Mandala is a sacred space for reflection on earth centered experiences which is symbolic, spiritual and transcending.
The sacred space is elementary. It is not a consolidation of religious thought and certainly not interreligious. This is a space where on can come and reflect on earth-centered experiences. And initiate a process of deconstruction. It is a space to contemplate the fragments of our identity that are humanly engineered. It is a place one can come to transcend the tenets that rule our mind and create space within oneself to allow the birth and death of different seasons.

Brief introduction to various elements of mandala    

1.  Jackfruit tree
On the western periphery of this tree, built in line with its stem and the sun’s trajectory, 
is this small architectural space. The tree and the building (and the sun) together complete the Mandala.

2. The wall, the tree, and the door
Made from laterite blocks, the colour of the building matches the orange flesh of the jack fruit tree. The
front door when closed reveals a burnt surface with an impression of a large leaf. The door, is made
irrelevant by the fact that the space is open from the other side.
3. Windows
In the window frames a play of order and disorder is displayed. Apart from lithograph prints, these
 have natural matter embedded - things that would otherwise constitute waste - a film peeled
from the stem of a banana trunk, decaying leaves, coverings of bean pods...  They have been placed to just be seen for what they are, and their existence acknowledged and if possible celebrated.

4. A Journey
Mandala is an invitation to a journey. It’s a journey where you find yourself looking keenly at your own
responses to the space and the artwork. These responses could be thoughts, feelings or other body
sensations. Mandala aims to facilitate this journey with gentleness, care, and beauty.  Mandala helps you to begin to understand the relationships with time, space, history and everything that impacts us and constitutes our world.
5. Materials
Material objects in the building have been treated with care and their original essence maintained as far as possible. They in turn reward the larger entity with beauty and diversity. Each object, even while existing as part of a larger structure, attracts you by its own identity.– part of a thriving democracy of materials
6. Staircases
One thing that Mandala doesn’t allow is stridency – in movement or thought. There are no easy answers. To enter the building you have to climb up two feet above the ground, and to get to the next space you have to go down six feet, symbolically human scale. And you have to be slow. The structure doesn’t block your movement, rather it forces grace onto it - descending through an archetypal
space. There are three staircases going down, separated by two platforms that one has to skirt around. Mainstream perceptions are deconstructed to reveal many truths.
7. To Look at Any Thing
One of the platforms is slanted and has a glass casing over an inverted pyramidal depression. . The perspective tries to break the exhibition  mode of lateral viewing. The seer and the seen are not different entities within an unequal relationship. There is engagement in seeing, a re-enactment of the pre-natal perspective when the child sees most things as it finds them on the ground. 
 
8. Discovery
At the end of the journey through Mandala, what you discover is none but yourself. The sanctum
sanctorum – the final structure – is built into the earth like a cave and has an umbrella shaped disc
balancing above it. As you bend down to look in, you see your own face on the mirror placed
inside. And with the lamp placed behind the mirror, you are the hallowed idol. With just a
suggestion of it in the outside, Mandala gently leads up to an interiority that offers a secluded
private space with the possibility of finding connection with yourself, the forces of nature
and the world at large.
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