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Osho
Commune
PROJECT
DETAILS
Osho
Commune
Koregoan
Park, Pune
Client
, Bhagwan Rajneesh
Competed
1990
Principal
Architect, Hafeez Contractor
Associate
Architect, Vivek Verma
The
Osho Commune nestled in the beautiful, green city of Pune is the
base from whence Bhagwan Rajneesh (who in his later years
called himself 'Osho'), propagated his philosophical
teachings upon his return to India. The community,
consisting of people from all over the world
lives in a closely protected environment. Osho himself was accessible
only to a favoured few and fiercely protected by loyal devotees. The city
of Pune was a perfect choice for the Ashram owing to its
perfect climate which lasts almost throughout the year , its greenery
and the tolerant attitude of its inhabitants added
to which its proximity to Bombay was very
convenient for the large number of foreign members of
the commune.
The
project brief, handed over to us was as enigmatic as Osho himself.
After having submitted five to six alternatives,
all of which were rejected
by Osho, he sent us a big, thick book with a photograph,
the size of a postage stamp, on the cover,
with the instructions, "Osho has asked you to
see this photograph, think, and then design our buildings". Accompanying
this was a small slip of paper on which was written : Black, Black
and Black. The photograph was of a barn shot at sunset.
It was very dark and there was just a little
bit of a blue halo around the building. This was all
that was given to guide us in interpreting the requirements of design.
The
brooding, black pyramidal forms conceived by Hafeez were radically
different from anything he had done before, the design
for the commune being a simple cluster of
four buildings, relying on form and color for impact.
The pyramids act both as a perceptive experience and as a symbol
( the immediate perception of an image plus its mental
associates ). Black embodies all the colors,
harnesses cosmic energy and the pyramid is the
most stable form. If these all black pyramids suggest rising energy and
an indrawn meditative posture, then the blue tinted
glass windows and skylights symbolize enlightenment
: blue being the first color one perceives on
enlightenment- the halo of life.
The
solid pyramids are large meditation halls with smaller halls below them.
The
windows; clear glass with blue film, subdue and enrich the quality of
natural
light inside the spacious meditation halls. The spatial experience
created
is one of tranquillity, however, with a dynamic undertone like a
repetitive
surge of charging energy. They are essentially simple, clean sp-
aces
done up reasonably well with the flooring in agglomerated marble
and
the walls in plaster of Paris, painted white. An L-shaped structure
houses
residential spaces designed in the same clean style, consisting
essentially
of small rooms with basic amenities like wardrobes, kitchene-
ttes,
etc. The impact of the facade is heightened by the
variations in the
depth
of the black and in the textures of the different
materials used. The walls of the pyramids
are in semi-gloss black ceramic tiles with borders and corners
in black granite. The windows have black aluminum
framing around blue tinted
glass, these architectural forms stand out against the rough
black cuddupah paving and the greenery around
a large tree near the entrance, shades
the central open public space. It dominates the commune and
visually holds the cluster of pyramids together.
Structurally
each pyramid was conceived as a shell element resting on peripheral beams
in turn resting on RC columns. The basic plan measured 16.75m
x 16.75m and the pyramids were at an angle of 53.4 degrees, with the
horizontal. There are six rectangular openings and
one that is triangular. Stiffener RC beams
are provided near the edges of openings, and the ridge lines
of the pyramids are stiffened with MS channels.
A
dirty municipal nallah on the site has now been converted into a
lively water body with landscaping all around,
providing a beautiful setting to the mystical pyramids. |