PROJECT DETAILS
Osho Commune
Koregoan Park,
Pune
Client , Bhagwan
Rajneesh
Competed 1990
Principal
Architect, Hafeez Contractor
Associate
Architect, Vivek Verma
Click the photographs to view LARGE
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 devo-
tees.
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". Accompa-
nying
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.