As it was a mark in history, the structure was required to last for around 500-1000 years. Hence, material selection was a vital task. Initially, the team zeroed down upon modern construction materials such as RCC and structural steel. To achieve large continuous span for the interior hollow space, steel foundation footings were laid. But, later it was realized that the aesthetics of such structure would be inappropriate, and maintenance inconvenient. Hence, conventional materials came into consideration. Stone masonry, being a natural material and strong in compression was selected. It is resistant to weathering caused due to surrounding salty, humid air. It was preferred over other materials as it aesthetically makes a greater impact. Structurally it is designed with a solid black basalt foundation and the walls are sandwiched between two layers of Jodhpur Sandstone. Meticulously every individual block was designed to form an interlocking system. Male-female joints which are known to be strongest interlocking joinery were used. The series of stone modules formed rings of decreasing diameter. These rings when stacked formed the dome. When one whole ring gets completed it gets stable by itself. Temporary metal scaffoldings were used just as an additional support. All these jigsaw-like pieces were put together using a combination of ancient binding material made of lime mortar/surkhi. Testing stone to its maximum limit, this engineering marvel was completely labour intensive with hand cut rocks, thus reflecting the philosophy of self indulgence and modesty. To lift the heavy blocks of stone the cranes were the only modern machinery used.
The octagonal pradakshana path for viewing the structure modulates externally into a needle at the top, through a bell shape. The height of the tower when experienced from this viewing platform gives an illusion of it penetrating into the sky. It is a design where the function follows form. The Pagoda rises to 96.12mts from the ground. The central core consists of a hollow dome of height 29mts. internal diameter being 85m and external being 97.46m; it is twice the size of Gol Gumbus in Bijapur which was, previously the largest hollow stone dome. It is stabilized by a keystone weighing 4.5 tons which was housed in two parts. Its strong stone foundation has a depth of 8mts, and width varies from 5.8 to 6.5 meters. The difficulties faced in replicating the structure were the unavailability of the scaled drawings, which was jointly worked out with the help of a Burmese architect.
The material of the structure synchronizes with the rough and rugged terrain of the site. The proportion of the base of the platform strikes a right balance with the height of the Pagoda. The entrances to the Pagoda are highlighted by a massive canopy, playing with scale and acting as a threshold where a man sheds his cloak of desire and sufferance to adorn peace and harmony. On entering, one is left to the amusement of the vastness of the interior space. The continuous circular form depicts the circle of birth and rebirth (samsara) giving a sense of unendingness. The massive columnless dome is devoid of ornamentations, which helps in maintaining simplicity. The sound vibrations of sadhana within this holy dome create spiritual eternal vibrations leading one’s mind into purity and contentment. To avoid echo, the architect has provided sound absorbing panels hung from the top of the dome. To ventilate the large agglomerated crowd the radial wind tunnels under the floor run through the platform on which the pagoda rests. The large fans at the end of the tunnel suck in fresh air from the surroundings, which circulates within the dome. Hot air is expelled out by huge fans hidden in the punctures at the upper level of the dome. The soft light entering from the arched openings in the dome creates the right ambience for meditation .The steps provided for maintenance on the exterior, get camouflaged with the serrations of the pagoda. These serrations bear the carvings of the symbols related to Buddha. Gold paint is used on the external surface, and gold metal is used as cladding on few serrations, based on donations.
The structure is a sign of gratitude to Myanmar for preserving the vipassana techniques in its original form for all these years. Global Pagoda with respect to its grandness is a celebration marking the return of Buddhism back to its land of birth, that is, INDIA. Due to its prominence it has given a boost to tourism. Yet, the main aim of this symposium is to invite people of all religion, caste, creed, race and country to come together under one homogenous form. The form develops into the architecture which is not only vivaciously beautiful but also has a longer life.
According to Vitruvius the roman architect of Emperor Augustus, a good building should satisfy the three principles of ‘firmness, commodity, design’, which translates roughly as
“Durability “- it should stand up robustly and remain in good condition,
“Utility” - it should be useful and should function well for the people using it,
“Beauty” - it should delight people and raise their spirits.
Global Pagoda has gracefully achieved all of these. We would conclude by quoting these few lines….