Generating 3 Dimensional Pavilions Described in Mayamatam

105

Generating 3 DimensionalPavilions Described inMayamatam;A TraditionalIndian ArchitectureTreatiseYogesh K. Garg and Vinay M. Das

issue 1, volume 1international journal of architectural computing 0 1

106

Generating 3 Dimensional Pavilions Described inMayamatam;A Traditional Indian ArchitectureTreatiseYogesh K. Garg and Vinay M. Das

The traditional or classical architecture of India is aninteresting subject for exploration from differentperspectives.Taking pavilions described in Mayamatamas a representative of the traditional or classicalarchitecture of India and analyzing them from theviewpoint of pattern recognition and mathematicsencouraging results are obtained.A pattern is seen inthe development of the design of pavilions and hasbeen coded alpha-numerically. Based on the system ofdevelopment and employing computer applicationssoftware is created to design pavilions, which followthe principles of traditional architecture.This softwarehas multiple benefits. It can be used as a teaching aidfor the subject ‘history of Indian Architecture’. Forarchitectural conservationists and heritage enthusiastsit offers itself as a tool to help in visualization anddigital reconstruction. For architects it can be a meansfor making structures of recent times, which have theessence of traditional architecture.The aim of thispaper is to highlight the methodology for preparing thissoftware and demonstrating its output.

107Generating 3 Dimensional Pavilions Described in Mayamatam;A TraditionalIndian Architecture Treatise

1. INTRODUCTION

The architecture of India dates to a very early age. In Sanskrit it is referredas sthapatya, vastushastra, vastuvidya, vastukala amongst other synonyms.Tounderstand the Indian system of architecture, the first prerequisite is torefer an important principle of Indian philosophy wherein, the human bodyis considered as a miniature Universe [1].This tenet was also followed insthapatya (ancient Indian architecture) as well as in Ayurveda (ancient Indiansystem of medicine). It is summarized in one of the textbook: “All materialand spiritual phenomena of the universe are present in the individual.Similarly, all those present in the individual are also contained in theuniverse.This is how the wise desire to perceive” [2]. Conceptuallysthapatya considers the building structure to be in harmony with man andnature. For making buildings in harmony with man (dweller), a system ofmeasurement based upon human dimensions and proportions wasdeveloped. It was considered that by following this system the buildingsbecame an extension of the human body thus making it beneficial to thedweller at physical and meta-physical levels.

In this system of measurement, the dweller’s body parts were used as astandard unit of measurement and the building was designed using multiplesor divisions of these units. In the measurement system small dimensionswere worked out on the basis of ‘matrangula’ (digit). Digit is middle phalanxof the middle finger of officiating priest or the head of the family, head ofthe state [3]. For building dimensions, the ‘hasta’ (cubit) was taken asstandard unit for measurement.There are four types of cubits inMayamatam.The common one is the measurement from the tip of themiddle finger to the elbow and equals 24 digits. Other three measure 25, 26and 27 digits [3].The building proportions were then worked out at twolevels using ‘hasta’. First, dimensions and proportions of the building wereestablished as per the ancient Indian norms for aesthetics.At the secondlevel ‘aayadi’ were calculated to examine the effect of physical structure onthe individual.Aayadi are set of mystic formulae to calculate gains, losses,asterisms, matrices, ages, solar days and lunar days based on hasta, buildingdimensions and astrology to find whether the building was suitable to theclient or not. [4].These calculations attempt to harmonize the energiescreated by the influence of the birth star of the person and that of thebuilding.When these energies are harmonized the dweller experiencesmaterial prosperity and spiritual well being. [5].To suit the ‘aayadi’,adjustments were then made in the established aesthetic dimensions.

Design was further worked out in plan using a square or rectangle thatwas subdivided into smaller units - The grids.This basic grid popularlyknown as Vaastu Purusha Mandala is the mystical diagram in sthapatya. Itrepresents the manifest form of the cosmic being that facilitates theinception of design. Each of its lines and divisions hold within them layers ofmeaning, within which the intricacies of design unfold [6].Vaastu Purusha

Mandala (hereafter referred as mandala) is the networking that weaves thePurusha (A primordial form in all its wholeness) with Vastu (matter) makingit Vaastu (Act of matter becoming forms and patterns). It is the networkingof environment, systems (astrology, ritual, visual etc.) and their subsystemsto harmonize the total human systems with the total environmental systemsat all interactive levels of Mind, Energies and the Material entities [7]. It is anintegration of the cosmic, the divine and the human [1].Thus, the mandalaharmonized the building with nature and with dweller.

This approach in ancient Indian architectural design satisfies all theparameters such as astrological observations, eternal beauty, laws of natureetc. and results in a wonderful, beautiful and dignified structure [8]. Itharmonizes various aspects such as aesthetics, construction quality,environment, material-emotional-spiritual aspects of life of the dweller.Thus,the building was a custom-made space in harmony with the dweller, hisdependents and the universe.The existence of ancient monuments in Indiacan be taken as an indication of presence of multidisciplinary andmultilateral knowledge base [9].This knowledge base includes designprinciples, astrology, astronomy material sciences, managerial skills andmathematics etc. Indian science of Vastu and Vaastu has recognized that theuniverse is subject to a mathematical formula and architecture is yetanother manifestation of this formula [10]. Once mathematics becomes partof architecture computer applications are the next logical step.

The aim of the research is to develop software to generate 3dimensional models of pavilion based on proportional and morphologicalanalysis as described in ancient Indian treatise.This attempt would be usefulfor students and academicians in conservation and propagation of ourarchitectural literary heritage and also enriching the data available throughsite documentation. For those interested in preserving heritage, theresearch will also provide possibility of ensuring recovery of lost knowledge,that is, the missing portion of a ruined structure can be reconstructed, firstin virtual space and then in reality. Professionals can design pavilions in thepresent day context to be used as commercial buildings like shopping malls,office complexes etc., public buildings such as library, community halls etc,and other structures such as swimming pools, restaurants, clubhouses andsimilar ones.As the treatises state that physical and meta-physical benefitsare bestowed in abundance to the persons living in structures complyingthe design guidelines.These meta-physical benefits are achieved when theuser of the building gets merged with the building and with its environmentthereby causing the harmonious flow of energies and creates perfect workequilibrium. It creates blending of man, material and nature with objective tocombine wealth and comfort.The meta physical benefits enhance health andvitality, promotes financial prosperity, create stress free and supportingenvironment, improve relationship and dealing with other persons, givesinspiration and maximizes effectiveness, provides refreshing good nightsleeps, cerates harmonious and tranquil atmosphere and promotes general

108 Yogesh K. Garg and Vinay M. Das

fortune and well being.Thus, it is possible that the same would benefit thepresent day users of such buildings.

The end product of the research is prototype software for developingmodels of pavilions as described in ancient Indian text.

2. MAYAMATAM

The Sanskrit literature dealing with architecture is spread all over India.Afew of the commonly known texts are Manasara, Rajavallabha, SamaranganaSutradhara and Mayamatam etc.Apart form these many more texts inSanskrit and regional languages also exist.As per Dr. Dagens,“In theextensive and widely disseminated range of works in this area, theMayamatam occupies a fairly well defined place” [11].The Mayamatam(edited and translated by Dr. Bruno Dagens) referred in this research is intwo volumes with a total of 36 chapters and an appendix.Volume I have 22chapters and the remaining 14 chapters and an appendix (descriptionsregarding locations of wells) are in volume II. It is a large text comprising of3336 verses.The chapters can be classified under areas of town planning,residential architecture, religious architecture, religious rituals, iconography,interior design, renovation work, vehicle design, etc.The chapters relating toarchitecture and planning are from 1 to 30 having 2626 verses in all anddeals with various buildings independently such as residential architecture,temple architecture, pavilions and their details about system ofmeasurements, parts and elements, proportions of these parts and elementsin plan and elevation, decorative elements, material specifications, technicalinformation etc. Out of these buildings the scope of the study is limited onlyto selected verses on architecture of Pavilions as these have the broadesthorizon of understanding and utility.The scope of analysis can be in terms ofmaterials quality, textures, colors, proportions, etc but the research islimited to geometric proportional analysis of pavilions in horizontal andvertical planes.

3. MORPHOLOGY OF MAYAMATAM PAVILION

Temples, halls, houses, sheds and pavilions with inner court and palaces arereferred as buildings.A pavilion is made up of permutation and combinationof a number of components and parameters.The plan of the pavilion iscomposed of angana (central court), ranga (central platform), jalasthala(central water body), alindra / varam (walkway), mandapam (roof); variousother covered / open to sky courts and water bodies, all of which arewithin the perimeter of the pavilion.The bhadra (forepart/portico/porch),sopana (steps) are also parts of the pavilion.

A pavilion normally has three levels of elevation.These three levels areadhishthana (base or plinth), stambha (pillars) and prastara (entablature).Thepavilion could also be like a temple or like a house, a storey added to thepavilion it results in a ‘malikamandapa’ or storied pavilion. Other elevational


elements are kudya (Wall/s), jalaka (windows), etc.The prastara(entablature) is decorated with a Nasi (false dormer window), kuta (CornerAediculae), panjar (Intermediate Aediculae), koshtha (Elongated Aediculae)etc.The morphological repertoire of a pavilion is shown in Figure 1.Anupapitha (socle) is an optional element in a pavilion. It is located below theadhishthana (base or plinth).

4. PROPORTIONS IN PAVILIONS

The plan of pavilions or its horizontal proportions (Bhakti Vinyas) isdeveloped from the ‘basic unit’ (bhakti) or intercolumniation; the cleardistance between two pillars and the ‘basic unit’ for the pavilion plan.Thisis different from the present norm where mostly the centre-to-centredistance is used.The advantage of the intercolumniation over the centre-to-centre distance is that the usable space remains the same even if thehorizontal dimensions of pillars increase. Plan of pavilion can either besquare or rectangular shaped. In square plan the ‘basic unit’ width andlength ratio (Bhakti Manam) is 1:1, which is repeated in the requirednumbers to make matrix or intercolumniation grid (Bhakti Sankhya) of 1 × 1 up to 16 × 16. ‘Basic unit’ of different width to length ratios (BhaktiManam) 1:2, 2:3, 3:4, 4:5 and 5:6 can be used to make a rectangular planpavilion. Refer Figure 2.

A square pavilion could also be made rectangular by adding maximumfour ‘basic units’ to the length but without making the number of ‘basicunits’ in the length more than twice the number of ‘basic units’ in width.These four options for lengths are called chhanda, vikalpa, aabhasa, and jatifor one, two, three and four more ‘basic units’ in length respectively. Forexample, a 4 × 4 matrix square pavilion can be developed to a rectangularpavilion of 5 × 6, 5 × 7, 5 × 8 or 5 × 9 matrix. Refer Figure 3.


Kuta (Corner aediculae)

Panjara (IntermediateAediculae)

Koshtha (ElongatedAediculae)

Prastara (entablature)

Stambha (pillars)

Angana (central court)

Jalasthala* (centralwater body)

Adhishthana(base)

Kudya (wall)

Jalaka (window)

*Ranga (central platform) can be in place of jalasthala

Alindra (walkway)

Bhadra(forepart/

porch)

Nasi(false

dormerwindow)

Mandapam (roof)

Figure 1. Parts of pavilion

Sopana (steps)

� Figure 1. Morphological repertoire

of a pavilion.

Using above components and parameters Mayamatam describes 1 × 1 to16 × 16 square pavilions. 1 × 1 pavilion is called as Meruka, 2 × 2 as Vijaya.Apavilion with matrix 3 × 3 is Siddha which has two configurations; with andwithout the central court. Pavilion Padmaka of 4 × 4 matrix, consists of acentral court and bhadra (forepart/porch) attached on one or all four sides.Likewise, 5 × 5 pavilion Bhadraka, 6 × 6 pavilion Sivam, 7 × 7 pavilion Vedamand 8 × 8 pavilion Alankrita upto 16 × 16 pavilion are described. (ReferFigure 4).

Elevational proportion of pavilions is developed from three distinct partsi.e. plinth (adhishthana), pillars (stambha) and entablature (prastara).Mayamatam prescribes three ways of developing elevational proportions.

If height of the plinth (adhishthana Utsedha) is taken as a standard unitfor deriving entire dimensions of pavilions then pillar height (stambhaUtsedha) and entablature height (prastara Utsedha) can be calculated as perthe proportions given in Table 1.


� Figure 2. Rectangular pavilion with

rectangular ‘Basic Unit’.

� Figure 3. Rectangular Pavilions with

addition of square ‘Basic Unit’ (Bhakti

Manam).

Square Pavilion'Basic Unit' Ratio (BhaktiManam) = 1:1Matrix of 'Basic Unit' (BhaktiSankhya) = 4 × 4

Rectangular Pavilion'Basic Unit' Ratio (BhaktiManam) = 3:4Matrix of 'Basic Unit' (BhaktiSankhya) = 4 × 4

Rectangular Pavilion'Basic Unit' Ratio (BhaktiManam) = 2:3Matrix of 'Basic Unit' (BhaktiSankhya) = 4 × 4

Pavilion Plan: Square'Basic Unit' Ratio (BhaktiManam) = 1:1Matrix of 'Basic Unit' (BhaktiSankhya) = 4 × 4

Pavilion Plan: Abhasa Mode'Basic Unit' Ratio (Bhakti Manam) = 1:1Matrix of 'Basic Unit' (Bhakti Sankhya) = 4 × 7

Pavilion Plan: Jati Mode'Basic Unit' Ratio (Bhakti Manam) = 1:1Matrix of 'Basic Unit' (Bhakti Sankhya) = 4 × 8

Pavilion Plan: Chhanda Mode'Basic Unit' Ratio (BhaktiManam) = 1:1Matrix of 'Basic Unit' (BhaktiSankhya) = 4 × 5

Pavilion Plan: Vikalpa Mode'Basic Unit' Ratio (BhaktiManam) = 1:1Matrix of 'Basic Unit' (BhaktiSankhya) = 4 × 6

If height of the pillar (stambha Utsedha) is taken as a standard unit fordeveloping proportions then the dimensions of the other two levels are asshown in Table 2.


1.5 cubits

Plan of Pavilion with 1 × 1 'Basic Unit' (BhaktiSankhya) and 1:1 'Basic Unit' Ratio (Bahkti Manam)

Plan of Pavilion with 3 × 3 'Basic Unit' (BhaktiSankhya) and 1:1 'Basic Unit' Ratio (Bahkti Manam)Type – I

Plan of Pavilion with 3 × 3 'Basic Unit' (BhaktiSankhya) and 1:1 'Basic Unit' Ratio (Bahkti Manam)Type – II






1.5 cubits 1.5 cubitsPLAN

� Figure 4. plan of 1 × 1 ‘Basic Unit’ to

16 x 16 ‘Basic Unit’ pavilions with

Pillar layout and nomenclature.

If base of the pillar diameter or width (Stambha Vyasa or stambhaVistara) is taken as standard unit for calculating pillar height then pillarheight can be calculated as per the proportions given in Table 3a.Thus thereare four possibilities of height for each diameter at bottom of pillar.

The pillar diameter or width at the top is also proportional to itsdimension at the bottom.There are seven options possible for calculatingthe diameter at bottom of pillar.This is shown in Table 3b. Hence for a given






Plan of Pavilion with 10 × 10 "Basic Unit" (BhaktiSankhya) and 1:1 'Basic Unit' Ratio (Bahkti Manam)



16 x 16 ‘Basic Unit’ pavilions with Pillar

layout and nomenclature. (continued)

height of a pillar there are four possible bottom diameters and for eachbottom diameter there are seven possible top diameters.Thus there are 28(7*4 = 28) possible dimensions.





Plan of Pavilion with 16 × 16 'Basic Unit' (Bhakti Sankhya) and 1:1 'Basic Unit' Ratio (Bahkti Manam)



16 x 16 ‘Basic Unit’ pavilions with

Pillar layout and nomenclature.

(continued)

Once pillar height is calculated, plinth height and entablature height willbe in relation to pillar height as described in Table 2.

After finalizing the major vertical dimensions, proportion of otherelements like socle (uppitha) can then be calculated in relation to the base


Pillar height = * Plinth height

or = 3 * Plinth height

or = * Plinth height



Entablature height = Plinth height


or = * Plinth height9

10

7

8

12

5

14

6

16

7

5

2

� Table 1. Calculating Pavilion

pillar height (stambha Utsedha)

and Entablature Height (prastara

Utsedha) from Plinth height

(adhishthana Utsedha).

Plinth height =

or =

or =

or =

or =

or =

Entablature height =1

2* Pillar height

1

3* Pillar height

2

5* Pillar height

1

2* Pillar height

1

2

1

2* * * Pillar height -

1

7 Pillar height

1

2

1


1

6 Pillar height

1

2

1


1

5 Pillar height

� Table 2. Calculating Pavilion

Plinth height (adhishthana

Utsedha) and Entablature Height

(prastara Utsedha) from pillar

height (stambha Utsedha).

Pillar height = 8 * Diameter at bottom of the pillar

= 9 * Diameter at bottom of the pillar



� Table 3a. Calculating Pavilion

pillar height (stambha Utsedha)

from diameter at bottom of pillar

(Stambha Vyasa).

height, pillar height or entablature height.The advantage here is if thedimension of any part of the pavilion is known or a specific dimension isrequired for a particular element of a pavilion, the dimensions of the wholepavilion can be worked out. Height of the optional element socle (uppitha) isalso in relation to the plinth height and can be calculated as shown in Table 4.


Diameter at top of the pillar = * Diameter at bottom of the pillar

or = * Diameter at bottom of the pillar





or = * Diameter at bottom of the pillar11

12

10

11

9

10

8

9

7

8

6

7

5

6

� Table 3b. Calculating diameter

at top of pillar from diameter at

bottom of pillar (Stambha Vyasa).

Socle height = 3 * Plinth height

or = 2 * Plinth height







or = * Plinth height1

4

1

2

2

3

3

4

11

4

11

2

13

4

� Table 4. Calculating Socle

height (uppithaUtsedha) from

Plinth height (adhishthana

Utsedha).

The plinth (adhishthana) has 14 profile options consisting of projections,recesses, ogee curves, drip-courses and fillets etc. Out of 14 options anyplinth profile (Refer Figure 5) can be selected.The heights, projections andrecesses of each type of moulding for a given profile are in proportion tothe plinth height. Proportions of one profile named as padabandhaadhishthana with nomenclature is explained for the purpose ofunderstanding. Refer Figure 6.

Pillars (Stambha) can be square (Chatuskona), circular (Vratta), hexagonal(Shatkona) or octagonal (Astakona).The section of the pillar can be samefrom top to bottom or can have multiple sections. In all 14 types of pillarsare described in the Mayamatam.

The text describes provision of Porch (Bhadra) on 1, 2, 3 or on all 4sides as per the utility and site conditions of pavilion. For the pavilion of oddmatrix (1 × 1, 3 × 3, 5 × 5, 7 × 7 and 9 × 9), a porch of width 3 ‘basic unit’and projecting by ‘one basic’ unit can be constructed along the central axis.For the even matrix (2 × 2, 4 × 4, 6 × 6, 8 × 8 and 10 × 10) a porch of 2‘basic unit’ widths and one ‘basic unit’ projection can be constructed alongthe central axis. For odd matrix from 11 × 11 and 13 × 13, the porchprojects by 2 ‘basic unit’ and is three ‘basic unit’ wide, whereas for even


1. Padbandha Base 2. Uragbandha Base 3. Pratikrama Base 4. Padmakesara Base 5. Pushpapushkala Base

6. Sribandha Base 7. Manchbandha Base 8. Srikanta Base 9. Shrenibndha Base 10. Padmabandha Base

11. Vaprabandha Base 12. Kapotabandha Base 13. Pratibandha Base 14. Kalasha Base

� Figure 5. Detail of proportion of

plinth moldings.

Elevation Section

Regulating course

Plinth

Torus

24 p

arts

87

33

11

1

24 p

arts

Fillet

Fillet

FilletUpper string course

Dado

� Figure 6. Proportions of padabandha

adhishthana profile with nomenclature.

matrix from 12 × 12, 14 × 14 and 16 × 16, the porch projects by 2 ‘basicunit’ and is 4 ‘basic unit’ wide. For odd matrix of 15 × 15, the porch projectsby 2 ‘basic unit’ and is 5 ‘basic unit’ wide. Refer Figure 7.

Width of steps (Sopana) is calculated in the same manner as in case ofporch. If porch is to be provided then the steps will be added in the front orsides of porch. (Refer Figure 7). If porch is not provided then steps can beadded as per the requirement on 1, 2, 3 or on all four sides of the pavilion.


No porch(Jatika) mode

1 2

3

4 5

3

One porch(Nanda) mode

Two porches(Bhadrakaushika)mode

Three porches(Jayakosha) mode

Four porches(Purnakosha) mode

� Figure 7. Plan of porch (Bhadra) for

different pavilions.

� Figure 8. Steps (Sopana) added to

front and sides of the porch (Bhadra).

5. SEQUENCING IN DESIGNING A PAVILION

The decision process for designing a pavilion starts with conceptual designthat consists of 3 levels of decision.

1. Deciding plan or horizontal proportions (Bhakti Vinyas).2. Deciding plan configuration (Anganaityadi Vinyas) i.e. open to sky

courts water bodies, platforms etc.3. Deciding vertical proportions (Trivarga).

After these three major decisions plinth (adhishthana), pillars (stambha)and entablature (prastara) can be generated and porch (bhadra), steps(sopana) etc. can be added.

First level of decision on horizontal proportions (Bhakti Vinyas) includes:• Decision regarding ‘basic Unit’ ratio (Bhakti Manam) i.e. 1:1 or 1:2 or

2:3 etc. based on length width ratio of the site for pavilion and/or theuse of pavilion. For example if the ratio of length and width of site forthe pavilion is tentatively 2:3 then preferred ‘basic unit’ ratio will 2:3.

• Decision of basic unit or inter columniation grid dimension of widthand length (Vistara Manam and Ayyam Manam) based on purpose ofthe pavilion (cafeteria, exhibition, swimming pool, performing arts,gallery, museum etc), spans possible in various materials, (Timber,stone, concrete, steel beams).

• Matrix size of inter columniation grid or number of ‘Basic Unit”(Bhakti Sankhya) will be based on the numbers of ‘basic unit’ requiredfor activity, available area for the pavilion and the number of possible‘basic unit’ of required ratio in the given length and width.

• Pillar width or diameter (Stambha Vistara or Vyasa) is also to beassumed initially based on required spans and appearance desired.For example, steel Pillar of 100 mm diameter may be taken forstructural purpose but aesthetically due to the less slenderness ratiofalse work around the pillar may be required so pillar diameter canbe assumed as 200 mm.

Second level of decision on plan configuration (Anganaityadi Vinyas)includes:

• Decision of generating simple or complex pavilions based on theconcentric or array configuration of activities.

• Decisions regarding location of open courts (Angana), water bodies(Jalsthala) platforms (Ranga) and covered spaces (Varam) dependingupon the various activities to be performed in open and coveredareas.

Third level decision on vertical proportions (Trivarga) includes:• Decision of number of stories based on area available area for

pavilion and activities required.• Vertical proportions are decided on the basis of either pillar height

(Stambha Utsedha) or plinth height (Adhisthana Utsedha) or Pillarbase diameter (Stambha Vyasa).All other elements of pavilion will becalculated as per the ancient Indian proportions as described inmorphology of pavilions.

Keying the above data will generate the horizontal grid and also calculatethe vertical proportions of the pavilion.The resulting visual can be analyzedand if required can be rethought at this stage.

After finalizing horizontal and vertical proportions elements of pavilionare added in the sequence first plinth (Adhisthana), then Pillars (Stambha)and then entablature (Prastara).Addition of plinth provides 14 profiles


options out of which suitable one can be chosen.Addition of pillar providesoption regarding its shape i.e. rectangular (Chatuskona), circular (Vratta),hexagonal (Shatkona) and octagonal (Astakona). Eight options are alsoavailable for calculating top diameter of the pillar.Addition of entablaturedoes not provide multiple options. In the next step other elements such asporch (Bhadra) and steps (Sopana) based on the design rules can be added.Addition of Porch (Sopana) requires the decision regarding identification ofsides on which it needs to be attached i.e. on one side (Bhadra Nanda), twosides (Bhadra Kaushika), three sides (Bhadra Jaya Kosha) and on all the foursides (Bhadra Purna Kosha) depending upon the requirements and siteentries. If porch is provided steps (Sopana) will be added accordingly and ifporch is not provided then decision regarding identification of sides onwhich it needs to be attached is required. Decision regarding the ratio ofriser and tread is also required.

6. STRUCTURE OF THE SOFTWARE

Now a days most of the architects works on drafting software for preparingdrawings keeping in mind the various advantages of computer drafting. Someof the most popular software’s are AUTOCAD,ARCHICAD, etc.The biggestadvantage of using software is the inter exchangeable format to any othersoftware for further analysis such as structural details, constructional details,presentation and rendering, estimating etc. Keeping this in mind the PAVDES(PAVilion DESigning) software is designed on AUTOCAD application withits interface in Visual LISP and VBA (Visual Basic for Applications).VBA inAUTOCAD is used to design the Dialogue boxes required to makesoftware user friendly whereas the calculation and automated drafting isdone using Visual LISP.

Based on the morphology and sequence of designing pavilion prototypesoftware is developed. It consists of 2 main modules. First module has threesub-modules for deciding the horizontal and vertical proportions (BhaktiVinyas and Trivarga) and plan configuration (Anganaityadi Vinyas) of thepavilions as per the ancient Indian treatise. Second module consists of 5sub-modules for adding elements i.e. plinth (Adhisthana), pillar (Stambha),entablature (Prastara), Porch (Bhadra) and Steps (Sopana) to the generatedgird.All sub modules opens up various dialogue boxes for requisitedecisions.The output will be in the form of 3D pavilion with plan andelevations.The details of the software and process of designing pavilion isexplained using a case example.

7. CASE EXAMPLE AND RESULTS

Let us generate the pavilion for a modern restaurant to be constructed.Starting PAVDES in AUTOCAD will generate the screen as shown in Figure 9.

To generate the conceptual grid, first the module for conceptual designwill be used. Selecting the conceptual proportion will further generate the


� Figure 10. Data entry screen for

conceptual horizontal proportions

(Bhakti Vinyasa).

dialogue box for taking decision regarding horizontal proportions (BhaktiVinyasa). For designing the restaurant, the ratio of ‘Basic Unit’ (BhaktiManam) is selected as 1:1 (considering use of square or circular tables thatcan be optimally arranged in a square area). ‘Basic Unit’ width and length(Vistara Manam and Aayaam Manam) are taken as 3000 mm × 3000 mm(assuming intimate and cozy dining spaces and avoiding large size halls fordining).A matrix grid of 9 × 9 ‘Basic Units’ is used for arrangingapproximately 40 tables (sitting for 160 persons at a time) with provision ofwater bodies (Jalsthala), stage (Ranga), open to sky courts (Angana) andcovered spaces (Varam) etc.The pillar width / diameter (Stambha Vistara /Vyasa) is chosen as 400 mm as per the structural conditions.Theinformation to be keyed in is shown in Figure 10.The generated output ofthe horizontal grid is shown in Figure 11.

� Figure 9. Menu for PAVDES on

starting AUTOCAD.


Next step is of deciding the plan configuration (Anganaityadi Vinyas).This is done by selecting plan configuration icon from the menu whichopens up a dialogue box for selecting simple or complex pavilions.Considering stage in the center with water body all around, a simpleconfiguration of concentric type pavilion is selected as shown inFigure 12.

Clicking the icon of simple pavilion on the dialogue box will furtheropen up a dialogue box for taking decisions regarding location of water


� Figure 11. Generated output of

horizontal proportions (Bhakti

Vinyasa).

� Figure 12. Screen for selecting

simple or complex pavilion.

bodies, stage, covered spaces, etc. Conceptual stage of size one basic unit istaken in the center with water body of one basic unit all around. Nextconcentric ring is chosen as open to sky court for open air dining. Nexttwo concentric rings will be covered spaces for closed dining and serviceareas. Figure 13 illustrates the process of decision-making and the generatedoutput is shown in Figure 14.


� Figure 13. Decision taking screen

for plan configuration (Anganityadi

Vinyas).

� Figure 14. Generated output after

taking decision regarding plan

configuration (Anganityadi Vinyas).

Next step is deciding the vertical proportions of the pavilion by selectingthe vertical proportion icon in the PAVDES menu. Selecting the icon willgenerate a dialogue box for deciding vertical proportions with three optionsas inputs, based on which vertical proportions will be calculated.Theproportions can be decided based on the critical dimension required eitherfor the pillar height, plinth height or on the basis of diameter at the bottomof the pillar. Option for calculating socle is also available in the dialogue box.Figure 15 illustrated the details of the dialogue box for deciding verticalproportions.

In the example the required height for restaurant is taken to be 3000 mm.Based on this height (Building height can be considered equivalent to pillarheight) all other proportions will be calculated as shown in Figure 16. In thedialogue box with pillar height as input, plinth height is chosen as half of thepillar height and entablature height is equal to the plinth height.This makesthe overall height of the building equal to 6000 mm from ground to the top.The generated output is shown in Figure 17.

After taking major decisions for horizontal and vertical proportions andgenerating conceptual grid, the next step is to add elements sequentially.First we add plinth profile to the conceptual grid by selecting plinth icon inthe ‘Add Element’ list of PAVDES menu. On selection another dialogue boxfor various plinth profiles (Figure 18) will be displayed for selecting a profileout of which padbandha is selected as per aesthetical considerations.Generated output is shown in Figure 19.


� Figure 15. Dialogue box for deciding

vertical proportions.

To feel the details of the plinth profile generated zoom and shadedportion of the one corner of the plinth generated is shown in Figure 20.

Next step is to add pillars at required locations by selecting pillar iconin the ‘Add Element’ of list of PAVDES menu.This opens up a dialoguebox for adding pillars with options for pillar base shapes and top


calculating vertical proportions.

� Figure 16. Dialogue box for

calculating vertical proportions based

on pillar height.


diameter of the pillar. Out of the options, the circular pillar is selectedwith top diameter of the pillar as 9/10 times diameter of base of thepillar.The dialogue box with selections is shown in Figure 21 andgenerated output in Figure 22.

� Figure 18. Dialogue box for

selecting various plinth profiles.


selecting the plinth profile.


Generated pillars can be seen in detail after zooming and shading theview as shown in Figure 23.

Adding of entablature needs selection of entablature icon in the ‘AddElement’ list of PAVDES menu.This icon does not provide any choices

� Figure 20. Detail of the generated

plinth profile (padbandha).

� Figure 21. Dialogue box for adding

pillars.


� Figure 23. Shaded and zoomed

details of generated pillars.

but on selection adds the entablature as shown in Figure 24.The detailsof entablature are shown in Figure 25 and 26 after shading and zoomingthe image.


adding the pillar.


The last stage is of adding porch and steps. On selecting the porch iconfrom the ‘Add Element’ list of PAVDES menu dialogue box for adding porchis displayed with options of adding porch on one, two, three or four sides. In


adding entablature.

� Figure 25. Shaded and zoomed view

of the generated entablature showing

roof over stage, open court, etc.



porch to the pavilion.

the example porch is added to one side assuming one main entrance withfoyer to the restaurant.The dialogue box is shown in Figure 27 and thegenerated output is shown in Figure 28. Shaded view of the generatedoutput is shown in Figure 29.

� Figure 26. Shaded and zoomed view

of the generated entablature

illustrating one corner of the roof.


For adding steps to the porch, steps icon from the add element list ofPAVDES menu is selected which displays the dialogue box for variousoptions for adding steps to the pavilion. Figure 30 displays the selectedoptions for generating porch and the output is shown in Figure 31.

� Figure 29. Shaded view of the

generated output after adding the

porch.


adding the porch.



adding the steps to the pavilion.

After adding the steps to the pavilion software will automaticallydisplay the 4-way screen with plan, front elevation, side elevation andshaded view of the pavilion for complete visualization as shown in Figure 32.


steps to the pavilion.


8. CONCLUSIONS AND DISCUSSIONS:

Various types of pavilions are based on infinite classes of subdivisions of itsfundamental type.These subdivisions provide skeletal pattern grid to whichvarious components can be added generating complex and infinite numberof pavilion patterns of each type.A large number of permutations andcombinations, theoretically infinite, can be developed on the basis of use ofgrid proportions and various plan elements.These grid proportions can beused to design various types of buildings to achieve better aesthetics andthe meta physical benefits. Hence the ancient knowledge of building designif interpreted in the correct manner will be useful for design of all buildingssuch as shopping malls, hospitals, swimming pools, cafeterias, hotels etc.

Acknowledgements

The authors are thankful to Ministry of Human Resource Development,Government of India, Prof. H. D. Chhaya, (Former Head, Department ofArchitectural Conservation, School of Planning and Architecture, NewDelhi),Akash Trust, Pondicherry, Rishabh Software,Vadodara, India for theircontributions in the research work.

References1. Bäumer, Bettina,“Purusa,” Bettina Bäumer, ed., Kalatatvakosha:A Lexicon of

Fundamental Concepts of the Indian Arts Vol. I, Indira Gandhi National Centre forthe Arts & Motilal Banarasidass Publishers Pvt. Ltd., New Delhi, 1988, reprint2001, pp. 29–50.

� Figure 32. Final outcome of the

generated pavilion.


2. http://www.selfrealisation.net/VedicAstrology/threeinone.htm [12-09-2007].

3. Dagens, Bruno, Mayamatam,Vols. I & II, Indira Gandhi National Centre for theArts & Motilal Banarasidass Publishers Pvt. Ltd., New Delhi, 1994, p. 25.

4. ibid, pp. 61–63, 567–569.

5. http://www.green-architecture.com/lesson1.php [12-09-2007].

6. Chakrabarti,Vibhuti, Indian Architectural Theory: Contemporary Uses of Vastushastra,Oxford University Press, New Delhi 1999, pp. 63.

7. Chhaya, H. D.,Vedic Spirit in Architecture, portal.architexturez.org/site/groups/ug-curriculum/strategies/vedic_spirit-HD_Chhaya.pdf [12-10-2006].

8. Coomaraswamy,A. K., Fundamentals of Indian Art-vol.1,The Historical ResearchDocumentation Programme, Jaipur, 1985, pp. 11.

9. Chhaya, H. D.,“Vedic Spirit in Architecture,” Architecture + Design, (Sept-Oct 1998)pp. 21–25.

10. Sthapati Ganapathi V.“The Ancient Indian Science of Time & Space, Sound &Light,Word & Form.” http://www.vastuved.com/aboutvaastu.html [22-10-2007].

11. Dagens, Bruno, Mayamatam,Vols. I & II, Indira Gandhi National Centre for theArts & Motllal Banarasidass Publishers Pvt. Ltd., New Delhi 1994.


M.A.N.I.T., Bhopal, India

[email protected]@manit.ac.in

Generating 3 Dimensional Pavilions Described in Mayamatam

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