Design Unfiltered Conclave 2026, Udaipur took a turn towards spirituality when Ar. Shirish Sanadhya took to the stage. Here he decoded the design of a 131 ft high monumental sculpture of a Hindu deity, while also sharing his unspoken ideologies about environmental sensitivity.
In Hindu philosophy, a murti is not merely a sculpture; it is a living medium of devotion, remembrance and divinity . Monumental forms such as Shri Ji Ke Hanuman ji serve as anchors of collective faith, reconnecting people to values that often fade amidst the pace of modern life — courage, humility, seva, and unwavering devotion. Rising from the mountain like a guardian of the landscape, the sculpture becomes more than an architectural intervention; it becomes a spiritual landmark. In the Hindu tradition, sacred spaces are designed not only to be seen, but to transform the inner state of those who stand before them, inviting reflection, surrender, and strength.
There are projects that demand engineering. There are projects that demand vision. And then there are projects that ask for both — where structure, landscape, material, and faith must come together without disturbing the spirit of a place.
The monumental sculpture of Hanuman Ji emerged from precisely such a challenge: to create a sacred landmark inspired by the mountain itself, while preserving the integrity of the landscape on which it stands.
The initial concept drew directly from the mountain’s peak, incorporating the natural character of stone and its vertical cracks into the visual language of the sculpture. Rather than appearing imposed upon the terrain, the intention was for the form to feel as though it had risen organically from the parvat itself.
The design was developed by the structural consultant, Sarvashva Solutions, under the guidance of Mr. Sharad Gupta from Delhi. Once the site was finalized, the proposal underwent further verification and modification by IIT Bhubaneswar to ensure structural feasibility and long-term stability.
At its core, the sculpture is supported by a carefully engineered internal framework. A series of metal columns rise continuously from the base to the neck of the statue, with structural platforms placed at intervals of every ten feet to support the outer shell. Beneath the visible form lies a heavy raft foundation and a completed RCC base, designed to anchor the structure securely to the terrain.
Approximately 115 tons of steel were used in creating the internal superstructure. Each individual column weighs nearly 8.5 tons and was treated with multiple layers of protective coating to ensure resistance against rust and environmental exposure over time. The outer “skin” of the sculpture was constructed using fiber, allowing for both durability and refined detailing.
Yet beyond the technical calculations, the project presented enormous logistical and construction challenges. The erection of the superstructure, particularly on mountainous terrain, required extraordinary coordination. A double-rope mechanical crane and a derrick crane were employed to lift and position structural members. Since conventional heavy excavation equipment was intentionally avoided, a specialized track system with a capacity of nearly 10 tonnes, along with a cable trolley mechanism, was used to transport materials up the mountain.
The BIG CHALLENGE: The Question of Sustainability
Environmental sensitivity remained central throughout the execution process. The architect was often asked, “If the monument was already conceived structurally, what then was your role as an architect?”
To this, he responded with a smile:
“My role was to ensure that the mountain remained untouched — without cutting into it, without tarnishing its natural character. No trees were cut during the process. I believe that as designers and architects, this sensitivity towards the environment and nature is utterly necessary, and I simply tried to uphold that responsibility.”
In many ways, this philosophy became as important as the sculpture itself. The project was not approached as an act of domination over the landscape, but as an exercise in coexistence — allowing architecture, engineering, and nature to exist in quiet balance.
A primary goal was to preserve the mountain in its original state. The team avoided cutting into the terrain, filling natural contours, or removing trees during installation. No excavators were used for cutting or filling operations, allowing the construction process to coexist respectfully with the surrounding environment.
The final visual character of the sculpture was achieved through an advanced finishing system. A specialized “auto-coat” paint sourced from a manufacturer in Thailand was applied to the fiber exterior. Using patented “3D Sparkle Technology,” the coating creates a metallic glow across the surface, giving the sculpture a luminous quality that changes subtly with light and distance.
The Hands of our Beloved Hanuman Ji
The project also reveals how architectural decisions are often shaped by devotion and perception as much as by engineering.
Originally, the hands of Hanuman Ji were positioned higher, closer to the chin, serving as an important structural support element. However, because the sculpture would ultimately be viewed from the city below, the architect proposed lowering the hands to improve visibility of the face from a distance. While visually beneficial, this modification introduced a new engineering challenge: creating additional support for both the hands and the chin area without compromising the integrity of the form.
The result is a sculpture that balances monumentality with restraint — one that rises from the mountain without overpowering it, embodying both spiritual symbolism and structural precision.
Overall, Shri Ji Ke Hanuman ji is more than a monumental sculpture — it is a union of faith, engineering, and nature. Built with deep spiritual intent and precise structural care, it preserves the mountain’s original form while creating a powerful sacred presence. The project stands as a symbol of devotion and environmental sensitivity, reflecting the belief that the divine must exist in harmony with the natural world.
Architect: Ar Shirish Sanahdya
Firm: Sheetal Construction, Nathdwara, Rajasthan
