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Islamic Architecture
 
Baha'i faith and architecture
What do you think about the Baha'i faith, and how can one interpret the faith into an architectural vocabulary?
Md Abdullh Al Zobair
Responses
 
Baha'i faith and architecture
Hi!
You can get an answer...just use search engines for The Baha'i houses of worship in India Iran etc...
The lotus temple at Delhi and the Shrine of Bab (if I am not wrong) would be the best examples to study
P Das
Baha'i faith and architecture
Hi Zobair,

As Prashant has rightly said, look at the lotus temple; it's one of the finest architectural expressions of a religion in the contemporary times.

With the treatment of basic elements like lotus, emphasis on "nine directions", the water... it has easily conveyed the spirit of the reverred faith, which respects all other religions as well.

Although I myself am not Bahai, with a simple observation of the building it's has been so easy for me to understand the religion.
Vidhu Saxena
Baha'i faith and architecture
I have been associated with the Baha'i Faith since 1953 and an affiliated/declared believer since 1959. I have written extensively about this Faith, its architecture and its place in contemporary society. Here is a little piece of prose-poetry I wrote about its architecture that will convey something of a response to your question:
_______________________________
THIS ARCHITECTURE

This poetry, is a temporal art attempting to achieve spatial construction, a written idiom using space to contain time, using space as a basis for memory. For space contains time precisely, like a speaking monument; experience becomes memory by being localized; the act of a moment becomes a monument, a shrine, a memorial. Poetry, then, eternalizes the moment, fixes the moment as it flies away. Truth can be found in these brief moments of intensity. Poetry can conquer the forgetfulness of men. So, too, can architecture, the great conservator of tradition.
-Ron Price with thanks to The Final Sculpture: Public Monuments and Modern Poets, Michael North, Cornell UP, London, 1985, pp.134-137.

Here is a public form faithful
to my most private dream,
a unity of being, self and world,
known to a whole people, unity
of artist, poet and people, here,
a perfect stillness, immovable,
a glory of changeless marble,
repose, calm, a mingling
of contraries, while being pleased,
pleasing the self, something enduring,
eternal is pleased, summation
of an entire culture, soothing my
perplexities, a permanence,
solidity, fidelity to the past, expressing collectivity,regeneration, fertility, beyond fossilizing, durability, grandeur, erected
to the future,more than aspiration, more than desire, a salve,
a resolution of desire,
recipient of images of the future, telling of a common garden
in a private ground, tracing
the future on the wall of my cell
and aiming at a sovereignity:
ancient, imperishable and everlasting.

The condition of this stone
is one of great calm
thrust into civic life,
an eternal placidity, caressable,
symbols of cultural continuity
across time and space, a memory
system designed to preserve
a whole civilization.

A man hurls himself toward
the infinite and works of art
are his vestiges, his trace
in the manifest, cutting something
tangible, preserving something loved
in human memory,harmonizing
the antithesis between ancient
and modern, symbol of community, connecting my imagination to the whole, a collectivism that is the basis
of my triumph, carving myself
and other men in no tottering civilization as we push inexorably
into history and its inevitabilities.

Ron Price
10 August 1997
(revised 2/07)
Ron Price
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