ANCIENT INDIAN
HOME
My architectural narrative began around the typical ancient Indian home,
which was built around a courtyard in the center.
The theoretical integrated location of a temple in a traditional courtyard
based Indian home is usually is in the North East corner according to Vastu.
My story is about creating new endlessly sublime and joyful moments within
a new ideal living.
VASTU
SHASTRA
(vāstu śāstra) is a traditional Hindu system which literally translates to “science of architecture” speculated to have occurred around the 1st-century CE. Vastu sastra represents guidelines but not a rigid code. It’s refers to energy, power, soul, and it interprets the cosmos. The earth is represented as four-cornered mandala (grid) in reference to the horizon’s relationship with sunrise and sunset, the North and South direction.
The North is ruled by the lord of wealth- Kubera; The South is ruled by the lord of death – Yama while the Center – the Brahmasthana (or the courtyard) is ruled by the Lord of creation, Brahma.
While the galaxy appears out side, I grappled with the idea of a black night or a bright sun inside the galaxy
– Saket Sethi –
OF THE HOUSE
ARCHETYPE
1. The relationship between God and human, via the courtyard has been evident for centuries. My desire was to redefine the relationship between a human, nature and his God by reorganizing these spaces to see spatial energy changes for better living.
2. It seemed like traditionally the temple space was assigned the same value as the rest of the living space while the courtyard was seen as more important – so I began by pushing the temple away from its the theoretical integrated location within the house, away from the courtyard and changing the inherent values of all linked spaces.
3. While the house was re-developing its relationship with the temple, what was clear is that the house would always pay deference and bow to the temple. As the courtyard moves out of the house it becomes a pliable space between the house and the temple and returns itself to all the nature around the site.
4. Spaces are now linked fluidly and redefined and new ways of being within and without space are realized. When you open the living room there is no separation between living, prayer or nature. The living room protected and surrounded by nature now goes all the way to and into the temple.
5. The previously hidden relationship between man, God and nature is now put out in the open, to be inspiring, celebrated, aspired and shared with even a passerby.
THE
ROOF
The green roof system allows CO2 to be recycled in O2, generating a healthy microclimate around the building.The rooftop absorbs rainwater, gradually releasing it to help prevent possible flooding. All kinds of green activities including micro-farming can be conducted on the roof and it has central walkway that allows regular maintenance. The Sunoo Temple House has the largest residential green roof in India. The roof is entirely in Aluminium; a recyclable material and can have its seamless modules configured to support solar and green activities or a mix of both. As such this house is a model of sustainable independent housing for the future bringing together coming strides in independent farming, solar and water tech with green climatic responsibility.
The green house of man aspires to the temple universe of god,
aspiring to and never being able to touch it
– Saket Sethi –
THE
TEMPLE
I wanted the Temple archetype to be taken less for granted (which we might do on a daily basis) and still carrying the feeling of when you make a pilgrimage to a holy space, one requiring effort and appreciation, maintaining purity and respect. So in this new “Temple” the God element is very accessible, yet away, but not too far for when you need it. It is a visual experiential sculpture to be seen, touched, felt and be connected with all at the time.
Obsessed with primal forms I re-interpreted sexualized Godliness for the temple. The lingam is symbolic of such divine energy – a phallic depiction of lord shiva (lord of destruction). He makes his way into the triadic dialogue of Brahma, Kuber and Yama in the Vastu Schematic of life and as such we see new energies infused in all three elements: The temple, the most superior to which the house bows and the open courtyard without boundary, cementing the two fluidly. I knew the owner wanted to thank the universe for her life, so I bought a “galaxy” of humility and inspiration to her. The creation of a mosaic facade by Bisazza metaphorically represents galaxies in rotation around the sun, experienced by a Parikrama or holy walk outside and around the temple as the galaxy experiences night to day. The temple serves as a symbolic reminder of our insignificance
and our simultaneous effort to be significant.
Sunoo Temple
House
The “Sunoo Temple House” is a project of Archilogics, conceived, studied and edited by its founder Saket Sethi. Appreciated by the sector magazine Domus, recognized as a valid project at the Milan Design Week 2019, it reflects the ideas of green architecture and focuses on the most spiritual part of India.
As Saket Sethi brings the energy of the universe into the home, so the entire communication and brand creation were designed to emphasize and reflect considerations about the universe itself. Analyzing the ancient Indian tradition we focused on one of the oldest and most meaningful symbols: the OM. The symbol represents the Creation of the Universe and the sound of the OM is associated with the Primordial Vibration of the Universe itself and of the whole Creation.
I knew the owner wanted to thank the universe for her life, so I bought a “galaxy” of humility and inspiration to her
– Saket Sethi –
As a symbolic representation
of the universe
The interpreting of the symbol is reduced, thanks to some geometric postulates, in three lines, a line and a point. In the most schematic way possible this symbol unites all the elements of which the universe is composed, namely: planes, lines and points. The OM is the representation of creation, then everything is reflected in it and everything is described and represented.
Based on these considerations, visual communication takes the aspect of the Cartesian axes, the texts are deformed to give a sense of perspective and space.
The logo encloses the upper part of the OM, ie the point and the line. The conformation of the “O” made the association to the point to which the line at the base was added as simple as can be guessed.
The symbol created also refers to the linga, an oval-shaped object used in India as an instrument of worship. Considered the “abstract symbol of Shiva” it is essential to describe the architecture of the temple of Saket, from which it takes its form.
As a symbolic representation of the universe a texture has been recreated based on the pieces of the mosaic covered by the Sunoo Temple. Using very dark backgrounds, the inscrutable nature of the Universe itself has been highlighted.
Not quite the duties of Atlas, nor did it shrug. It was more the unbearable likeness of being; less of the agony and more of the ecstasy of being an architect.
– Saket Sethi –
Project SUNOO © Archilogics / Saket Sethi
Communication focuses on recycling and eco-sustainability criteria. The paper is composed by 80% of recycled fibers and 20% of pure cellulose.
