The design is inspired by principles of Sacred Geometry and the description of the House of worship according to Abdu’l-Bahaì- promoting the “oneness of humankind”.
Emerging from oneness – the starting point for the form of the Mashriqu’l-Adhkaìr is a simple circle. From here the design evolves into a Nonagon forming the base of the plan by using the sacred geometry technique toconstruct it with 19 circles forming the “flower of life”.
The overall diameter is restricted to 27M – a multiple of the number 9. The height of the Mashriqu’l-Adhkaìr is restricted by the golden ratio of 1.618 to 16.5M. With this the volume of the Mashriqu’l-Adhkaìr is derived
The other concept used is that of“the 5 faiths” present in Bihar Sharif – Hinduism, Islam, Jainism, Sikhism and Buddhism. Inspired by this, the volume is divided using geometric progression into 5 tiers- each symbolic of the 5 faiths coming together in unity as the Mashriqu’l- Adhkaìr ascends skywards – with the Greatest Name suspended at the top.
The tiers are clearly seen as a stack from both the outside and inside – they are treated with the local thatch for the interior construction of the roof and will incorporate the leaves from the sacred trees of all the five faiths (Hinduism-Peepal; Islam-Date Palm; Jainism- Bel; Sikhism- Bohr; Buddhism-Banyan) reinforcing that the design unquestionably belongs to the land from which it has risen – Bihar Sharif – a Confluence of Faiths.
With a simple folded roof on each side of the nonagon and each tier of the form – an elegantly lofted geometric solution emerged for the form of the Mashriqu’l-Adhkaìr.
The materials are simple and are familiar to the people of rural Bihar. Stepped brick Corbels are reminiscent of the Kesaria Stupa; the mud, tiles, cow-dung cakes and thatch are used extensively for local homes – thereby a mathematical solution that combines beauty, grace and dignity while being modest, functional and economical is unravelled.