Durgabari started out as a dream. A possibility of the notion that the resident deity of the neighborhood would have a permanent home. A home that would allow intersections and permeations of several sections and derivatives of all communities in the precinct, irrespective of social seggregations if any. The practice was approached with an inquiry on sacred form and its relationships with its users. It was hence imperative for us to study the social narratives present in the context, to allow responses and addressals using built form. We could understand that the notion of worship, spirituality and sacredness could become significant agents of transformations in terms of spatial programming, societal frictions & thresholds. The Project was envisioned by the locals residing near a ground that was home to occasional celebrations of the Durga Puja, but would also see progressive superimposition of permanent, unrelated and weak built structures due to systemic financial corruption which led to structures being built for the sake of being built without purpose, safety, identity and sensibility that towards the end resulted in a rigid threshold in terms of social and physical accessibility. This led to the design utilising the existing columnar layout for its structuring to minimise cost and complications. Further analysis of the context led us to the findings that included a lack of space for a pre-primary Girl’s school which was later taken up as an important and inseparable part of the design. The temple is envisioned as a spatial and porous felicitator in the community. Designed within the tectonic elementalism of pure forms and geometries that focus on encounters, the temple also acts as a classroom for the Local pre-primary school, and as a Sunday school for the local Artisans and art teachers along with it being a temple for communities. The Temple has minimum rigidity in terms of the Public threshold as both a symbolic and physical translation. Multiple form building and space programming exercises were formulated to have a holistic final design. Artisans and masons were asked to imprint their own visions of Durga on the entirety of the built form that could be developed into the mythology and narrative of the temple itself, as a relic of its inception. Children from the school were asked to design their Durga, which later resulted in a collaboration with the local idol-makers in designing the deity for the temple. Resource exchange was also an important element of the design in creating the material fund for the project as minimum monetary exchange was involved. The project aims at becoming a cornerstone in designing symbols and translations for communities that serve societies as a holistic participatory process.