Indian Bahá'í Temple
Background and
Architecture
Extracts from Interviews with the Architect
The Jewel in the Lotus
Architectural blossoming of the Lotus
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Extracts from Interviews
with
the Architect
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Editor's Note: Over
the years since the inauguration of the Bahá'í House of Worship in
December 1986, its architect, Mr. Fariborz Sahba, has been
interviewed a number of times about his wonderful lotus-shaped
creation. Below are a sampling of questions posed to the architect
by different people and publications at different times, and his
responses.
Q. Every phase of the construction of the Temple must have
had its own unique challenge in terms of architecture, design,
and engineering. Which stage was the most exciting to you?
 A, I think the design period was the most challenging and
exciting part of the project for me. To design a temple which
would reflect the rich cultural heritage of India, and at the
same time be compatible with the cardinal principle of the
Bahá'í Faith - the unity of religions - provided me a most
unusual and remarkable chance for witnessing the power of
Baha'u'llah's Revelation. I was looking for a concept that would
be acceptable to the people of all the different religions that
abound with such rich diversity in India. I wanted to design
something new and unique, at the same time not strange but
familiar, like the Bahá'í Faith itself, something which would be
loved by the people of different religions. It should, on the
one hand, reveal the simplicity, clarity and freshness of the
Bahá'í Revelation, as apart from the beliefs and man-made
concepts of the many divided sects. On the other hand, it should
show respect for the basic beliefs of all the religions of the
past and act as a constant reminder to the followers of each
faith that the principles of all the religions of God are one.
People should intuitively find some sort of relationship with it
in their hearts. This was the most exciting part of the project
for me. The rest of the challenges were technical matters which
somehow could be dealt with.
I began without preconceptions, ready for ideas. I visited
hundreds of temples all over India, not for architectural
guidance but to discover a concept that would integrate the
spiritual heritage of this sub-continent. As I delved deeper and
deeper into the cultural and architectural heritage of India, 1
became profoundly fascinated by the task before me.
I was concentrating and praying. I was convinced that God would
guide me towards a concept, and this is just what happened. Is
it not strange that just by chance I had to change my route
while travelling, and go to a different place where a pure soul,
whom I had never met before, was waiting to tell me about the
lotus? This was an Indian Bahá'í friend, Mr. Kamrudin Bartar,
who for the first time spoke to me about the lotus as an idea
for the Temple. No doubt he was Baha'u'llah's messenger to me,
though I did not know it at that time, and was more impressed by
his pure heart, simplicity, and kindness, than his concept and
idea for a temple. Then, in the Ajanta and Ellora caves, the
impression of the lotus flowers on the walls, depicting the
throne of the gods, drew my attention to this flower. In South
India another Indian Bahá'í, on learning of my interest in the
lotus flower, showed much enthusiasm. He took great pains to
locate a pond covered with this beautiful flower and, brimming
over with excitement, took me to view the magnificent blooms.
His earnest description and explanation of whatever he knew
about the lotus impressed upon me the deep-rooted significance
of this flower in India. Later, I studied the art, culture, and
religions of India from books I had collected. The deep respect
for the lotus, spontaneously evoked in Indian hearts everywhere,
and their loving attachment to this sacred flower, convinced me
to end my search for further ideas for the design. My attention
was now focussed upon this concept. However, the critical
question had yet to be answered, as to how a flower could be
translated into a building. However symbolic and sensational it
may be, such a design could also be regarded as trite and
ordinary, and, consequently, vulgar and bereft of any
architectural value.
When T recall my visit to India, I am convinced that at every
step the blessings of Baha'u'llah assisted and guided this work.
The difficulties and problems resolved themselves in an amazing
manner. This could not have been possible without the prayers of
the Universal House of Justice (the highest governing body of
the Bahá'í Faith), which I had solicited before coming to India.
No doubt, it was destined that the Temple be built in this
shape.
Q. What is the significance of the lotus design?
A. In brief, the lotus represents the Manifestation of God, and
is also a symbol of purity and tenderness. Its significance is
deeply rooted in the minds and hearts of the Indians. In the
epic poem Mahabharata, the Creator Brahma is described as having
sprung from the lotus that grew out of Lord Vishnu's navel when
that deity lay absorbed in meditation, There is a deep and
universal reverence for the lotus, which is regarded as a sacred
flower associated with worship throughout many centuries. In
Buddhist folklore the Boddhisatva Avalokiteswara is represented
as born from a lotus, and is usually depicted as standing or
sitting on a lotus pedestal and holding a lotus bloom in his
hand. Buddhists glorify him in their prayers, "Om Mani Padme
Hum", "Yea, 0 Jewel in the Lotus!" Lord Buddha says you have to
be like a lotus which, although living in dirty water, still
remains beautiful and undefiled by its surroundings.
So, we realise that the lotus is associated with worship, and
has been a part of the life and thoughts of Indians through the
ages. It will seem to them as though they have been worshipping
in this Temple in their dreams for years. Now their vision has
become a reality and. God willing, some day they will all enter
and worship in it.
Q. You mentioned the importance of water and light. What is
the concept of lighting and the use of water in your design?
 A. The whole superstructure is designed to function as a
skylight. The interior dome is spherical and patterned after the
innermost portion of the lotus flower. Light enters the hall in
the same way as it passes through the inner folds of the lotus
petals. The interior dome, therefore, is like a bud consisting
of 27 petals, and light filters through these inner folds and is
diffused throughout the hall. The central bud is held by nine
open petals, each of which functions as a skylight. The nine
entrance petals complete the design.
The external illumination is arranged to create the impression
that the lotus structure is afloat upon water and not anchored
to its foundation, by having the light focussed brightly on the
upper edges of the petals.
Regarding the use of water, a glance at the design will show
that the nine pools around the building form the principal
landscaping. At the same time, they represent the green leaves
of the lotus afloat on water. Moreover, the pools and fountains
help to cool the air that passes over them into the hall. The
superstructure, the podium, and the pools are designed as an
integrated whole, and the parts cannot be separated from the
whole.
Q. You must have worked certain requirements of the
environment into the design. Can you explain something in that
regard?
A. This is a matter to which a great deal of thought has been
given. Since the climate in Delhi is very hot for several months
of the year, and the degree of humidity varies, it seemed as
though the only solution for the ventilation problem would be
air-conditioning. However, this is very expensive to install and
maintain, and, therefore, not feasible for a temple in India. On
the basis of the methods of ventilation used in ancient
buildings, a different, though complicated, solution for the
ventilation problem of the Temple has been devised.
This, in a way, can be called "natural ventilation", and is
based upon the results of "smoke tests" which were performed in
the Imperial College of London on a model of the Temple. The
results demonstrated that with openings in the basement and at
the top, the building would act like a chimney, drawing up warm
air from within the hall and expelling it through the top of the
dome. Thus, constant draughts of cool air passing over the pools
and through the basement flow into the hall and out through the
opening at the top. This ventilation is complemented in two
other ways: a set of exhaust fans is arranged in the dome to
cool the concrete shell and prevent transference of heat into
the Temple, while another set of fans funnel air from the
auditorium into the cold basement, where it is cooled and
recycled back into the auditorium. This system, and its
maintenance, is by far cheaper than air-conditioning, and our
calculations forecast pleasant and agreeable temperatures inside
the Temple.
Q. How were the funds provided for the construction of the
House of Worship?
A. It is very important to know that only Bahá'ís can contribute
towards the construction cost of the Temple, and this is
regarded as a great privilege and bounty for the Bahá'ís. The
National Spiritual Assembly of the Bahá'ís of India (the
governing council at the national level) printed a large number
of coupons valued from one rupee to one hundred rupees to raise
funds from Bahá'ís scattered in several thousand localities in
India. Contributions were also received in kind, such as rice,
wheat, and handicrafts from the villages. Bahá'ís from all over
the world also contributed for the construction of the Temple.
The amount is not important. What is important is that the
maximum number of Bahá'ís participated in giving. An Indian
scholar who visited the site told me, "The Taj Mahal was built
with the power of a king, but you are building this majestic
edifice with the power of love."
Q. You said that this House of Worship is open to all people
irrespective of race, caste, religion, and class. Does this mean
that people can practice their traditional forms of worship
here, for instance, Hindus chant their Mantras, Muslims say
Namaz, Christians hold Mass, Buddhists use their prayer wheels,
and so forth?
A. It is important to note that the Bahá'ís do not have any
clergy or rituals, and the Temple is reserved purely as a place
of worship. In accordance with these principles, there are no
sermons or rituals conducted in a Bahá'í temple. This is a place
for prayer and meditation, which means communion between man and
his Creator - God. Everybody can enter and say his or her
prayers, but silently. There are also regular organised public
services during which selections from the holy books of all
religions are recited or chanted. A choir chants hymns to
inspire the soul.
Q. Some people may ask whether it was indeed wise to build
such a temple at all in India. They suggest that the money
should have been spent for other charitable purposes. What is
your comment?
 A. Bahá'í temples are built with the money which Bahá'ís donate
voluntarily. The money they give for the glory of God is a
demonstration of their love for Him. They believe such a
monument will attract divine bounties, and the spiritual
atmosphere it creates will inspire many lives. If you dedicate a
corner of your house, perhaps only a small room, for prayers,
you will have an entirely different feeling about that room, and
anybody entering that spot will feel the spiritual nature of
that place. Now just imagine the spiritual significance of this
edifice which has been constructed with the universal
participation of thousands of people from different races and
religious backgrounds, all united in their purpose to achieve
this lofty goal. It is a concrete embodiment of the unity of
mankind in action. The Taj Mahal was built on the foundation of
love between two persons. One can say there was no need for that
building, for even without that monument the love between the
king and his queen would have been eternal. Nonetheless, because
that majestic tomb symbolised the love between Shah Jehan and
Mumtaz, you feel attracted to the building to witness such a
love even after centuries. Now imagine the impact of the love
created by the Baha'i House of Worship. Here, a spiritual love
between man and God manifests the eternal source of all love.
The temples of India are, today, the richest treasures you have
from your ancient culture. These temples were built by the
people out of their love for God. Thousands of ancient
buildings, palaces, and cities have been destroyed. But most of
the temples have survived the ravages of time and fortune
because they were built in the name of God. The Baha'is have
built a place of hope here. It is a sort of investment or
saving. It is not the rich people who have given money to be
distributed among the poor. On the contrary, it is mostly poor
people who have supported this project because of their
appreciation of love, unity, and beauty. However poor people may
be, they still love to buy a pot of flowers to put in a corner
of their room. Without love and beauty man is nothing. This
Temple symbolises our love for aesthetics, a humble offering to
our Creator in the most beautiful manner we can present it. You
may call it a flower in the comer of our hearts.
Q. What was the period of construction?
A. We had estimated the construction to take six years. We
started the work on 21 April 1980 and completed it on 21
December 1986. So construction has taken six years and eight
months. These additional eight months were required because
extra work was added to the project, for example, the ceramic
tile cladding envisaged in the beginning was changed to marble
cladding. We also landscaped the entire 26 acres of land,
whereas originally we had planned to do this only around the
main building.
Q. What was the total cost of the building?
A. The total cost of the building was about ten crore rupees.
This includes all furniture, landscaping, etc., which is not
much for a complicated building of such high quality. If this
building were made for any other purpose and any other client,
it would have cost several times more. The work done here was
based not on commercial considerations but on sacrifice and
devotion. From the labourers to the supervisors, engineers, and
suppliers, all have undertaken it as a challenge and labour of
love. Many have worked totally voluntarily, or have accepted a
bare minimum for their expenses. It is impossible to value this
building by the standard scales available for quality surveying
or project management.
Q. What was your role as project manager?
A. As project manager I worked on behalf of the client. I was in
charge of budget control, temple fund, public relations, and
quantity surveying, as well as project management, quality
control and site supervision. In other words, I represented the
client and the consultants at site. I had to build up a very
good spirit and relationship between the contractor,
consultants, and the client.
Q. As an architect, you often emphasise your dedication to
your faith. Would you be able to function outside the Bahá'í
"greenhouse"?
A. When an architect works on a design he works on it with all
his ability, his mind, his thoughts, and his beliefs. His faith
is not something outside him, it is an inseparable part of him.
The Bahá'í Faith is not merely a code of laws and dos and
don'ts. It is a way of life. One's mind, thoughts, and approach
to life are all influenced by it. From that point of view, I
have designed as a Bahá'í; even in designing a housing complex
or a cultural centre, my work is naturally inspired by it. This
does not mean that my religion has dictated my design. It is
important to note that my project has not been designed for
Bahá'ís only. In fact, my challenge has been to design a
universal space for the public, for everyone from every
religion, race, or nationality, but at the same time rooted in
the culture and architecture of its place.
 An architect must have a feeling and an understanding of the
people for whom he builds. I consider it to be an art to grasp
the culture and way of life of different countries and the
people for whom I design; to adopt the technical possibilities
available in the land and work within their frame. In India, my
task was to understand the Indian people, their culture,
technological possibilities, and facilities available in the
land, and use them to the advantage of my design.... You design
and work in the way you are, using your best abilities in
serving your art. The end result will be seen in the way your
art communicates with the people. I think the judgement of the
success of your work is when you see that it really functions
and works for the people that you worked for.
On an average, about 3 1/2 million people visit the Bahá'í House
of Worship in New Delhi every year. Perhaps only a tenth of them
are Bahá'ís. Visitors come to this place as a house of worship,
a place for prayers. Their remarks reflect that their hearts
have been touched, and they feel the Temple belongs to them. For
me, that is the sign that the Temple 'works', as the essence of
a Bahá'í temple is unity of God, unity of religions, and unity
of mankind.
Q. One of the relevant questions in architecture today is to
what extent it may be regarded as art. Considering that the
Lotus temple is very artistic, what is your stand on this issue?
A. I take it as a compliment that you see this project as
artistic. I am an old-fashioned architect who has always
considered architecture to be an art, and no matter how
practical or technical it becomes, in essence it is a work of
art which communicates with its audience. This, in my opinion,
is the most satisfying aspect of this profession. All other
things are only tools. In the Lotus Temple a great many
technical challenges has to be addressed, but I take
satisfaction from the fact that my project communicates with the
people, and is alive.
I used to often think to myself: what is it that makes the Taj
Mahal so mysterious, so beautiful, so loved by the people that
hundreds of thousands of Indians, having seen it several times,
still continue to visit this building? Early one rainy morning I
went to see the Taj Mahal. One of the guides followed me,
insisting upon offering his services. For a time 1 resisted, but
finally I had to agree. As I listened to him I was filled with
astonishment that this person, who had in all probability
repeated his narrative hundreds of times, should yet be able to
discourse about the Taj Mahal with such ardour and enthusiasm;
that he and all that crowd of visitors should feel so intimately
connected to the building, as if it were a living thing. My
guide's narrative was not precise, but for me the true
significance of his words lay in the sensation they conveyed,
that this building had a special place in his heart and was, in
a manner, connected to him. From many points of view the Taj
Mahal may not be superior to several other Islamic structures of
that period. How is it then that this particular structure is
dearer to people's hearts than all those others, attracting
scores of visitors from all parts of the world and of India
throughout the entire year?
That very morning, as my self-appointed guide was going through
his narrative, I came to appreciate that a masterpiece of
architecture is recognised by the mysterious connection it
establishes with our hearts - a connection that transcends mere
architectural considerations. The abiding popularity of the Taj
Mahal resides in this. 1 thought to myself that I would only be
successful if I could design something that communicates to the
people and creates such a relationship. This mysterious
relationship between the artist, his work, and the people is the
most satisfying factor in the art of architecture. I hope I will
continue to obtain projects which give me this type of pleasure
in parallel to the other aspects of my profession.
Q. Does the Bahá'í religion allow you sufficient freedom for
self-expression?
A. In the Bahá'í Faith an individual establishes his own
relationship with God; each individual acts according to his own
conscience, based on his understanding of the Bahá'í teachings.
Self-expression and individual freedom form one of the main
principles of this religion, and there is no question of anyone
imposing his/her will or ideas on another. However, there is no
doubt that one's spiritual philosophy and feelings will be
reflected in one's art, one's thoughts, one's life. The blossoms
of a tree come from within a tree and cannot be attached to it
from outside. Individual freedom does not mean, however, that
you live only for yourself. In whatever you do, you express
yourself in relation to others. While every single player is
very important, the results come from the quality of teamwork.
You might as well ask if a kite is any freer without its string. |
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