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Mathematics in Temple Designs

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 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Mathematics in Temple Designs

Dr Uday DokrasPh D Stockholm,SWEDEN

Design Concepts from mathematics:

1. a parametric equation defines a group of quantities as functions of one or more independent
variables called parameters. Parametric equations are commonly used to express the coordinates of the
points that make up a geometric object such as a curve or surface, in which case the equations are
collectively called a parametric representation or parameterization (alternatively spelled as parametrisation)
of the object.
For example, the equations
X= cos t
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

X=sin t

The butterfly curve can be defined by parametric equations of x and y.

form a parametric representation of the unit circle, where t is the parameter: A point (x, y) is on the unit
circle if and only if there is a value of t such that these two equations generate that point. Sometimes the
parametric equations for the individual scalar output variables are combined into a single parametric
equation in vectors:

(x,Y,) = (Cos t, sin t )

Parametric representations are generally nonunique (see the "Examples in two dimensions" section below),
so the same quantities may be expressed by a number of different parameterizations.
In addition to curves and surfaces, parametric equations can describe manifolds and algebraic varieties of
higher dimension, with the number of parameters being equal to the dimension of the manifold or variety,
and the number of equations being equal to the dimension of the space in which the manifold or variety is
considered (for curves the dimension is one and one parameter is used, for surfaces
dimension two and two parameters, etc.).
Parametric equations are commonly used in kinematics, where the trajectory of an object is represented by
equations depending on time as the parameter. Because of this application, a single parameter is often
labeled t; however, parameters can represent other physical quantities (such as geometric variables) or can be
selected arbitrarily for convenience. Parameterizations are non-unique; more than one set of parametric
equations can specify the same curve.

Kinematics is a subfield of physics, developed in classical mechanics, that describes the motion of points,
bodies (objects), and systems of bodies (groups of objects) without considering the forces that cause them to
move. Kinematics, as a field of study, is often referred to as the "geometry of motion" and is occasionally
seen as a branch of mathematics. A kinematics problem begins by describing the geometry of the system and
declaring the initial conditions of any known values of position, velocity and/or acceleration of points within
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

the system. Then, using arguments from geometry, the position, velocity and acceleration of any unknown
parts of the system can be determined. The study of how forces act on bodies falls within kinetics, not
kinematics. For further details, see analytical dynamics.
Kinematics is used in astrophysics to describe the motion of celestial bodies and collections of such bodies.
In mechanical engineering, robotics, and biomechanics[7] kinematics is used to describe the motion of
systems composed of joined parts (multi-link systems) such as an engine, a robotic arm or the human
skeleton.

Geometric transformations, also called rigid transformations, are used to describe the movement of
components in a mechanical system, simplifying the derivation of the equations of motion. They are also
central to dynamic analysis.

Kinematic analysis is the process of measuring the kinematic quantities used to describe motion. In
engineering, for instance, kinematic analysis may be used to find the range of movement for a
given mechanism and working in reverse, using kinematic synthesis to design a mechanism for a desired
range of motion. In addition, kinematics applies algebraic geometry to the study of the mechanical
advantage of a mechanical system or mechanism.
Computer-aided design
Another important use of parametric equations is in the field of computer-aided design (CAD). For example,
consider the following three representations, all of which are commonly used to describe planar curves.

Type Form Example Description

1. Explicit Line

2. Implicit Circle

Line
3. Parametric
;
Circle

Each representation has advantages and drawbacks for CAD applications. The explicit representation may be
very complicated, or even may not exist. Moreover, it does not behave well under geometric transformations,
and in particular under rotations. On the other hand, as a parametric equation and an implicit equation may
easily be deduced from an explicit representation, when a simple explicit representation exists, it has the
advantages of both other representations. Implicit representations may make it difficult to generate points of
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

the curve, and even to decide whether there are real points. On the other hand, they are well suited for
deciding whether a given point is on a curve, or whether it is inside or outside of a closed curve. Such
decisions may be difficult with a parametric representation, but parametric representations are best suited for
generating points on a curve, and for plotting it.

The Church of Colònia Güell for example represents a new form of mathematical models knolwn as
hyperbolic parabolics. n geometry, a paraboloid is a quadric surface that has exactly one axis of
symmetry and no center of symmetry. The term "paraboloid" is derived from parabola, which refers to
a conic section that has a similar property of symmetry.
Every plane section of a paraboloid by a plane parallel to the axis of symmetry is a parabola. The paraboloid
is hyperbolic if every other plane section is either a hyperbola, or two crossing lines (in the case of a section
by a tangent plane). The paraboloid is elliptic if every other nonempty plane section is either an ellipse, or a
single point (in the case of a section by a tangent plane). A paraboloid is either elliptic or hyperbolic.
Equivalently, a paraboloid may be defined as a quadric surface that is not a cylinder, and has an implicit
equation whose part of degree two may be factored over the complex numbers into two different linear
factors. The paraboloid is hyperbolic if the factors are real; elliptic if the factors are complex conjugate.
An elliptic paraboloid is shaped like an oval cup and has a maximum or minimum point when its axis is
vertical. In a suitable coordinate system with three axes x, y, and z, it can be represented by the equation.
Z= x2 / a2 + y2/ b2
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

where a and b are constants that dictate the level of curvature in the xz and yz planes respectively. In this

position, the elliptic paraboloid opens upward.

Hyperbolic paraboloid
A hyperbolic paraboloid (not to be confused with a hyperboloid) is a doubly ruled surface shaped like
a saddle. In a suitable coordinate system, a hyperbolic paraboloid can be represented by the equation
z= y2/b2 + x2/a2
Y= x2/a2 + y2/b2
I
n this position, the hyperbolic paraboloid opens downward along the x-axis and upward along the y-axis
(that is, the parabola in the plane x = 0 opens upward and the parabola in the plane y = 0 opens
downward).
Any paraboloid (elliptic or hyperbolic) is a translation surface, as it can be generated by a moving
parabola directed by a second parabola.

The Church was built as a place of worship for the people on a hillside in a manufacturing suburb
in Santa Coloma de Cervelló, near Barcelona (Catalonia, Spain) Colònia Güell was the brainchild of
Count Eusebi de Güell; who enlisted the help of architect Antoni Gaudí in 1898. However, work was not
started until 1908, 10 years after commission. The plan for the building consisted of constructing two
naves, an upper and a lower, two towers, and one forty-meter-high central dome. In 1914, the Güell
family halted construction due to the death of Count Güell. At the time, the lower nave was almost
complete so between the years of 1915 and 1917, it was completed and readied for use.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

The Church is one of the seven properties Gaudí built near Barcelona that are Unesco World Heritage
Sites. Collectively, these sites are known as the Works of Antoni Gaudí, and show his, "exceptional
creative contribution to the development of architecture and building technology in the late 19th and
early 20th centuries.

At the age of 28, the Church of Colònia Güell was one of several commissions Guadí received from
Count Güell in the suburb of Santa Coloma de Cervelló.

Planning
To start the designing process of the church, Gaudí used his very unique process of gravity and rope,
known as a funicular system. As seen in the planning of La Sagrada Familia, Gaudí hung hemp ropes
attached to lead-filled sacks from the ceiling. By doing this, it allowed him to reproduce the curves of the
church at a 1:10 scale. Guadí also used canvas sheets to imitate the vaults and walls of the structure. By
weighing down the ropes with lead-filled sacks, it allowed him to see the loads that would be exerted on
the actual structure. To turn this hanging structure into his actual design, Guadí photographed his model,
flipped the image, and traced over it while adding some ornament and design. All that remains of the
model for Church of Colònia Güell is an image in a book written by architect Josep Francesc Ráfols i
Fontanals.
This method of planning led to the development of a new architectural vocabulary, such as hyberbolic
paraboloids and hyperboloids, which are prominent elements in many of Gaudi's designs.

The crypt portion of the church, constructed from 1908 to 1915, was the only segment of the church
that was fully completed. It was built partially below ground, due to being on a hillside, and it was
designed so that it would feel like it belonged in the surrounding nature. There are pillars on the exterior
of the crypt, made of many bricks, while others were made of a solid block of stone. The roof of the
structure has a geometric shape that is morphed by the connecting of the various pillars.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

The crypt is very dimly lit, due to it being built partially underground since the structure is on a hillside.
There are however, 22 lead stained glass windows in the crypt, to let in some colorful lighting.
Although it remains unfinished, the chapel is a very important aspect of the church. The designs of the
chapel is similar to that of the Sagrada Familia. This is a common theme seen throughout the church,
since Gaudí used it in preparation for the building of the Sagrada Familia. He tested many of his ideas
and theories here, since Güell gave him the liberty of being as creative as possible.
The shape of the worship area was planned in extensive detail, right down to the pews. [1] All of the
furniture in the Church was designed by Gaudí himself, and have been preserved. Very few pieces of his
furniture have been saved, though some examples are still seen in the Sagrada Familia and private
homes. In 2000, local architects set about repairing the crypt. This took away aspects of the unfinished
nature of the buildings. However, it did present a more tourist-friendly structure, and now visitors can
stand on the roof, which would have been the church floor.

Nature has always served as inspiration for architects and designers. Computer technology has given
designers and architects the tools to analyse and simulate the complexity observed in nature and apply it to
structural building shapes and urban organizational patterns. In the 1980s architects and designers started
using computers running software developed for the aerospace and moving picture industries to "animate
form".[6]

One of the first architects and theorists that used computers to generate architecture was Greg Lynn.
His blob and fold architecture is some of the early examples of computer generated architecture. Shenzhen
Bao'an International Airport's new Terminal 3, finished in 2013, designed by Italian architect Massimiliano
Fuksas, with parametric design support by the engineering firm Knippers Helbig, is an example for the use
of parametric design and production technologies in a large scale building.

Parametric design is a process based on algorithmic thinking that enables the expression of parameters and
rules that, together, define, encode and clarify the relationship between design intent and design response.
Parametric design is a paradigm in design where the relationship between elements is used to manipulate and
inform the design of complex geometries and structures.
The term parametric originates from mathematics (parametric equation) and refers to the use of certain
parameters or variables that can be edited to manipulate or alter the end result of an equation or system.
While today the term is used in reference to computational design systems, there are precedents for these
modern systems in the works of architects such as Antoni Gaudí, who used analog models to explore design
space.
Parametric modeling systems can be divided into two main types:
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

 Propagation-based systems where one computes from known to unknowns with a dataflow model.
 Constraint systems which solve sets of continuous and discrete constraints.
Form-finding is one of the strategies implemented through propagation-based systems. The idea behind
form-finding is to optimize certain design goals against a set of design constraints.

Design Softwares based on parametrics

3D modeling software can be really useful for many different applications, especially when you need to use
3D printing. If you are looking for a method to design technical products, you will certainly have to use a
parametric modeling software. In this blogpost we are going to see what is parametric modeling and what are
the specificities of this process. Then, we will see what are the best parametric modeling software available
on the market to create your projects.

Parametric modeling can also be called parametric solid modeling. It is used to define a dimension’s ability
to change the shape of model’s geometry immediately when the dimension value is modified. This modeling
process is great for projects with a lot of manufacturing requirement and that need a high accuracy such as
mechanical projects. This modeling process is built from mathematical equations.
It is a practical process if you need to produce products with little variations. Indeed, it is good to create
designs that need to be modified on a regular basis. It will totally be adapted to your design intent.
All the models created with this process have what we call features. These are attributes that include length,
width, depth, orientation, geometry, material, density functions, etc. Parametric modeling is actually
focusing on relationships between features, and between parts, assemblies and drawings.

Why you should use a parametric modeling software

These 3D programs are really great to see how the model directly changes when something is modified, and
you can easily reuse the data of a 3D model to create a new design. Parametric modeling software is a really
good tool for manufacturing. Indeed, it can reduce your production time as it can easily be integrated inside
of your manufacturing process.
Be careful, you will have to be a little bit experienced if you want to use a parametric software. If you need
some help, we have a blog post that will help you to deal with design guidelines while working with a
parametric modeling software.
This tool can be useful for many different industries, but parametric modeling is especially used in
mechanical engineering. It is great to have parametric software if you have an automotive project for
example. It is also used for architecture projects, aircraft design, or even machinery. These CAD programs
might be perfect for your rapid prototyping process.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Parametric vs direct modeling: How to choose?

Parametric and direct modeling are two different modeling techniques. Direct modeling doesn’t create
model features such as parametric solutions. Indeed, direct modeling is more used to make geometries, you
can’t work on the relationships between features, you can only modify the selected surface of your model.
Direct modeling allows to manipulate your design more quickly, so it can be convenient at the beginning of
the conception of a project. For more accuracy, technical specificities and better visualization of the project,
parametric modeling software is a better solution.
Some direct modeling software are also really useful for your geometric models, thanks to their various
powerful tools, such as Blender.
It depends on what you need and your level of expertise, but you could also use both direct and parametric
program for your project.
Example below of CAD

.
credit: https://www.freecadweb.org/wiki/About_FreeCAD

Power Surfacing
Power Surfacing is a SOLIDWORKS application for industrial design / freeform organic surface / solids
modeling. Tightly integrated with SOLIDWORKS, it works with all SOLIDWORKS commands. Reverse
Engineer scanned meshes with Power Surfacing RE.
Catia
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

CATIA (Computer Aided three-dimensional Interactive Application) was used by architect Frank Gehry to
design some of his award-winning curvilinear buildings such as the Guggenheim Museum Bilbao.[8] Gehry
Technologies, the technology arm of his firm, have since created Digital Project, their own parametric design
software based on their experience with CATIA.
Autodesk 3DS Max
Autodesk 3ds Max is a parametric 3D modeling software which provides modeling, animation, simulation,
and rendering functions for games, film, and motion graphics. 3ds Max uses the concept of modifiers and
wired parameters to control its geometry and gives the user the ability to script its functionality. Max
Creation Graph is a visual programming node-based tool creation environment in 3ds Max 2016 that is
similar to Grasshopper and Dynamo.
Autodesk Maya
Autodesk Maya is a 3D computer graphics software originally developed by Alias Systems Corporation
(formerly Alias|Wavefront) and currently owned and developed by Autodesk, Inc. It is used to create
interactive 3D applications, including video games, animated film, TV series, or visual effects. Maya
exposes a node graph architecture. Scene elements are node-based, each node having its own attributes and
customization. As a result, the visual representation of a scene is based on a network of interconnecting
nodes, depending on each other's information. Maya is equipped with a cross-platform scripting language,
called Maya Embedded Language. MEL is provided for scripting and a means to customize the core
functionality of the software, since many of the tools and commands used are written in it. MEL or Python
can be used to engineer modifications, plug-ins or be injected into runtime. User interaction is recorded in
MEL, allowing novice users to implement subroutines.
Grasshopper 3D
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

The Grasshopper canvas with some nodes

Grasshopper 3d (originally Explicit History) is a plug-in for Rhinoceros 3D that presents the users with a
visual programming language interface to create and edit geometry.
Components or nodes are dragged onto a canvas in order to build a grasshopper definition. Grasshopper is
based on graphs (see Graph (discrete mathematics)) that map the flow of relations from parameters through
user-defined functions (nodes), resulting in the generation of geometry. Changing parameters or geometry
causes the changes to propagate throughout all functions, and the geometry to be redrawn.
Autodesk Revit
Autodesk Revit is building information modeling (BIM) software used by architects and other building
professionals. Revit was developed in response to the need for software that could create three-dimensional
parametric models that include both geometry and non-geometric design and construction information.
Every change made to an element in Revit is automatically propagated through the model to keep all
components, views and annotations consistent. This eases collaboration between teams and ensures that all
information (floor areas, schedules, etc.) are updated dynamically when changes in the model are made.

Autodesk Dynamo
Dynamo is an open source graphical programming environment for design. Dynamo extends building
information modeling with the data and logic environment of a graphical algorithm editor.
GenerativeComponents
GenerativeComponents, parametric CAD software developed by Bentley Systems, [10] was first introduced in
2003, became increasingly used in practice (especially by the London architectural community) by early
2005, and was commercially released in November 2007. GenerativeComponents has a strong traditional
base of users in academia and at technologically advanced design firms. GenerativeComponents is often
referred to by the nickname of 'GC'. GC epitomizes the quest to bring parametric modeling capabilities of
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

3D solid modeling into architectural design, seeking to provide greater fluidity and fluency than mechanical
3D solid modeling.[
Users can interact with the software by either dynamically modeling and directly manipulating geometry, or
by applying rules and capturing relationships among model elements, or by defining complex forms and
systems through concisely expressed algorithms. The software supports many industry standard file input
and outputs including DGN by Bentley Systems, DWG by Autodesk, STL (Stereo Lithography), Rhino, and
others. The software can also integrate with Building Information Modeling systems.
The software has a published API and uses a simple scripting language, both allowing the integration with
many different software tools, and the creation of custom programs by users.
This software is primarily used by architects and engineers in the design of buildings, but has also been used
to model natural and biological structures and mathematical systems.
Generative Components runs exclusively on Microsoft Windows operating systems.
Marionette
Marionette is an open source graphical scripting tool (or visual programming environment) for the
architecture, engineering, construction, landscape, and entertainment design industries that is built into the
Mac and Windows versions of Vectorworks software. The tool was first made available in the Vectorworks
2016 line of software products. Marionette enables designers to create custom application algorithms that
build interactive parametric objects and streamline complex workflows, as well as build automated 2D
drawing, 3D modeling, and BIM workflows within Vectorworks software.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Built in the Python programming language, everything in Marionette consists of nodes which are linked
together in a flowchart arrangement. Each node contains a Python script with predefined inputs and outputs
that can be accessed and modified with a built-in editor. Nodes are placed directly into the Vectorworks
document and then connected to create complex algorithms. Since Marionette is fully integrated into
Vectorworks software, it can also be used to create entirely self-contained parametric objects that can be
inserted into new and existing designs.
Modelur
Modelur is a parametric urban design software plug-in for Trimble SketchUp, developed by Agilicity d.o.o.
(LLC). Its primary goal is to help the users create conceptual urban massing. In contrast to common CAD
applications, where the user designs buildings with usual dimensions such as width, depth and height,
Modelur offers design of built environment through key urban parameters such as number of storeys and
gross floor area of a building.
Modelur calculates key urban control parameters on the fly (e.g. floor area ratio or required number of
parking lots), delivering urban design information while the development is still evolving. This way it helps
taking well-informed decision during the earliest stages, when design decisions have the highest impact.

Archimatix
Archimatix is a node-based parametric modeler extension for Unity 3D. It enables visual modeling of 3D
models within the Unity 3D editor.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Ancient Temple Texts and Mathematical transliterations: The instructions to generate built forms in the
treatise on ancient Temple Architectural manuals such as Samranganasutradhara and the Mayamatam
show processes of dwellings, palaces and temples‐ which resemble text algorithms in a generative parametric
design system employed as a tool to design with. Parametric is referred to as a set of instructions to generate
a form utilizing algorithms which are an explicit statement of a sequence of operations needed to perform a
task.

The logic and structure of the design process is the focus of parametric design and the end product is an
“Back” to the Future infinite set of solutions which, are made finite by the individual intellect of the
architect. The focus is on requirements of the process instead of its product which is generated from the
textual instructions is in the form of a three dimensional object – parameters and schema. Parametric design
processs is an iterative activity which involves continuous generation of a design artefact, evaluation of its
ability to satisfy requirements efficiently, which if unacceptable to the architect is followed by a new
iteration which involves either a radical reformulation of design concept and/or a modification of design
parameters. The linguistic parametric design lists a finite set of instructions, analogous to cooking recipes
1
and furniture assembly instructions, where the individual stage needs to be explicit, detailed and adaptable
Accordingly, such Textual instructions in the design process have increases productivity by rejecting
unviable options, extends functionality, enhances precision levels, evaluates conditions and reacts efficiently
within constraints like budget and context . Therefore, it is viable to explore the treatise as a traditional
knowledge system interpreted for relevance to architecture. Parametric design methods are evolving from a
representational tool to a thinking aid which lends credibility to the treatise, by association, as based in
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

theory and practice of architecture instead of an obscurantist manuscript. It is inferred that on one hand,
computation based design process has historical lineage and simultaneously, historical design process, as

evidenced in a treatise, is relevant to contemporary explorations in alternative paradigms all as a instrument

knowledge from Past.

Blast from the past: The primitive, but beautifully complex, and satisfying form of these temples has been
arrived at; not through the use of complex computer algorithms, generative of structures; but by intuitive
processes, giving a fair idea of human intrinsic affiliations, satisfying intellectual needs. It is estimated that,
had fractal geometry not been used in the physical manifestation of the temple philosophy, it would have
been difficult to impart the knowledge intended by temple construction. Every element in the temple
structure, the prasada, the shikhara, the finial, the sculpture on the exterior and interior walls, the jagged plan
form and the appearance in totality, take help of fractal geometry; within the perceivable scales; to promote
their idea and concept. The implementation of fractal geometry ensures that the underlying structure
resemble the structure found in nature and hence provides the temple with its aesthetic appeal. It has been
noticed that, not only does the physical manifestation follow the principles of fractal geometry, but also the
idea of construction, i.e., the concept of the temple and its philosophy, is akin to the concept of fractal
geometry and fractal progression. This, points towards the conception that even though the formal theory of
fractals had not been developed; like today; at the time of temple construction, the concept existed in the
minds of the priest and sthapaty. This concept is in tune with the cosmological and philosophical theory
attested by the temple structure. This attempt has been directed, not so much, towards creation, or recreation,
of a temple form, but focus has been on the process for arriving at these forms. The use of fractal geometry
in the construction and design of temples is evident, but the question raised here is, 'why?'. This can be
answered by analysing the cosmological and philosophical requirements the temple structure aims to fulfil
symbolically, alongside the theory of fractals. The author's work here, centres on the establishment of the
mediatory role of fractal geometry and its theoretical application, in the relationship of the philosophical
concept and the physical manifestation of a Hindu temple. It should be noted that this article has touched
upon the concept theoretically, and suggests the possibility of the existence of this relationship. This project
can succeed with a trans-disciplinary approach, where every subject is given importance and analysed
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

through fractal lenses. 'The human mind has first to construct forms, independently, before we can find them
in things'. – Einstein 2

A Hindu Temple should be designed to maintain its ancient aesthetics, mysticism, philosophy, design
principle, components, quality, nature and comfort. This can be done with incorporating the Vaastu in
building Hindu Temples. Hindu temples use fractal and mathematics as do Jain, Buddhist, and Islamic
architecture as well as early Christain architecture -universal forms that manifest fractals of consciousness
for the well being of humanity.

Oft repeating architectural forms found in Hindu temple are jagged waves of blocky ornamentation,
rhythmically repeating, echoing the temple’s form. These temples are algorithmically generated, following
the ancient procedural rules or recipes for their design, layout and build (including the positions of
ornaments) provided by ancient Vastu Sustra texts. The texts transmit recursive programs, by verbal
instruction, to masons so that according to Kirti Trivedi, the Hindu Temple becomes a model of a fractal
Universe. A model which represents ‘views of the cosmos to be holonomic and self-similar in nature’. 3 The
idea of fractal cosmology is no stranger to western academia but definitely the Hindu Temple builders(
craftsmen) were the forerunners to using mathematics in temple design.

The initial temple plan is based on a grid form known as the Vastu-Purusha Mandala. Tellingly Trivedi
remarks in his paper that the Vastu-Purusha Mandala is ‘not a blueprint for a temple, but a ‘forecast’, a
marking of the potential within which a wide range of possibilities are implied’. The significance here,
should not be underestimated. A ‘potential for possibilities’ within a predefined rule-set predisposes
architecture to be governed by a degree of emergence. While emergence in parametric architecture arrived,
recently, with computers and algorithms, India has been enacting emergent masonry for thousands of years
thanks to the open rules of the Vastus Sustra.

Using a system of measurement called the ‘Tala’, dimensional relationships of proportions rather than exact
structural specifications are defined. Initial decisions (why not call them algorithmic seeds?) combined with
rule sets are used to define the final outcome of the building. The ‘Tala’ system is scale invariant, just like
fractal mathematics, so that a building of any size can be created, and decorated without compromising the
model of self containment. The temple, as a whole, is built by interweaving fractalization processes with
repetition and superimposition. An example of a typical recursive instruction, verbalised, is:
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Fractals: Self-similarity‟ is the phenomenon of each part being geometrically similar to the whole. It is the
core concept of the Fractal Theory. Interestingly, self-similarity is one of the basic principles of organization
in the Hindu Temple Architecture. The Hindu Temple is designed and constructed as miniature forms of the
Cosmos as envisioned in Hindu philosophy and beliefs. Hindu Philosophy describes the cosmos as
holonomic. The holonomic character implies the virtue of self-similarity, homogeneity, isotropy and
symmetries of various kinds. Like a hologram, each fragment of the cosmos is considered to be whole in it
and to contain information similar to the whole. 4
1.TEMPLE GEOMETRY

In Hindu temple architecture, geometry always plays a vital and enigmatic role. The geometry of a plan
starts with a line, forming an angle, evolving a triangle, then a square and distinctly a circle and so on,
ultimately deriving complex forms. As per the previous discussion, the occurrence of complexity, results
into self-similarity and further it leads to the occurrence of fractal geometry. Geometry is a disciplined field
and the fractals follow it. Both of them have definite paths of action. In following diagrams as shown in
figure 03 below, the role of fractal theory in basic geometry of Hindu temple plans is exhibited.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

In Sanskrit ‘Vinyaasa’ means orientation and ‘sutra’ means thread, line or axis. It is related with the lay
out and orientation of temple plans. Vastupurushamandala is the base of evolution of a temple plan.
Vinyasasutra comes into play after the initial evolution of the temple plan. During the determination of the
axis and orientation of the temple and its surroundings, ancient architects used to follow the process
described in Hindu scripts like Vastushashtra, Manasara etc. However, all the plans followed geometries
with fractal character. It is postulated that, some of them were made consciously and some unconsciously.
(See figure 04 above).

1. TEMPLE COMPLEX

The design of the temple complex varies according to the style of the temple. Most of the temples in North
India do not have a boundary wall. However, in the South Indian style, it is an essential design element of
the temple complex. In some areas, the entire temple complex consists of only the Mulaprasada. To the
trained eye, the miniature fractals of the main shrine stand out in a well-designed temple complex. All the
elements including the Toranas, Gopurams, miniature shrines, Pushkarinis etc. either have been repeated in
a disciplined order or have been constructed following the rules of fractal theory.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Figure 05: Site plan of Minakshi Sundareswara Temple, Madurai Source: http://www.art-and-
archaeology.com/india/madurai/minplan.jpg

The above example of Minakshi Sundareswara Temple (figure 05) shows how fractal has worked starting
from the boundary wall to the main shrine. One can notice the positioning of the Torana, the placement of
miniature replicas of the main shrine around itself, the hypostyle halls, etc. have evolved with the feature of
self-similarity.

2. EVOLUTION OF PLAN FORMS THROUGH ITERATION

In keeping with the site plan, the plan of the main temple structure also follows the rule of fractals. At the
very beginning, the steps are the simplest form of fractals from which the halls or mandapas grow
expansively. First, the Mukhamandapa or the hall of entrance and then the Ardhamandapa, the half-heighted
hall and finally the Maha Mandapa, the grand hall are positioned. After the mandapas, comes Mulaprasada,
which encloses the Garbhagriha, the inner sanctum. The enclosures of these halls and the spaces.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Figure 08: Silhouette of Kandariya Mahadev Temple Chennai temple ( right)

Source:http://ak5.picdn.net/shutterstock/videos/1388590/preview/stock- footage-a-spire-on-an-
indian-temple-stands-silhouetted-against-the-sun.jpg

One can divide the temple into several parts like Pitha, Vedibandha, Jangha, Varandika, Sikhara and
Ghanta. Ghanta is actually a part of Shikhara but its features are so distinct, one can consider it as a
separate entity. The above-mentioned parts are similar in all Nagara temples, but they have different
denominations in different places.
Pitha
Pitha is the base or the altar on which the structure grows

Jangha
Jangha is the walled section of the shrine (figure 11) acting, as the enclosure of the mandapas and
Garbhagriha. Fractals are worked in two different ways in its formation. Initially it is generated from the
folds at the very base layer, which follow the iteration. The types of decorative works on the Jangha at the
outer level are also self-similar and repetitive.

Varandika
Varandika is the cornice part of the temple. Huge long chunk of stones are placed along the inner side to
form the cornice. However, on the outside, it is quite decorative (as shown in
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along the central axis. Pitha is also divided into several parts founded on the – Khura, Kumbha,
Antarpatrika, Kalasha and kapotali. All the fragments are basic moulds and repetitive in form.
In figure 09 below, the fractals of the central mould repeat in numbers around the plan in
different scales.

Figure 11: Jangha of a typical North Indian Temple Source: Hardy, Adam. The
Temple Architecture of India

gure 09: Pitha of a typical North Indian Temple

Source: Hardy, Adam. The Temple Architecture of India

Vedibandha
Vedibandha is the next upper part of the pitha. It is mainly a connection between pitha and
jangha. It has almost the same character of that of pitha. The mouldings and the typical parts
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

are mostly similar in both the cases. The only difference in this case is that the sculpting of
moulds is more decorative. One can find similar type of small repetitive ornamental mouldings
at the central space of every wall section in figure 10.

Figure 12: Varandika of a typical North Indian Temple Source: Hardy, Adam.
The Temple Architecture of India below

Fig 10: Vedibandha of a typical North Indian Temple Source: Hardy, Adam. The Temple
Architecture of India

Figure 13: Sikhara of a typical North Indian Temple Source: Hardy, Adam. The
Temple Architecture of India

Sikhara
Sikhara is the identity of a temple. All the variations in temple architecture are mainly
because of the variation in its formation. (figure 13) below

Ghanta
Ghanta is the topmost part of the temple. It is a part of the Sikhara. It also has separate parts
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

with Kantha or Griva as the base and gradually Amlaka, Padmashirshaka, Kalasha, etc. The
connector of Sikhara and Ghanta is known as the Kantha or the Griva. In this section of the
temple, fractal mainly works in the Amlaka part by creating self-similar ribs. (as in figure 14)

Figure 14: Ghanta of a typical North Indian Temple Source: Hardy, Adam. The
Temple Architecture of India

The formation of Jangha also depends upon the formation and style of the Sikhara as shown in
the figure 15 below. It is similar to the head and the structure. One fold is added to the Jangha
for every additional fold in the Sikhara.

Figure 15: Image showing the interdependent formation process of Jangha and Sikhara-
Source: Hardy, Adam. The Temple Architecture of India

Here is quote from 360 degree Hinduism

Fractal Geometry – Application and Importance
“… the dynamic formal structure of Indian temples shows irresistible analogies with certain
metaphysical ideas recurrent in Indian thought: of the manifestation in transient, finite
multiplicity of a timeless, limitless, undifferentiated yet all pervading unity; of the identity of this
oceanic infinitude with the all-containing infinitesimal point; of finite things as fleeting
transmutations of the infinite momentarily differentiated, then sinking back into unity, in
unending cycles of growth and decay.” (Hardy, 2007)
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

The existence of the phenomenon of self similarity in the natural world has been observed and
known since antiquity, but its mathematical understanding and the process of arriving at it began
with Mandelbrot’s work in 1977, even though the credit should be shared by various
mathematicians and philosophers for their contributions during the twentieth century which
made this possible. The fractal dimension is a statistical quantity that gives an indication of how
completely a fractal appears to fill space, as one zooms down to finer scales (Xiaoshu Lu, 2012).
Fractal analysis is being increasingly used for analysis in various fields including medicine,
psychology, urban form and architecture. These developments include refinement in the software
usage for computing fractal dimension, which is a measure of the roughness and degree of
details. This, when applied to the field of temple architecture enhances understanding of the
structure geometrically. In particular, Anderson and Mandell (1996) argue that human evolution
in a fractal world has required “the incorporation of fractal structures as well as fractal processes,
and these in turn would be integrated into sensory systems, recognition, memory, and adaptive
behaviours” (Joye, Architectural lessons from environmental psychlogy: the case of biophillic
architecture, 2007).

Figure 4: Sun Temple, Modhera; Fractal development of form is profound

The role of fractal geometry in the construction and physical manifestation of the Hindu temple
has not been fully understood until recent developments in the field of fractal software helped in
the partial understanding of the deep relationship between them. The fractal characteristic of an
architectural composition presents itself in this progression of interesting detail as one
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approaches, enters and thus uses a building (Bovill, 1996). This represents a progression of
observation from across the street to inside a room. The idea that temple architecture has a
progression of detail from a large to small scale is accepted. But, fractal analysis provides a
quantifiable measure of the progression of detail, also quantifying the mixture of order and
surprise in a rhythmic composition (Bovill, 1996).
In many practical applications, temporal and spatial analysis is needed to characterise and
quantify the hidden order in complex patterns; fractal geometry is an appropriate tool for
investigating such complexity over many scales for natural phenomena (Xiaoshu Lu, 2012).
Although employed in various fields in different roles, fractal geometry has been applied
particularly in architecture as a language which translates the beauty of complexity as well as the
ideas of architects (Thomas, 2002) into visible dynamics (Figure 4: Sun Temple, Modhera;
Fractal development of form is profound). It also reflects the process of universe and its energy
through the buildings (Jencks, 1995 ). Hindu temple is one of the best examples of those fractal
buildings which were constructed in the past, long before the birth of fractal theory and
manifested the religious cosmic visions (Jackson, 2004 ). In his paper, Md Rian, et. al., evidence
the deep relationship between fractal geometry and the deepest truth in Hindu temples. Trivedi
pointed out that there exists a striking resemblance of temple forms to images based on fractal
geometry. Countless temples exist all over India… which could be viewed as three dimensional
structures based on fractal geometry (Trivedi, 1993). There are various methods to evaluate the
fractal dimension, among which the box counting method is suitable for measuring the fractal
dimension of the elevation of buildings, mountains, trees or any objects which are not true
fractals (Md Rian I, et. al., 2007). This measurement of the fractal dimension helps in
quantifying the beautiful mix of order and surprise in a structure. This contributes in forming the
appropriate heuristics in the human minds, and therefore setting the stage for higher and clearer
understanding.

Discussion – Integration of above mentioned ideas

The most remarkable aspect of the relationship of fractal geometry and Hindu temple
architecture is that, not only does the physical manifestation of a Hindu temple confirm to the
geometry of fractals, but also the theory behind fractal geometry, i.e., the fractal concept is
parallel to the concept and idea of temple and its philosophy. The parameters of replication in
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

multiple iterations, self similarity, dynamics and complexity at varying scales are the ones that
render Hindu temples fractal-friendly, therefore, forming the base for fractal analysis in the
Hindu temple.
The literature in this regard, addresses how fractal geometry can be applied to the underlying
concept and the physical manifestation of a Hindu temple to arrive at the final form. These
studies ignore the aspect of ‘symbolism’ which is evident in a temple complex. It holds a very
important position in the overall concept as well as the symbolic representation of the ‘ultimate
truth’. The Vastu Purush Mandala, geometrical basis of the Hindu Temple plan, is the result of
fractal iterations. Arnheim, in his book, ‘Art and Visual Perception’, describes intricately the
hidden fields of forces within the square where each side of the square applies force towards the
centre. Thus increasing the number of squares in a Mandala helps the diagram to contain the
(cosmic) energies more concretely where the field of forces is increased in a fractal manner.
These restored energies in the Mandala radiate outwards to the physical world eternally from the
centre. With time, the final shape of Mandala turns into a complex matrix through various
transitional stages. In these stages, plans of some earlier temples evidence that the fact of
radiating cosmic energy took the main role for amending the basic shape of Mandala.
Interestingly, it turns out in some cases that the process of amendment is nothing but the fractal
iteration of Mandala (Md Rian I, et. al., 2007). The well-controlled zigzag plan of the temple
creates the vertical visual rhythm, accentuated in the elevation through its sharp recessions and
projections, whereas the horizontal friezes on the elevation create the horizontal rhythmic growth
upward (Md Rian I, et. al., 2007). In the shikhara, the amalgamation of the form of lotus
blossom and that of mountain has been frozen into the form of multiple recursive archetypes (Md
Rian I, et. al., 2007). As discussed earlier, the circle depicts the endless cycles of time, the
wholeness and the consciousness due to its never-ending shape.
Each iteration starts from the intersection between a side of the diagonal square and the last
iterated line, and stops at the intersection between grid line and the circle. This iteration stops at
the corners of the square. Hindu cosmology, manifested in the plan of Hindu temple two
dimensionally, was also manifested in its elevation but three dimensionally and more
symbolically (Md Rian I, et. al., 2007). Looking at a well known and well researched Shiva
temple of India, the Kandaria Mahadev Temple, Khajuraho, in the light of the previous
discussion, it is brought about superficially, that these Hindu temples confirm to the idea which
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

is a beautiful combination of the religious faith, geometrical achievements, understanding of

human comfort and aesthetics, how human beings perceive (psychology), fractal geometry and
its concept, knowledge of cosmology and its philosophy, and most importantly, symbolism. 5

REASON BEHIND THE USE OF FRACTAL GEOMETRY IN HINDU TEMPLE

ARCHITECTURE 4

The following are some probable reasons behind the use of Fractal Geometry in Hindu temple
architecture.

a) It can be argued that, practicing fractals is none other than the implication of the sense of
completeness since the concept of fractals is that of the part to whole and whole to part.

b) The fractal theory fully supports the Hindu philosophical concept of „one among all, all is

one‟. It brings the feeling of oneness (the concept of Atman).

c) It can bring a sense of strength, both structurally as well as visually.

d) Self-similar elements in the design, seek the attention of the visitors and pilgrims
repeatedly and gradually entice them to think about it and create a clear state of mind with
a holistic perception.

e) Self-similar repetition in structure generates an identity of elements as well as form.

f) Experimentation can also be a reason behind the evolution and realisation of fractal theory
in Hindu temple architecture through the ages.

g) The term, „Self-similar‟ brings a sense of modularity. Therefore, it generates the same
style of work using the same modules, which saves resources. Local materials,
workmanship and time offer ease of execution across huge structures, such as temples
within the same region.

h) Making of similar kind of elements repeatedly generates a habit and practice and practice
perfects the execution.

i) From an aesthetical viewpoint, a fractal geometry brings about „order in chaos‟ and
thereby „a beauty in complexity‟.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Some fractal aspects of Hindu temple architecture are given above. Examining multiple
archetypes and geometry of recursion; this short paper can offer only a cursory suggestion of
the intricasies of the symbol system, the modes of measuring units and proportions, and the
reflection of the whole in some of the parts. In every element of these temples, there is a touch
of fractal.

Geometry and its Application

In Hindu thought, number is considered an expression of the structure of the universe and a
means of effecting the interplay between the universe and man. When numbers are given shape
and form, geometry comes into play. To be able to impart the symbolic meanings to the mind of
the observer through the eyes and brain, there was a need to establish a certain geometry which
will attract the eyes and arouse the brain. To be able to convey these meanings through form, a
strong relationship had to be developed between form and meanings in a decipherable language.
This relationship that develops between forms and their meanings within the Hindu temple is
essential to its function as a link between the gods and man

The basic plan form of any temple is built upon the Vastu Purush Mandala, which is a square,
representing the earth. It also symbolises order, the completeness of endless life and the
perfectness of life and death (Michell, 1977, 1988). In the foundation of any Hindu temple,
cosmos is embodied by laying down the diagram of Vastu Purush Mandala on a selected ground.
This divine diagram reflects the image of cosmos through its fractal qualities. The Mandala can
be considered an ideogram, while the temple is the material manifestation of the concepts it
embodies. The square symbolises order, unequivocal form, the celestial sphere and the absolute.
The circle on the other hand represents movement, and therefore time. The square and circle, by
their very nature, are constant, but the rectangle is not. The square, with its potential to include
competing elements, when enclosing a circle represents the dimensions of both space and time.
As the cosmos is represented by the circle symbolically, the process of making an architectural
model of the cosmos involves the representation of a circle in a square grid in two-dimensional
construction and of an ellipsoid (the cosmic egg) in a cubical grid in three-dimensional
construction. A process of descritization of all curved forms is necessitated by this need to
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

represent them in a square grid, which results in the typical jaggedness of the temple plan
(Trivedi, 1993). The transformation of circle to square and square to circle is not one which can
be explained through Eucledian geometry. It needs an intricate understanding of the nature and
geometry of natural forms. The process by which natural elements gain their unique form can be
applied to the temple structures to find the underlying theme. The application of this algorithm to
the temple construction gives it the remarkable appearance.

The superimposition of the square and the circle is significant considering their individual
symbolic meanings (Figure 3: Square and Circle Superimposed; Symbolising the earth and the
cyclical time). Both of these when put together acquire the properties of order and movement.
Also, this superimposition depicts the celestial sphere and the Absolute, with respect to time;
where eternal time is also the smallest moment. This proves the involvement of circle with
square, with respect to the temple concept and philosophy. The most impressive aspect of the
temple representation is that it occurs both at the level of the part as well as the whole in a
recursive fashion mirroring the Vedic idea of the microcosm symbolising the macrocosm at
various levels of expression (Kak, Space and Cosmology in the Hindu Temple , 2002 )

Nevertheless, this form of geometry, i.e. Eucledian Geometry, does not suffice to generate the
process of development of the structure of the temple. It does not help to describe the form of the
Hindu Temple and its embodied depictions of dynamics, movement, tension, order and harmony.
 Journal of the Indo Nordic Author’s Collective, Finland, Sweden & India

Fractal geometry, though, has been found to be able to explain most of the forms and patterns in
a temple complex.

REFERENCE

1. Parametric in an Ancient Treatise on Architecture, Neena Singh Zutshi , M. A. Schnabel

(ed.), Back to the Future: The Next 50 Years, (51st International Conference of the
Architectural Science Association (ANZAScA)), ©2017, Architectural Science
Association (ANZAScA), pp. 261–270.
2. Symbolism in Hindu Temple Architecture and Fractal Geometry - 'Thought Behind
Form', Tanisha Dutta , Vinayak S. Adane, International Journal of Science and Research ,
(2012): 3.358- https://www.ijsr.net/archive/v3i12/U1VCMTQzMjI=.pdf

3. 3.The Hindu Temple is a Model of a Fractal Universe – Kirti Trivedi [1993]

Infinite Sequences in The Constructive Geometry of 10th Century Hindu Temple
Superstructures – Sambit Datta [2010]
4. Role of Fractal Geometry in Indian Hindu Temple Architecture, Dhrubajyoti Sarda , S. Y.
Kulkarni Professor,International Journal of Engineering Research & Technology
(IJERT),ISSN: 2278-0181,Vol. 4 Issue 05, May-2015
5.http://360hinduism.com/symbolism-hindu-temple-architecture-and-fractal-geometry/

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