Graha Maria Annai Velangkanni

Design Philosophy and Indo-Mughal Architectural Style

Visually, Graha Maria Annai Velangkanni strongly adopts the Indo-Mughal architectural style, a style rarely associated with Catholic churches. Its design is inspired by the original pilgrimage site in Velankanni, Tamil Nadu, India, but with significant local adaptations. This architecture is characterized by the use of tiered domes, soaring minarets, and highly detailed ornamentation.

The building consists of two main levels. The ground floor serves as a meeting hall and community space (Graha), while the upper floor is the main sanctuary for worship (Gereja). This structure reflects a concept of spatial hierarchy, where social activities are situated below and spiritual activities are at the apex. The use of contrasting and bold colors on its exterior creates an exotic sense of grandeur, distinguishing it from Medan's urban landscape dominated by minimalist modern or colonial buildings.

Historical Context and the Vision of Father James Bharataputra

The construction of Graha Maria Annai Velangkanni is inseparable from the vision of Father James Bharataputra, S.J., an Indian Jesuit priest who has long served in Indonesia. He acted as the main conceptualizer and the "spiritual architect" behind this project. Without engaging large architectural firms, Father James relied on local contractors and labor to realize his vision.

Its construction took approximately four years (2001-2005) with funds collected entirely from congregational donations, without government funding or major donor support. This adds to the building's historical value as a symbol of self-reliance and community dedication. The design was intentionally made inclusive to honor Mother Mary as "Mother of Healing" (Annai Velangkanni), a devotion very popular among people of Indian descent in Medan, but which has now expanded to various other ethnicities.

Innovative Structure and Unique Elements

One of the most prominent technical aspects is the seven-tiered twin towers, symbolizing the seven levels of heaven in spiritual cosmology. These towers not only function as aesthetic elements but also as visual counterbalances to the wide main structure. At the top of the building, there is a large dome surrounded by smaller domes, creating a silhouette resembling a grand palace or temple in South Asia.

Another uniqueness lies in the organic integration of religious symbolism into the building's structure. For instance, there are 20 stained-glass windows depicting events in the life of Jesus, but their frames follow typical Indian geometric patterns. Additionally, there is an artificial waterfall in front of the building, symbolizing the water of life and purity, providing a natural cooling effect for the surrounding area and creating a tranquil atmosphere through the sound of trickling water.

Cultural Acculturation and Ornamental Details

Graha Maria Annai Velangkanni is a perfect case study of inculturation in architecture. Although its basic style is Indian, there are North Sumatran local touches integrated within it. The use of bright colors like red, gold, and green not only follows the aesthetics of temples in India but also resonates with the vibrant colors in Batak and Malay cultures in Medan.

The interior of the church on the upper floor features a highly detailed altar with a magnificent hand-painted backdrop. There are no static pews as in typical churches; instead, the space is vast and open, allowing congregants to sit on the floor in a spirit of humility, a common practice in Eastern places of worship. The ceiling is adorned with paintings depicting religious reliefs, giving an extraordinary sense of depth to the prayer space.

Social Significance and Visitor Experience

As an iconic building, Graha Maria Annai Velangkanni plays a significant role in promoting tolerance and religious tourism in North Sumatra. The building is open to everyone, regardless of religious background, making it an inclusive public space. For visitors, the experience begins upon passing through the grand main gate, where they are greeted by the sight of a structure that appears to "float" amidst lush greenery.

The presence of this building also provides an economic impact for the surrounding community through tourism. Medan, known as a melting pot of various ethnicities such as Malay, Batak, Chinese, and Indian, finds a physical representation of this diversity through this building. Graha Maria Annai Velangkanni is not just a place to pray but also a center for architectural and cultural education for students and researchers who wish to study how cross-cultural aesthetics can unite in structural harmony.

Architectural Conclusion

Overall, Graha Maria Annai Velangkanni is a beautiful architectural anomaly. It blends the grandeur of Mughal style with Catholic liturgical functions, while remaining grounded in the local Indonesian context. The boldness in choosing materials, colors, and forms makes this building one of the most unique religious architectural achievements in Southeast Asia. This building proves that architecture does not have to be rigid or bound to a single tradition; it can be a bridge connecting various histories, cultures, and beliefs within one timeless structure.