Bahai House of Worship

Located in a historically relevant site of Bihar Sharif, famous for ancient universities of Nalanda and Odantapuri, renowned for their terracotta architecture, Baha’i house of worship intertwines art, craft, technology, and architecture in only the second such Baha’i House in South Asia. The edifice sits at the center of 7.5 acre site, intended as a place of worship open to all irrespective of any religious affiliations. Words from the Baha’i scripture “as perfect as possible in the world of being" led to an exploration of the sacred geometry as expressed in nature- the fractal proportions and patterns seen everywhere from galaxies to tiny plants, as well as the folk art of Bihar- Madhubani., which has its roots in a meditative observation of nature of forest dwelling communities. The edifice is a 16-meter high dome of concrete and brick resting on a star-shaped, 5-meter high plinth. Visitors climb up gently-sloping ramps through shallow pools and gardens to reach the edifice entrance. The edifice steps up from nine-sided (prevalent in Baha’i faith) arched segments, multiplying till each segment appears to merge into a singular geometry – the Oculus which allows light inside and marks the focus of those below towards the higher power above. The structural system is a double membrane that combines structural brick arches with a concrete shell structure. In Bihar, brick is the ubiquitous material of choice – visible in the ordinary, as well as monumental architecture such as the magnificent ruins of Nalanda. In the edifice, brick brings together millennia of human intelligence with modern construction technology. The manner in which a single module comes together to form larger modules further replicating to form the larger whole of the dome's surface, underscoring both collective and individual roles in the community of faith. The form of the prayer hall has been optimized for natural daylight and ventilation. Openings at the center of the dome and in each ring of arches will reduce the weight of the ceiling while filtering gentle light inside. The acoustics of the space have been carefully designed, eliminating the need of additional audio visual equipment, further reducing the dependency on electricity. The layout of the edifice paves way to an organic landscape of trees inviting fauna. Miyawaki technique is proposed along the site peripheries with clearings and water features for informal, community activities. Thus, the micro-climate of the site is enhanced with the addition of trees and water bodies. A low-cost passive cooling system utilizes the geothermal heat sink of the surrounding earth to cool the edifice from below. Small openings for natural light act as cavity resonators, a traditional acoustic design element used in domes through centuries. The ongoing process of working with traditional terracotta techniques, artisans, engineers, etc. is developing techniques and applications that help promote this architectural legacy in contemporary project. It’s an investment towards the future relevance of building traditions that are currently side-lined.