The Buddhist Mandala is the representation of the Buddhist Universe. Mandalas are amongst the best known Buddhist icons in the world. The Sanskrit noun ‘Mandala’ means ‘any circle or discoid object’, which signifies a sacred enclosure. Mandalas are often described as cosmoplans in both the external sense, as diagrams of the Buddhist cosmos; and in the internal sense, as guides to the psycho-physical practices of Buddhist practitioners.

There are many types of mandalas, varying according to the particular Buddha or Bodhisattva occupying the center. Each has its own accompanying rituals, performed for the attainment of some specific purpose. Thangkas are one dimensional and are commonly used to display such mandalas and are used for veneration.

Diamond Realm Mandala [Top]

Pigment on Canvas Painting, Relic Chamber, Level 3

Diamond Womb Realm Mandala [Bottom]

Pigment on Canvas Painting, Relic Chamber, Level 3

Tang Dynasty is a very important era in Chinese history. It was regarded by historians as the strongest empire in the world, during the eighth century. Its capital, Chang’an was the center of trade and culture. Tang was the golden age of politics, economics, military affairs, literature and arts, and foreign relations. It lasted more than 300 years and was one of the greatest dynasties in Chinese history.

Venerable Xuan Zang

Buddhism flourished during the Tang period, becoming thoroughly sinicized and a permanent part of Chinese traditional culture. Many Indian Buddhist Sangha and scholars translated many sutras enabling many people to learn about Buddhism. The most famous was Ven. Xuan Zang, who translated a number of important Mahayana sutras like the Maha Prajna-paramita Sutra.

Buddhist Art

Often characterized as the golden age of Buddhist art, the Tang Dynasty saw the full flowering of Chinese Buddhist arts, both in sculpture and in painting. Tang artefacts have been rediscovered in many parts of the world, attesting to the reach and high standards of artistry achieved.

A Pair of Lokapalas [Left]

Sancai-glazed Pottery, Tang Dynasty (618 – 907) Sold in Sotheby’s, London, to BTRTM

Our architect team had to understand and redevelop these Chinese designs and construction plans to meet Singapore’s stringent building and safety regulations - a challenge in creativity.

Several meetings were held with URA to ensure that we meet the building requirements and achieve the desired town planning look for Chinatown. A great deal of negotiations and sacrifices had to be made in order to achieve the desired outcomes- a challenge in patience and perseverance.

Structural Challenge

From the study and site investigation, the Sago site is situated at a very busy and tight location. It sits on reclaimed land from the 1800s and is surrounded by pre-war shop houses which did not have strong building foundations. Hence, the existing ground is very sensitive to soil settlement if deep basement excavation is carried out.

‘Top-down’ Construction Method

By assessing and understanding the surrounding constraints & conditions, the ‘top-down’ construction method was proposed. This would require the simultaneous excavation and construction of the basements, whilst we construct the upper floors of the super structure. The main advantage of this system is to minimize the subsidence of existing ground and disturbance to existing shop houses. This is a more costly, but faster construction method requiring close co-ordination and project management.

Mechanical & Electrical (M&E)

The brief was to have ‘light but we did not want to see lights’, to ‘hear sounds but not to see sound’. The ambience of the interior required the selection of quiet equipment and sound proofing where needed to achieve the serene ambience of the temple. The air filtration system must be able to remove the dust, vapor, etc. (due to the burning of oil lamps and incense) so that the rich and colourful fixtures and finishes are not stained or harmed. Also, the design had to ensure that the various costly and beautiful Buddhist artifacts would not be adversely affected by the M & E equipment.

Interior Design

The challenge was to research and develop the various aspects of the interior and to extensively search for the needed artifacts such that everything was visually accurate with the Tang Dynasty period yet synergised with the modern environment and equipment. The search took us away for weeks each time to China, Japan, Taiwan and Nepal. The trips to seek out the craftsmen in rural China was both physically exhausting but then rewarding when we finally found the right partners.

Lighting as a Visual Form

Light within the temple plays two roles. The first is the visual – the revelation of the form, architecture, decoration and art that makes the temple a unique contemporary example of the richness and celebration of the Buddhist faith. The lighting design job is to use discreetly located lighting technology to provide appropriate levels of light for the many and varied activities that will take place and also place gentle emphasis on the Buddha figures, wall paintings, decorated ceilings and numerous areas of intricate decoration.

Lighting as a Reminder

The second role for lighting is to create a reminder of the inner light that dwells within all mankind – to create a visual quality that resonates with peace, contemplation, meditation and inner reflection. Whilst this is the big challenge for all the design team (traditional temple design does not maximise the use of natural light), it is the way in which light connects the mind of the devotee or visitor to their surroundings, that becomes a major contributor to the unique experience that the new temple will bestow on those who enter.