
plan, one of the nine squares of the centre is pivoted. In conformity with the sāstras, the central
space is an open-to-sky void, whilst rest of the squares house covered or semi-open functions.
The Example of Vidyadhar Nagar, Jaipur

Figure 13: Conceptual sketch of Vidyadhar Nagar township, Jaipur
https://www.sangath.org/uploads/images/1535114309_6-Vidhyadhar%20Nagar-Jaipur.jpg
Photo: Vastushilpa Foundation Archives (Permission granted 21.11.20)

Figure 14: Layout plan of Vidyadhar Nagar township, Jaipur
https://www.sangath.org?uploads/images/1535114309_11-Vidyadhar%20Nagar-Jaipur.jpg
Photo: Vastushilpa Foundation Archives (Permission granted 21.11.20)
The final example for discussion is the masterplan of Vidyadhar Nagar, a satellite town for thehistoric city of Jaipur, Rajasthan. This contemporary township was designed by the Pritzker
Award-winning architect BV Doshi in 1984. The city plan was conceived on the main premise“to bring together the best of traditional and modern design” (Sachdev, 2011, p. 94).

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Doshi’s maṇdala invokes the traditional principles of town planning in order to address thecomplexities of a modern city design. The application of traditional building knowledge isreconfigured to provide solutions for contemporary issues of liveability, development andsustainability. The township promises to provide an experience of a paradise where theinhabitants are happy and healthy. There are employment opportunities, and they live well.
There are markets, schools, offices, parks and waterbodies for an enjoyable and fulfilling life.
The layout plan of Vidyadhar Nagar is a “synthesis of reformist urbanism of Le Corbusier with
its emphasis on nature, circulation and hygiene – the essential joys of light, space and greenery;
and the ancient urbanism of India with its tight streets, urban courts and mixed uses” (Curtis,
1988, p. 29).
It is argued that the planning of the historic city of Jaipur served as an influence, or a wider
context, for the urban design of Vidyadhar Nagar. However, it does illustrate that theconsiderable modifications and adaptations were made to the original concept to ensure its
contemporary relevance and future utility.
Relevance of Traditional Design Concept in Contemporary Design Education
The relevance of traditional concepts of design has been established for both practice andeducation. Whilst there are examples that demonstrate the use of these concepts in a range ofbuilding typologies, scale and functions; particularly the maṇdala, the use of traditional designprinciples in architecture pedagogy is far from satisfactory.
We argue that although traditional building knowledge is relevant for contemporary
architecture education, current pedagogic content and methods do not provide sufficientemphasis on the traditional principles, concepts and skills of design. This relevance of thefundamental aspects of traditional knowledge can be assessed with the help of a set ofindicators, namely cognition, relativity, context, innovation, trust and future utility (Piplani &Brar, 2020). These indicators are operationalised as follows, and then applied to thecontemporary architecture education system:a) Cognition is an attribute of assessment which is associated with an interest in and theworth of knowledge content. An individual must find it worth an effort to gather andprocess the inputs, for he/ she is assured of greater positive cognitive effects (Wilson& Sperber, 2004).
b) The attribute of relativity identifies with the quality of knowledge content in terms of
its usefulness, meaning and authenticity. It works on the assumption that all informationis relevant for a specific context and time; only the degree of relevance varies with asituation(s).
c) The context of knowledge content is defined by the original source from where theknowledge is drawn, interpreted and communicated to an individual. In comparison to
intuitive or experiential teaching, the knowledge content that is contextualised in its
own original source is of optimal relevance and facilitate constructive learning.
d) Innovation in knowledge content, in order to sustain the relevance of knowledge for thechanging times and contexts, is at the core of the assessment of knowledge. New andimaginative pedagogy content that satisfies expectation and learning capacity sustain ahigher level of relevance as compared to conventional or traditional methods.

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Volume 8 – Issue 4 – 2020e) Another key attribute of the relevance index is trust. The information that will lead totrue conclusions and preclude the possibility of any falsification are of maximum
relevance to an individual. Therefore, it is essential that the knowledge content, its
source of origin and medium of delivery are trustworthy.
f) The knowledge content that is valuable not only in the contemporary context but willremain useful in the future as well, has a greater relevance. The indicator of future
utility ensures the continuity and validity of knowledge content in the long-term.
(Piplani & Brar, 2020)
The Contemporary Architecture Education System
In the current architecture education curriculum, three broad strands for teaching-learning may
be identified. These are derived from the minimum standards of architectural education
regulations (1983) prescribed by the Council of Architecture, and are discussed as follows:i) Theoretical component in which structured lectures, presentations and seminars areoffered to students. This may also be considered as a taught component of thecurriculum, and depends primarily on text-based learning,ii) Applied component in which pre-determined exercises with gradually increasing
complexity through the years are given to students. This may be considered as a parttaught and part-practice component of the curriculum.
iii) Practical training component in which professional exposure, practice and experienceis gained by working in an architectural office. This may be considered as a professional
ability and skills enhancement component of the curriculum.
(Piplani & Brar, 2020)
The three components of design education are not mutually exclusive, but they are interconnected and inter-dependent. All three components need to be undertaken in a balanced way
in order to achieve the overall vision, aim and objectives of architecture education.
In terms of the theory of the philosophy of design, the architecture pedagogy in India has driftedapart from the traditional principles and practices. It is argued that India’s current architecture
pedagogy receives its inspiration from the Western, or rather European, systems of teaching,both in its content and method.
In this respect the foundations of contemporary architecture education in India are erected upona rather superficial sub-layer of the British colonial era, though a more solid bedrock of
traditional building knowledge also lies much deeper in ancient Indian history.
TB Macaulay’s Minute of Education of 1934 (Tillotson, 1989) underpins the primary intention
behind the type of education propagated in British colonial India. The sole objective was tocreate a whole new cadre of assistants, trained in westernized attitudes, to serve the colonial
masters in the administration. The use of English language played a critical role in fulfilling
this intention and consolidating the British colonial political agenda in the country (Piplani &Brar, 2019).
However, it is an entirely different scenario today, in post-independence India. There is agreater emphasis on the indigenous aspect of education; this is particularly relevant and187

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applicable in the domain of architecture education. Today, there is a unique opportunity for thereversal of the catastrophic phenomenon that resulted in a slow erosion of the traditional
knowledge of architecture and the traditional method of learning, which is rooted in ancient
texts and cultural practices.
Questions that arise at this point are:a) In what way might the inclusion of traditional building knowledge add value toarchitecture education?
b) What are the possibilities for embedding the ancient knowledge of maṇdala into
contemporary approaches to India’s design education?
PossibilitiesMaṇdala in Design Education
The concept of maṇdala and the principles for its use in design are illustrated using examples
in the previous section of the study. The indigenous Indian philosophy of design, codified in
the knowledge of a maṇdala, has been a source of inspiration to traditional sthapatis andcontinues to do so for modern architects as well.
It is essential that this vast knowledge and unique inspiration imbued in the traditional concept
of design is incorporated in the content, framework and methods of contemporary architecture
education. The value addition to the current system of education will potentially impact at twolevels – first, add value widely across the domain of critical history of architecture in India, by
establishing the contemporary relevance of traditional building knowledge; and second –imbibe meaning more specifically to architecture pedagogy, by offering a contextual-learning
framework.
In terms of possibilities for integrating the traditional understanding of maṇdala in design
education, this paper suggests identifying significant correlations between the knowledge
content and design approaches. This is an innovative knowledge concept where the fields ofconfluence are identified between traditional concepts of design and contemporary approaches
to learning. These fields of confluence are:a) Principles and concepts of knowledge content,b) Methods and tools for critical abstraction, andc) Skill sets and practices for informed use.
The knowledge of fundamental principles of maṇdala as a design concept will connect withthe “theoretical” component of architecture curriculum. This will provide a solid philosophicalfoundation to the design process.
The knowledge of primary methods for a critical abstraction of maṇdala as a design tool willconnect with the applied component of the curriculum. This will provide an in-depth analyticalframework for the design manifestation.
The knowledge of essential skill sets to use maṇdala as s design representation will connect
with practical training component of architecture education. This will provide meaningful
articulation of the design experience.

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Conclusion
The current architecture education system, first imported and later imposed, on the Indian
context is not going to yield the desired outcomes as it does in its source of origin. The
understanding and experience of design in India is strikingly different from that in the westerncontext, or more specifically Europe, from where the current design pedagogy continues toreceive inspiration. In India, the traditional building knowledge continues to be relevant, but
its significance is neglected and unheeded by the dominating presence of contemporary design
education.
The paper recommends a meaningful and inextricable inclusion of traditional building
knowledge within India’s contemporary design education. In this respect the vāstu purushmaṇdala is both a concept and a tool for design, and is applicable to contemporary design
because of its multi-dimensional and multi-directional qualities. We propose that the study,
interpretation and use of maṇdala in education will provide a critical theoretical position tosecure this design more firmly in tradition. It can also provide an effective tool and method tosituate a design in its own context of time and space.
The key consideration, however, is to ensure a critical focus on the philosophy and symbolism
of maṇdala, more than its mere understanding as a grid or tool. We suggest that an innovativeand judicious application of the design process, rather than of geometric pattern, would render
the method of teaching more informed, worthwhile and authentic.
In conclusion, the application of maṇdala in design will require an expansion of the traditional
knowledge content to include the realities and challenges of the contemporary world, that is,modern materials, construction techniques, development pressures, climatic changes, lifestyletrends, information technology, and economic considerations.

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Corresponding author: Navin Piplani
Email: navin.piplani@gmail.com

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