Norbulingka Institute

Approach
Approach to the building is the first phase of
circulation system. (Ching, 2007)
Approach to the site is oblique (at an angle).
(Author, 2020)
The path can be redirected one or more times to
delay and prolong the sequence of the approach. An
oblique approach enhances the effect of perspective
on a building’s front façade and form.(Ching, Oblique approach (author, 2020)
2007)

Location
The most precious pieces of art and architecture
have been found in the deepest crevices of the
earth, Norbulingka Institute being one, neatly
tucked into the folds of the Dhauladhars, in the
local district of Kangra. The high road to
Norbulingka from New Delhi is a scenic byway,
passing through classic landscapes of all times. . (maps, 2020)
(wordpress, 2014)
PO Sidhpur Near Dharamshala 176057 Dist.
Kangra, HP India. (maps)

Onsite and Offsite Features

Onsite features:Norbulingka is dedicated to the
preservation of tibet language and cultural heritage.
Doll museum and art workshop
The institute contains the centre for arts, the
academy of tibetan culture, the literary and (arya, 2019)
cultural research centre and the library and
publications department. (wordpress, 2014)

Offsite features: The site of the Norbulingka is

surrounded by leeward scrub vegetation, the
expansive Himalayan River banks, dense deodar
and pine forests, light green corn and paddy fields,
tiny villages nestled along the sinewy slopes, lush Landscape area (Pasahan, 2016)
green tea gardens and serene lakes. (Author, 2020)

Entrance Typology
Entrance to the structure is through a staircase. The
entrance gateway has a symmetrical balance and
the primary colour blend perfectly with the stone
façade. Combination of many religious symbols
can be seen on the entrance gate which is hand
(Author, 2020)
crafted and hand painted. (Author, 2020)
Configuration of path
Configuration of path is curvilinear and when a
building is approached at an extreme angle, its
entrance can project beyond its facade to be more
clearly visible. (Author, 2020)

Path and space relationship

(Author, 2020)
This path-space relationship is used to approach
and enter functionally or symbolically important
spaces. (Ching, 2007)
Path-space relationship of the building is pass by
spaces that shows the integrity of each space is
maintained, the configuration of the path is flexible
and mediating spaces can be used to link the path
with the spaces. (Author, 2020)

Pass by spaces(Ching, 2007)

Form of circulation space
(Author, 2020)
Form of circulation space varies with the change in
level by stairs and bridges.

The circulation space is open on both sides forming

a passageway that becomes a physical extension of
the space it passes through. Within the institute the
path is random, without form or defination and is
determined by the activities and arrangement of
furnishings within the space. (Author, 2020) Open on both sides (Author, 2020)

Proportion and scale

The proportion and scale of the site can be taken
in accordance to visual scale. We assume the scale
as to how we perceive it.

E.g.: through the size and proportion of windows

in building facade, how they are visually related to
one another as well as to spaces between them and
overall dimensions of facade.

The proportion is taken in accordance to (Pasahan, 2016)

anthropometry (measurements of the size and
proportions of human body) and human scale.
(Author, 2020)
Mass and space relationship
In comparison to the built up mass there is
sufficient open space at the site and no structure
hinder the space of the other. The basic idea to
avoid any disturbance in the natural light and
entrance pathway is fulfilled. (Author, 2020)

Zoning
(Pasahan, 2016)
The site is irregular in shape with sufficient open
space. Zoning is done such that the path run by the
spaces (guest house, Norbulingka craft centre, doll
museum and administration) leading to the seat of
happiness temple at the end.(Author, 2020)

Spatial Organisation
Site has clustered organisation. The spaces are
clustered about a large defined field or volume of
space. This pattern is similar to that of a centralized
organization, but it lacks the latter’s compactness
and geometrical regularity. (Author, 2020)
(Author, 2020)

Building Level

Threshold
(Ching, 2007)
Seat of happiness is built on elevated, sunny sites
facing the south. Entrance to the is through steps
that lead to an open verandah which is slightly
projected. Red painted pillars in shape of mandalas
carved with religious symbols mark the entrance
way which adds to the aesthetic of the structure.
(Author, 2020)

Plan Shape and Form (Author, 2020)

Shape refers to the characteristic outline of a plane
figure or the surface configuration of a volumetric
form. (Ching, 2007)

Plan of the building is culmination of various

shapes which includes squares, rectangle and
circle.(Author, 2020)

It has clustered form in which shapes interlock their

volumes and merge into a single having variety of (Ching,
faces. (Author, 2020) 2007)
(Author, 2020)
Form type

A form can be transformed by the addition of

elements to its volume. (Author, 2020)
The nature of the additive process and the number
and relative sizes of the elements being attached
deter mine whether the identity of the initial form
is altered or retained. (Ching, 2007)
The form is additive in nature, because of the
additional element to the structure and is also
centralised.(Author, 2020) (Ching, 2007)
Form is transformed by relating or physically
(Author, 2020)
attaching one or more subordinate form to its
volume. (Author, 2020)

Building Geometry
When two forms differing in geometry or
orientation collide and interpenetrate each other’s
boundaries, each will view for visual supremacy
and dominance. In this situation two forms retain
their individual identities and share the interlocking
(Ching, 2007)
portion of their volumes.(Author, 2020)

Zoning and Circulation

Circulation

Semi-public spaces

Private spaces

Walls
Form and space
The building has a clustered form which is additive
in nature. Form depicts that the space within the
building is not more or less. There is sufficient
space. There is no illusion in form and space. So,
the form of the building defines the space. (Author,
2020)

Plans and various levels

Ground Floor Plan

The ground plan is based on the proportions of
Avalokitesvara, the thousand-armed god of
compassion, with the temple as the head.

The plan is approached by a foyer marked by red

painted pillars.

To the left of the foyer is the washroom and to its

right is the staircase that leads to the mezzanine
floor which further leads to the first floor through a
spiral staircase.

2 meters door is placed centrally.

The door leads to a double height prayer hall. (sindhu, 2010)

Stupa is placed on a platform of height 1.4 m.

Doglegged staircase is approached through a

platform.

The walls of the structure are 2 brick thick which

completely makes it a load bearing structure. It also
consists of curved walls. (Author, 2020)

First Floor Plan

The spiral staircase leads to stair hall which
connects to the prayer hall.

The inner corridor of the first floor is recessed

through the prayer area.

The library, prayer area along with the inner

courtyard and the stair hall are interconnected.
(sindhu, 2010)
The windows of the outer wall of prayer area are
projected and are covered with yellow painted
wooden jaalis. (Author, 2020)
Second Floor Plan
The second floor is roughly divided into 2 blocks.

First block consists of exhibition room, workshop

and office which are accessed through the rear
staircase.

Second block consists of the reading area and

terrace. (Author, 2020)

Third Floor Plan

The staircases lead to the terraces.

The terraces through steps further leads to a (sindhu, 2010)

centrally placed room located on the second floor.
(Author, 2020)

Light and ventilation

A slightly projected row of windows is placed
centrally on the first floor. The windows are
decorated with ladder shaped black frame which
means "ox horn" and is said to bring good luck to
people. Some say black absorbs the sunlight, but
others say it repels evil spirits.

Daylighting inside Tibetan architecture is achieved

by means of doors, windows, patios, and corridors. (sindhu, 2010)
(Author, 2020)

Shade and Shadow

Chajjas above the windows acts as a shading
device. Huge Celtis tetrandras act as a canopy to
this open space and provides shade to the building.
(Author, 2020)
Wall to floor ratio Window floor ratio
The wall to floor ratio of a building = external wall area / The window-to-floor ratio of a building =Total glazing area
internal floor area. / total floor area

Ground floor plan Ground floor plan

Types of areas Area (sqm.) Types of areas Area (sqm.)

Wall area 65sqm Wall area 65sqm

Floor area 410sqm Floor area 410sqm

Circulation 76sqm Window area 19.06sqm

Wall floor ratio: 0.15 (Author, 2020)

Window floor ratio: 0.13 (Author, 2020)

First Floor Plan

First Floor Plan
Types of areas Area (sqm.) Types of areas Area (sqm.)
Wall area 73sqm
Wall area 73sqm
Floor area 252sqm
Floor area 252sqm
Circulation 70sqm
Window area 34.38sqm

Wall floor ratio: 0.28 (Author, 2020) Window floor ratio: 0.13 (Author, 2020)

Second floor plan Second floor plan

Types of areas Area (sqm.)
Types of areas Area (sqm.)

Wall area 85sqm Wall area 85sqm

Floor area 305sqm

Floor area 305sqm
Window area 32sqm
Circulation 153sqm
Window floor ratio: 0.10 (Author, 2020)
Wall floor ratio: 0.14 (Author, 2020)

Third floor plan

Third floor plan
Types of areas Area (sqm.)
Types of areas Area (sqm.)
Wall area 40sqm
Wall area 40sqm
Floor area 245sqm
Floor area 245sqm
Window area 28sqm
Circulation 190sqm

Wall floor ratio: 0.16 (Author, 2020) Window floor ratio: 0.11 (Author, 2020)
Views
Views seen through the openings become part of
the spatial experience. (Ching, 2007)

The inner courtyard on the first floor provides an

aesthetically appealing view of the 14 feet tall
Buddha statue. The terraces provide a view of the
lush green spaces that surround the building.
(Author, 2020)

Z-Analysis

Facade Treatment

 The façade of the building is symmetrical in

nature which shows its balanced form and
makes it stable and adds to the aesthetics of
the façade.
 The top-down decoration of the lintel of the
entrance gate consists of five layers at a time,
such as lion’s head, beam panel, jump beam,
rafters and so on. (sindhu, 2010)
 The windows are decorated with ladder
shaped black frame which means "ox horn"
and is said to bring good luck to people.
 Crossed pattern iron railing can be seen in the
façade of the building. The façade has exposed
brick parapet with decorative eaves.
 The building facade is made in stone.
 The blend of primary colors with stone
façade makes it aesthetically pleasing.
(Author, 2020)

Architectural Expression (sindhu, 2010)

Transformation
Design is a generative process of analysis and
synthesis, of trial and error, of trying out
possibilities and seizing opportunities. (Ching,
2007)

Building is designed by addition of block to get

the design concept which adds to the volume of (Author, 2020)
the structure. (Author, 2020)
Balance
The façade of the building is symmetrical in
nature which shows its balanced form and makes
it stable and adds to the aesthetics of the façade.
(Author, 2020)

Rhythm
Continuity is maintained as there is flow in
repetition of windows on the first floor. (Author,
2020)

Emphasis

Point of emphasis in the building is slightly

projected foyer which is centralized and enhances
the visual weights of the structure. (Author, 2020)

(Author, 2020)

Building Heights
Plinth level: 300mm
First floor level: 5300mm
Second floor level: 8800
Third floor level: 10340mm
Fourth floor level: 20900mm
(Author, 2020)

Details

(sindhu, 2010)
Flooring Details
Flooring of the structure is in original state at all
the places. The open space surrounding the
building has stone flooring and slate flooring is
used in temple .Flooring conveys character.
(Author, 2020)
(company, 2020)
Column Details
Red painted pillars carved with religious symbols
mark the entrance way which adds to the aesthetic
of the structure.

The column and capital are made up of three

wooden members, with the column supporting a
capital made up of two pieces, of which the first
piece, called the shu-chung, supports the second
and top piece, called the shu-chen. Columns of symbolic themes

Parapet Details Column at the entrance

Crossed pattern iron railing can be seen in the

façade of the building. The façade has exposed
brick parapet with decorative eaves.(Author,
2020)
Iron railing detail Exposed brick work
Cornice Details with block eaves
detail
Square shaped decorative eave painted in red,
yellow, green and blue highlights the border of
parapets. (Author, 2020)

Eaves detail (sindhu, 2010)

Staircase Details
The ground floor staircase leads to the mezzanine
floor which further leads to the first floor through
a spiral staircase. (Author, 2020)

Paintings
(Author, 2020)
The main temple, Deden Tsuklagkhang, flanked by
thangka frescoes and a two-storey high applique
thangka to its left. Large monastery and temple
thangkas are made with applique instead of paint.
The guidelines for composition, form, and colour,
however, remain the same.
Front view of the applique thangka at the Institute’s
main temple. The composition, comprising of
Buddha and 16 arhats or saints, is a labour of love
by dozens of the Institute’s artists and took
thousands of hours to create. (arya, 2019)
 Architectural Elements
Tibetan Buddhist monastery architecture is
produced by the combination of religious culture and
architectural art.The general outer door frame of the
gate will have two or three layers of convex door
frame decorated with carved curly grass, Buddha
statues, lotus petals, scriptures etc.

The decorative patterns mainly divided into two

categories

Symbolic theme:Symbolic themes include

animals, plants, utensils, text and geometric patterns

Character theme:Character theme display the

Buddha and the 16 arhats, 1,173 murals of Buddha,
Japanese Pagoda
frescoes of all the Dalai Lamas and drawings
chronicling the life of the 14th Dalai Lama.

In Tibetan Buddhist culture, the specific color has

its specific meaning. The colors such as red thick,
golden rich, yellow noble, White pure, blue solemn,
green quiet, black majesty and so on are mainly used
Detail in elevation
in the building.

In both the Tibetan temple and dwelling, these

framing members are also richly decorated with
carved and painted motifs, giving them a special
status within the iconography of Tibetan
architecture. Use of Japanese pagoda can be seen in
Religious symbols
the building façade which is mostly wooden
structure. (Author, 2020)

Structure System
Use of Japanese pagoda can be seen in the building Religious symbols
(sindhu, 2010)
façade which is mostly wooden structures which
were found to be less vulnerable to earthquakes.

The structure of traditional Tibetan buildings has

always been stable and firm, by means of
thickening walls and increasing building heights, in
order to improve the ability to resist natural
disasters and ensure safety.

The exterior walls are constructed of rammed earth,

mud block or stone with few openings and topped Thick walls at base
by flat roofs,
The interior structure is made up of a rectilinear
system of wood columns, capitals and beams.

The walls are thicker at the base than the top.

(Author, 2020)

Material of construction
Primary materials used in construction are slates,
wood and stone.
(company, 2020)
The open space surrounding the building has stone
flooring and slate flooring is used in temple.
Flooring conveys character.

Crossed pattern iron railing can be seen in the

façade of the building. The façade has exposed
brick parapet with decorative eaves.

Columns are made of wooden members

(Author, 2020)