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A major controversy has erupted online over the architectural design of a new ISKCON temple currently under construction, with critics claiming it bears a closer resemblance to Islamic or Christian places of worship than traditional Hindu temples. While the International Society for Krishna Consciousness (ISKCON) has envisioned the structure as a globally resonant spiritual hub, social media is abuzz with debate around whether the temple upholds the visual and symbolic integrity of Sanatan Dharma.
Notably, the Temple of the Vedic Planetarium in Mayapur, West Bengal, is set to become the world’s largest temple, surpassing iconic landmarks like the Taj Mahal in Agra and St. Peter’s Basilica in the Vatican in scale.
At the heart of the debate is a viral image comparing the temple’s official 3D render with a recent photograph of its partially completed form. The image has sparked widespread commentary and criticism, with many netizens questioning the choice of domes over shikharas, the use of green hues in the dome’s exterior, and the absence of saffron or other traditionally Hindu design elements.
Largest Religious Monument in the World, the Temple of Vedic Planetarium in West Bengal by ISKCON. pic.twitter.com/f1pJ29qNw7
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“Who can say it’s a temple?” one user wrote. “Looking like a mosque! Use of green colour in the dome, domes instead of shikharas, and no saffron or any Sanatan colour. Stupid third-class architecture—at least for a temple! Otherwise, it’s fine.”
The Temple of Vedic Planetarium in West Bengal’s Mayapur will be the WORLD’S LARGEST TEMPLE, bigger than Taj Mahal in Agra or St Paul’s Cathedral in the Vatican. pic.twitter.com/4lo4AAISFI
— Gems (@gemsofbabus_) May 1, 2025
Another echoed the sentiment: “Looks like a cathedral/church from the outside and a mosque from the inside.” A third added bluntly: “This definitely doesn’t look like a temple. And don’t try to teach me what a temple looks like.”
The temple’s design, which prominently features wide domes, arched gateways, and a muted, stone-like color palette, has prompted some to draw parallels with Mughal architecture and Islamic places of worship. Others have likened the building to a European church, with netizens remarking on the perceived lack of Hindu iconography and symbolism.
Interiors. pic.twitter.com/bsDsZZgxWG
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“This is beautiful,” one user wrote, “but not at all looking like a temple.”
The criticism, however, is not merely about aesthetics. At the core of the outrage is a deeper concern about cultural representation. For many Hindus, temple architecture is more than ornamental—it is sacred, symbolic, and steeped in centuries of spiritual philosophy and tradition. Elements such as towering shikharas, kalashas, garbhagriha orientation, and the vibrant use of saffron and red are not just design preferences; they represent the very essence of Hindu identity.
Critics argue that deviating from these elements risks alienating the temple from its roots. “Not getting temple vibes from here. Looks like a mosque or a church,” a user commented, highlighting a growing sentiment that the temple may lose cultural authenticity in its bid for modern global appeal.
ISKCON, for its part, has not officially responded to the backlash. In previous statements about its architectural choices, the organization has stressed the need to build structures that are inclusive, internationally appealing, and capable of drawing a diverse global audience into the fold of Krishna consciousness. Many of its temples worldwide already reflect a hybrid architectural language, blending regional influences with modern construction techniques.
Still, the growing discontent reflects a larger cultural anxiety in India’s ongoing dialogue between tradition and modernity. With architecture acting as both symbol and statement, questions about what a temple should look like are rapidly morphing into questions about what it means to preserve religious identity in a changing world.
As the structure nears completion, ISKCON may have to reckon not just with finishing touches to its design, but with the public’s deeply divided reaction to what that design represents.
