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ROGER ANGER

«The teams working on the Matrimandir have
renewed themselves over the years.
Succeeding one another, they have devoted
their time and courage to the achievement
of this task in spite of pressure and resistance.
Each in his or her own way and to their own capacity
knew how to offer their indispensable contribution
to the creation of this unique building:
the Matrimandir.»
Roger Anger (January 2007)

Roger Anger, chief architect of the international township of Auroville and member of the Governing Board of the Auroville Foundation, passed away on January 15, 2008, in France. He was 84.
As the person who gave form to the Mother’s vision, Anger conceptualised the master plan of Auroville. Giving up commercial architecture, he dissolved his partnership in France to take up the Auroville project as a full-time work. A sculptor, artist, architect and planner, he designed the Matrimandir, the soul of Auroville.

The Auroville project, which began in 1964, was conceived by Mother. She spoke of a place on earth that could not be claimed or owned by any nation, but where people from all over could live freely and in peace. It was largely designed by Mr. Anger, and inaugurated in 1968 when soils from around the world were symbolically put in an urn along with the Auroville Charter.

At its spiritual and physical heart is the futuristic spherical structure, Matrimandir, a place dedicated to the Divine Mother. The structure, which has been under construction for over three decades, is a flattened dome spanning 36 metres in diameter, surrounded by gardens, an amphitheatre covered with red Agra stone and meditation rooms.

Radiating from the Mandir and its gardens, the city is architecturally conceived along the lines of a galaxy, evolving organically within certain parameters.

The original design envisaged accommodation for 50,000 residents but now there are only about 1,500.

An amazing combination between sculpture and architecture, the splendid expression of Auroville’s chiefarchitect Roger Anger breaks the mould of the conventional code of ‘four walls and a roof habitation’.

A graduate from the classical Beaux Arts in Paris, Roger came to India in 1956. Home to him and his companion Jacqueline, the house has an incredible timelessness about itself. A product of the 60’s movement in architecture, with Roger’s background as a sculptor, painter, architect, planner and above all a visionary, this house built in the early seventies even today is as contemporary as contemporary can be.
The path winding around, the water body, the landscaping with its sculptures are subtly orchestrated mutually enhancing the interplay of ideas as it culminates into the grand finale: the abode itself. The roof rainwater is choreographed to run an almost theatrical course through various levels of sculptured volumes to drain into the water pool surrounding the house.
The granite paving from the outside continues as the flooring inside the entrance lobby with ripples of white tile. Here already begin glimpses of Roger’s expressions in art.

The spiral staircase leads to the main house that is entirely on the upper level.The living room of black and white aesthetic opens out from the staircase-well into a barrier-free space nestling a study-alcove at one end.
The design of the serpentine window grill is exceptional, redefining the concept of this security element employing again the innovative use of ferrocement. Its originality gives the room its characteristic panache. Almost all the art objects, paintings and sculpture in the house are Roger's own creations with a few intersperses of Tanjore paintings and south Indian bronzes. The wood and fabric chairs have the essence of George Nakashima.


		ROGER ANGER «The teams working on the Matrimandir have renewed themselves over the years. Succeeding one another, they have devoted their time and courage to the achievement of this task in spite of pressure and resistance. Each in his or her own way and to their own capacity knew how to offer their indispensable contribution to the creation of this unique building: the Matrimandir.» Roger Anger (January 2007) Roger Anger, chief architect of the international township of Auroville and member of the Governing Board of the Auroville Foundation, passed away on January 15, 2008, in France. He was 84. As the person who gave form to the Mother’s vision, Anger conceptualised the master plan of Auroville. Giving up commercial architecture, he dissolved his partnership in France to take up the Auroville project as a full-time work. A sculptor, artist, architect and planner, he designed the Matrimandir, the soul of Auroville. The Auroville project, which began in 1964, was conceived by Mother. She spoke of a place on earth that could not be claimed or owned by any nation, but where people from all over could live freely and in peace. It was largely designed by Mr. Anger, and inaugurated in 1968 when soils from around the world were symbolically put in an urn along with the Auroville Charter. At its spiritual and physical heart is the futuristic spherical structure, Matrimandir, a place dedicated to the Divine Mother. The structure, which has been under construction for over three decades, is a flattened dome spanning 36 metres in diameter, surrounded by gardens, an amphitheatre covered with red Agra stone and meditation rooms. Radiating from the Mandir and its gardens, the city is architecturally conceived along the lines of a galaxy, evolving organically within certain parameters. The original design envisaged accommodation for 50,000 residents but now there are only about 1,500. An amazing combination between sculpture and architecture, the splendid expression of Auroville’s chiefarchitect Roger Anger breaks the mould of the conventional code of ‘four walls and a roof habitation’. A graduate from the classical Beaux Arts in Paris, Roger came to India in 1956. Home to him and his companion Jacqueline, the house has an incredible timelessness about itself. A product of the 60’s movement in architecture, with Roger’s background as a sculptor, painter, architect, planner and above all a visionary, this house built in the early seventies even today is as contemporary as contemporary can be. The path winding around, the water body, the landscaping with its sculptures are subtly orchestrated mutually enhancing the interplay of ideas as it culminates into the grand finale: the abode itself. The roof rainwater is choreographed to run an almost theatrical course through various levels of sculptured volumes to drain into the water pool surrounding the house. The granite paving from the outside continues as the flooring inside the entrance lobby with ripples of white tile. Here already begin glimpses of Roger’s expressions in art. The spiral staircase leads to the main house that is entirely on the upper level.The living room of black and white aesthetic opens out from the staircase-well into a barrier-free space nestling a study-alcove at one end. The design of the serpentine window grill is exceptional, redefining the concept of this security element employing again the innovative use of ferrocement. Its originality gives the room its characteristic panache. Almost all the art objects, paintings and sculpture in the house are Roger's own creations with a few intersperses of Tanjore paintings and south Indian bronzes. The wood and fabric chairs have the essence of George Nakashima.