架构师提供的文本描述。这片位于拉贾斯坦邦帕瓦普里的广袤的牧场，从最初作为饲养、庇护和保护原本要屠宰的流浪奶牛的一项举措，就发展成了一个大型的宗教校园，里面有寺庙、祈祷厅和住宿设施，每年有50万人参观-更不用说它永久居民中的6000到1.2万头牛了。传统上是由索姆普拉人、庙宇工匠建造的，除了主要的神殿外，其他建筑仍在阴影中。需要一个新的达拉姆沙拉宗教客房，这将保持其精神根源，同时履行似乎矛盾的功能，为朝圣者提供的物质慰藉，创造了一个难得的机会。

Text description provided by the architects. From its humble inception as an initiative to feed, shelter and protect stray cows otherwise intended for slaughter, this expanse at Pavapuri in Rajasthan has grown into a large religious campus containing temples, prayer halls and residential facilities, visited by 500,000 people yearly - not to mention the herd of 6,000 to 12,000 cows that comprise its permanent residents. Traditionally having been constructed by Sompuras, temple craftsmen, buildings other than the main shrines remained in the shadows. The need for a new dharamshala – religious guest house, which would stay true to its spiritual roots whilst performing the seemingly contradictory function of providing pilgrims with creature comforts, created a rare opportunity.

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耆那教起源于公元前9世纪至6世纪之间的比哈尔邦，与佛教几乎相同的时间和地点，是一种在印度有大约420万信徒的宗教。虔诚的修行者被期望谴责世俗的生活和束缚。生活在没有一切障碍的荒野中的习俗-包括衣服、不与任何身体接触、禁食100多天、赤脚行走超过1000英里、摘取每一束头发以保持秃顶-都是常态。

Originating in Bihar between the 9th and 6th century B.C almost at the same place and time as Buddhism, Jainism is a religion with approximately 4.2 million followers in India. Devout practitioners of this exacting religion are expected to denounce worldly life and bonds. Customs such as living in the wilderness devoid of all encumbrances - including clothes, abstaining from any physical contact whatsoever, fasting for more than 100 days, walking barefoot for distances exceeding 1000 miles and plucking each strand of hair of their head to remain bald are the norm.

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极端的非暴力、绝对的放弃、严格的孤独和严厉的紧缩构成了它的核心信念。关于空间和时间的深刻概念，以及对单位的精确定义，如1 Avali-眨眼所需的时间，早在开始的时候就在Jain经文中出现，它们甚至被认为能识别无限的概念。

Extreme non violence, absolute renouncement, strict solitude, and severe austerity form its core beliefs. Profound concepts of space and time and the accurate definition of units such as 1 Avali - the time required to blink, have featured in Jain scriptures as far back as its inception, they are even credited with identifying the idea of the infinite.

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这个设计变成了一个练习，通过一个空洞的矛盾创造来表达这些无形的东西。一组漂浮的空隙对升起和落下的太阳开放，由石头的闪光灯定义成为唯一的干预。

The design became an exercise in expressing these intangibles through the paradoxical creation of a void. A set of floating voids open to the rising and setting sun defined by stone blinkers became the only intervention.

这七块赤裸裸的服务大楼，每一块1：4：8的比例和4：4：2的入口质量，当反射到邻近湖泊的水中时，形成一个完美的立方体，这意味着在下一阶段的建设中被转移到建筑线上。即使是圆形剧场也符合这种严格的几何结构，其直径是基本2.4米单位的四倍。最后的效果被认为是一首颂歌，简单而重复，它的力量在于与自我内在的共鸣，以及自我外在的延伸。

These seven stark service blocks, each of a 1:4:8 proportion and the 4:4:2 entrance mass come together volumetrically to form a perfect cube when reflected in the water of the adjacent lake, which is meant to be diverted up to the building line in the next phase of construction. Even the amphitheater complies with this stringent geometry with a diameter of four times the basic 2.4m unit. The final effect was conceived to be like a chant, simple and repetitive, its power being in the resonance with the self inside and the extension of the self outside.

典型的贾恩神庙由排列整齐的空间组成，从华丽的入口开始，通向曼塔帕或大厅，尽头是圣殿或加尔巴格里哈，它的顶端是一座名为Shikhara的塔，整个建筑群的两侧都是吉尼亚教创始人蒂尔塔纳卡拉斯的神殿。这一安排在达兰萨拉的计划中被重新解释，而坚固的直线轴被维持，并转化为一条贯穿整个建筑物的明确的走道。创建了一个块来定义一端的入口，而曼塔帕被转换成一个圆形剧场来定义另一端的入口。希卡拉的形象保留在鸟塔的建议中，神殿沿着中轴线翻转，堆放在一边，创造房间，完成建筑群。

A typical Jain temple consists of linearly arranged sequential spaces beginning at the ornate entrance , leading up to a Mantapa or hall and terminating in the sanctum or garbha griha which is topped by a tower known as the Shikhara, the entire complex is then flanked on either side by the shrines of the Tirthankaras, the founders of Jainism. This arrangement is reinterpreted in the plan of the Dharamsala with the strong linear axis maintained and translated into a defining walkway which runs along the entire length of the building. A block is created to define the entrance at one end and the Mantapa transformed into an amphitheater defines the other. The image of the Shikara is retained in the proposal for a bird tower and the shrines flipped along the central axis and stacked onto one side create the rooms and complete the complex.

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这24个房间反映了24个Tirthkaras，分散在一系列完全自给自足的模块上，每个模块都有自己的服务和流通。这些模块被一条高架人行道绑在一起，从上面透过弧形的半透明屋顶沐浴光线。从最初设想的混凝土屋顶演变而来，这容纳了圣水所需的空间，这些水高高地放在下面路过的耆那僧侣的肩上。当地可用的材料，如Nimbada石铺在周围地区普遍存在的砖石中，附近采石场抛光的Kota石材地板和日常混凝土浇铸的地板构成了约束材料的调色板。为了与耆那教，非暴力和孤独的基本租户保持100毫米宽的分离，所有元素的组成，使他们纯净。在唯一的情况下，石头块必须与地面接触，它们最终会在湖中反射，成为景观中的悬浮物。

The 24 rooms reflecting the 24 Tirthankaras, are spread over a series of modules that are fully self sufficient, each having its own services and circulation. The modules are tied together by an elevated walkway bathed in light from above through the translucent roof that arcs over it. Evolving from an originally envisioned concrete roof, this accommodates the headroom required for the holy water held high on the shoulders of the passing Jain monks below. Locally available materials such as Nimbada stone laid in a masonry that is prevalent in the surrounding areas , polished Kota stone floors from quarries nearby and floor plates cast in everyday concrete make up the restrained material palette. In keeping with the essential tenants of Jainism, of non violence and solitude, a 100 mm wide separation is retained between all the elements of the composition rendering them pure. At the only instance where the stone blocks had to meet the ground they will eventually reflect in the lake and become suspended elements in the landscape.

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这位有着2500年历史的绝不可侵犯地球的哲理，难道不是和当今生态运动的支持者所渴望的相似吗？

Isn't this 2500 year old Jain philosophy of never infringing on the earth evocatively similar to those aspired to by the proponents of the ecological movement today