DeCastro Arch Thesis 2012

SACRED MATTERS: A PLACE FOR CONTEMPLATION

GOVINDA DeCASTRO

Part 2Testing the Hypothesis

1. Field Research Julia Morgan’s Chapel of the Chimes, Oakland, CA CONNECTION WITH NATURE MEMORY THRESHOLD LIGHT AND SHADOW SOUND VIBRATION The Baughman Center, Gainesville, FL APPROACH CONNECTION WITH NATURE The Cloisters, NYC, NY APPROACH CONNECTION WITH NATURE 2. Interviews

1

4

5

17

3

Part 1 Developing a List of Characteristics of Sacred Space

SACRED MATTERS

Thesis Statement

2

19

31

27

Part 6DESIGN Drawings Site Plan Floor Plan Cross Section Longitudinal Section Approach Threshold + Memory Color + Light and Shadow Connection With Nature Engagement Of The Senses

Part 5Program

Part 4Site Analysis

Part 3Nine Characteristics of Sacred Space

APPROACH COLOR CONNECTION WITH NATURE ENGAGEMENT OF THE SENSES LIGHT AND SHADOW PROPORTION MEMORY THRESHOLD SOUND VIBRATION

33

THESIS STATEMENT

Thetopicofresearchforthisthesisissacredspace.Thewordsacredhasmanydefinitions,andinthiscaseIamreferringto a space that is reverently dedicated to some person, purpose, or object. The thesis begins with an inward investigation of what a sacredspacemeanstome.Next,thethesisattemptstodefineit.Iseetheabovedefinitionasanadequateone.Idothink,however,that a sacred space is also a place that puts a person into a contemplative state where they begin to think deeply about a subject, i.e. life’s purpose, the meaning of death, possibility of a higher being, etc. Naturally, a thinking human being contemplates whether there is more to life than the seen world, and sacred spaces help to accommodate and enhance such contemplation.

Based upon the culture one is brought up in and their ability to be critically philosophical, one person’s conception of what is sacred may not be sacred to another. What is sacred is indeed the eye of the beholder but even an atheist holds something in his or her heart that they consider special. In any case, sacred spaces help almost anyone to focus their minds with a leasing but undisrup-tive atmosphere and enhance their meditative experience on what they deem important.

Thephysicalmanifestationofarchitecturecanthereforebeusedasatooltofindsomethingindividuallydivinewithinthephenomenal world and ultimately help one to transcend the material world to that place where one’s faith is experienced. One is therefore able to go beyond this physical world while using its attributes. Architecture can help one to do this by dovetailing or utilizing space into a spiritual experience.

The basic research materials that I will use in this thesis are: a physical visit and analysis of various spaces I consider to be sacred, couple with a series of interviews asking people of different faiths, cultures, and professions what makes a space sacred to them.Basedonthebodyofinformationgatheredfromthesetwoprocedures,thegoalistounderstandanddefinewhatmakesupasacred space.

Based on the body of information gathered from these two procedures, I have catalogued nine characteristics that make up a sacred space, namely approach, threshold, proportion, sound vibration, light and shadow, color, memory, connection with nature, and the full engagement of the senses.

With this body of research, the design explores how to create a sacred space in a given context, accentuating the charac-teristics of sacredness already present on the site and introducing new spatial experiences.

ADVISORS Susan Ubbelohde Chris Benton

3

Part 1

This thesis began with an investigation into the broad spectrum of what is sacred space. To answer this, I began to sketch and analyze places I considered sacred, from memory and physical manifestations. These drawings and ideas started to create a serious investigation into local sacred sites. On a parallel track, I began reading about sacredness and collecting images and examples of sacred spaces to increase the body of knowledge on the topic. I then cataloged the information into different categories of sacredness. As I looked deeper, a pattern started to appear pointing to clear characteristics of sacred space that kept emerging in case study after case study. OnreflectinginsacredplacesIhadbeento,IbegangatheringimagesofsuchsitesandwritingdownwhatIthoughtmadethem sacred. In looking into historical precedents, I looked at places that had, to certain degree, proven themselves as sacred places through human experience. Lastly, the investigation into the local sacred spaces was mainly done through drawings, photography and writing.

4

Analys is of Ju l ia Morgan’s Chapel of the Chimes

CONNECTION WITH NATURE

5

Part 2

Courtyard gardens constantly keep the inhabitant connected with na-ture. The more we become aware of natural cycles and systems in the world, the more we become more aware of our own selves.

6

MEMORY

A person’s memory of their childhood in relation to sacred spaces largely correlates to their present no-tion of what makes something sacred. The degree of sacredness of this space is essentially tied to per-sonal memories. 7

THRESHOLD

8

The threshold of a sacred space is important be-cause it separates the outer world from the inner world. In an urban context, a fast-paced, tumultuous, and chaotic atmosphere can be juxtaposed against an inner sacred space.

LIGHT AND SHADOWLIGHT AND SHADOW

Julia Morgan designed the Meditation Chapel as a dark space, where the only light that enters is from the entrance and a small number of colored glass skylights.9

SOUND VIBRATION

The sound of running water permeates the colum-barium’s many spaces by the countless number of water features. Such sound holds the potential to calm the mind.

10

VIEWS

11

ApproachViews

THE BAUGHMAN CENTER, UNIVERSITY OF FLORIDA

Investigation - Approach

VIEWS

The exterior walls of the center are made of Floridian cy-pressstainedtoreflect thenaturalsurroundingandRe-flectiveglasssurrounds themediationpavilion tomirrorthe landscape.

Architecture immersed in its natural surroundings

View to Lake Alice

View to Landscape

Investigation - Connection with Nature 12

GIVEN CONTEXT, NYC

ELEMENTS THAT ABSENT DURING APPROACH - TRAFFIC/PEDESTIAN NOISE - SKYSCRAPER - CONCRETE JUNGLE - SMELL OF GARBAGE - MASS NUMBERS OF PEOPLE

ELEMENTS PRESENT DURING APPROACH - IMMERSION IN NATURE - SMELLS - EARTH - LARGE NUMBER OF TREES/BIRDS - VIEWS TO THE HUBSON RIVER

REMOVAL FROM THE CITY FABRIC

THE CLOISTERS, NYC

APPROACH

PLACES

THE CLOISTERS, NEW YORK CITY, NY

13

Investigation - Approach

Investigation - Connection with Nature 14

Syama Kund A - Music ian

Sean C - Accountant

Q: Does color play a role in sacred archi-tecture? A: “Wel l there is Corbusier ’s chapel at Ron-champ where the thickness of the wal l p lays wi th the color of the l ight and the part icu-lates that are in the air inside of that chapel . There is th is volumetr ic l ight that is colored and l ike I said before, i ts something that is out of the ordinary, serene, but i ts t rue, not l ike a disco bal l going around shoot ing colored l ight . I t ’s a real ist ic affect that can have great potency.”

Q: Would you consider th is space (Chapel of the Chimes) sacred?

A: “This place is very special , because we have loved ones here. We have a special connect ion wi th them, and the memories that we shared here on earth.

Everyone has their sense of what is sacred. I t could be a place in nature, that you share wi th someone, that just puts you in a state of awe. I guess i t makes you feel smal l , l ike you go to a large chathedral and you can look up 200 feet, something l ike that . ”

Q: Would you consider th is space (St. Pat-r icks Chathedral) sacred?

A: “Looks l ike a sacred space, does feel l ike one r ight now because of everyone around but. . .A s ide f rom al l the people I th ink th is is a condusive environment to, you know, prayer.

Q: What do you think i t is that makes i t a condusive environment:

A: Just the environment, the stain-glass windows, the archi tecture, i ts just a serene atmosphere.”

Q: Would you consider th is space (Chapel of the Chimes) sacred?

A: “ I t just feels so peaceful , so. . . l ike i t wi l l a lways be here. I t ’s upl i f t ing, everything is. . . just makes you feel good to be here.

Q: What do you think i t is that makes i t up-l i f t ing?

A:“ I th ink alot of i t has to do with the shapes, the columns, wi th the smal ler top.”

Kel ly C - Painter

Michael B - Archi tecture Student

15

Glani Nasana DD - R.N.

Chris M - Archi tecture Student

Q: I f you were asked to make a sacred place, how would you design i t?

A: “ I t should be real ly s imple because that ’s how you real ly grab people, i f i t ’s immediate, they get i t l ike that ! I t shouldn’ t be complex, i t shouldn’ t be over thought, because some-thing sacred isn’ t over thought, i t immedi-ately grasped, i t ’s a lmost inst inctual . L ike a ta l l space, people get i t , i ts ta l l , whoa, th is is epic…vastness surrealness, that ’s what creates a sacred kind of feel ing.”

Q: What role does of l ight and darkness play in sacred archi tecture?

A: “When you are outside sunl ight is a lways pour ing down on you and at n ight, i ts a lways dark…you have these ul t imate extremes. But when you are inside this church i t ’s a completely di fferent wor ld, l ight dark, the coming together, the knowledge, i t def in i te-ly plays a role and you can take these two and play wi th i t . ”

Q: What role does scale play?

A: “The vastness and largeness of the space is very important. The space should make you feel out-of-body, di fferent mindset ex-per ience, an un-human exper ience that is special . ”

Q: Does color play a role?

A: “Sure. There are a lot of psychological studies done on color. Certain colors t r igger speci f ic feel ings and emot ions in the brain and contr ibute to memory recogni t ion.”

Q: What was your sense of sound and/or s i -lence in the sacred space?

A: “ I don’ t th ink i t necessar i ly has to be si-lent but a harmony…like i f i t ’s a bunch of people going about di fferent th ings, then the opportuni ty for one to have a t ranscendent k ind of exper ience would be more di ff icul t . But i f people are al l coalesce into one thing then that seems to contr ibute to the exper i -ence. I f there are so many di fferent k inds of exper iences going on i t k ind of breaks the harmony of th ing.

Dhira J - Industr ia l Engineer ing Student

Jon K - Archi tecture Student

16

APPROACH The approach to a sacred space can be compared to the crescendo in a musical composition, ultimately leading up to a climacticfinale.Thejourneythereinfactbeginswiththeapproach,theactionofcomingnearertosomeoneorsomethingindistanceor time [i]. Architecturally speaking, the approach is integrally related to the notion of time and space in that it’s, (a) the physical dis-tancebetweenthestartingpointofthejourneyanditsfinaldestinationand(b)thetimeittakestocometothejourney’send.Woveninto the fabric of the approach is anticipation, fear, joy, a sense of accomplishment, the unknown etc., which are all integrated into aspatialsequencewithinatimeframe.Theseemotionsarepresentbecausetheapproachusestimeandspaceasafoundationtoinsert different ideas into the mind of what is to come and what has passed.

Operationallyspeaking,theapproachfunctionsasaspatialsequencewithastartingpoint,thedestinationbeingthesacredspace--puttingapersonintoamindsetofanticipation.Ourexperienceofanarchitecturalspaceisstronglyinfluencedbyhowwear-riveinit.Forexample,asacredspacewillfeelmoresignificantwhenplacedattheendofasequenceoflesserspaces[ii].Spatially,the approach is the space and time that separates the beginning of the journey to its end. The materiality of the approach morphs, shifts and varies within the context and can take on different properties-- from a wooded path where the materials are the tree’s bark that lines the spatial path, or huge stones that line a dark elevator shaft deep into a mountain side.

The approach can also take on a mysterious side when it is coupled with the notion of unexpected surprises. What this means is that the approach is always present even if it is not acknowledged. For instance, a person is walking along, steeped in end-less thoughts that are consuming him or her from within. They then stumble upon a space, where the air is still and the atmosphere is suitable for contemplation. The mysterious sacred space came into their path at exactly the right time when they needed to get away. Nowinthiscase,eventhoughtheapproachisnotinherentlydefined,itisstillthere.Ifthatpersonweretorememberallthestepsthatled them to this sacred place, they would see that each turn taken and every step forward was perfectly choreographed for them to arrive there. This unexpected arrival onto a sacred space can be seen as the mysterious approach.

Ontheotherhand,theapproachcanalsobesomethingverydefinedinitsspatialorganization.Inthiscase,likeasetofrules,theapproachtakesonspecificrequirementsandmovesinorderarriveatthedestination.Thistime,apersonneedstofollowrules like turn at the fourth intersection, go 108 miles north, etc. to successfully arrive to the sacred space. Even though this side of the approach also has an unexpected side to it, its rules of engagement are much more rigid and clear.

Thus both the external and internal journey into a sacred space begins with the approach. The approach not only has an external manifestation, but also can be the beginning of an inward journey into the internal sacred space. Though not manifested in a conventional architectural manner, in this case the material elements of the sacred space is the body. The inward sacred space also is a function of time and space being that the inward journey may take a lifetime for the person to achieve its destination. The Temple of Borobudur in Java best illustrates this inward approach both externally and internally. Here, the approach at the base of the stepped temple represents the lowest plane of existence. As one climbs to the temple’s summit, the representation is the highest level of spiri-tual perfection[iii]. Externally, the approach to the summit not only involves moving vertically up the steps but also horizontally along certainlevels.Forapersonexperiencingthisuniqueapproach,“themanywondersalongthewaymaybeultimatelyassignificantasthe destination itself.” The approach thus links separate places by creating a corridor of sacredness [iv].

[i] http://www.google.com/search?client=safari&rls=en&q=define:+approach&ie=UTF-8&oe=UTF8#hl=en&safe=active&client=safari&rls=en&q=approach&tbs=dfn:1&tbo=u&sa=X&ei=u30sT4qFOraiQLb1cHPCg&ved=0CCwQkQ4&bav=on.2,or.r_gc.r_pw.,cf.osb&fp=20b14eae256dd96d&biw=1863&bih=964.[ii] Frederick, Matthew. 101 Things I Learned in Architecture School. Cambridge: MIT Press, 2007. 10. Print.[iii] Conti, Flavio. Centers of Belief. Boston: HBJ Press, 1977. 133. Print.[iv] Pg 76 Sacred Architecture, C Humphrey

17

Part 3

Taktsang Palphug Monastery, Tibet.

Notre-Dame-du-Haut, France

Mont Saint-Michel, France

Borobudur, Indonesia

http://4.bp.blogspot.com/_LAJXBh3IYU8/TQqd7anPh_I/AAAAAAAABFM/1O9IlqmT_YE/s1600/Mont_Saint-Michel_004.jpghttp://www.brodyaga.com/pages/photos/France/Mont%20Saint%20Michel%20France%201210729749.jpg

http://twotourism.com/wp-content/uploads/2011/03/Borobudur-Temple-The-Historical-Tourism-in-Yogyakarta-Indonesia-Exotic-Tourism-Place.jpg

http://www.flickr.com/photos/9160678@N06/2100340891/

http://3.bp.blogspot.com/__3ZPPKgU5RU/TOaged_cQ0I/AAAAAAAAAJI/v75qxV00rIc/s400/220px-First_glimpse_of_Taktshang.jpghttp://www.himalayantours.com/images/bhutan_tiger_nest_2.jpg

18

COLOR

Notre-Dame-du-Haut, France

Chapel of St. Ignatius, USA Place of Contemplation, Swtzerland

Saint-Pierre, France

Color is by no means the most important element of a sacred space. A person who is color blind, for example, could have a powerful experience in a sacred space and not see a hue of color. But for those whoa re not colorblind, color can accentuate the atmosphereinamemorableway.Admiringarose,apersonwhoiscolorblindwouldmostdefinitelybeamazedbytheflowerspureshape,delicatestructure,anditsinfinitecomplexities.Buttherose’scoloristheicingonthecake.Tomanythisisthemostmemo-rableaspectoftheflowerandwithoutittherosesimplywouldn’tbethesame.Inthesameway,asacredspacecouldstillimpactindividuals even with the absence of color, but by incorporating color, it adds another yet layer of experience to the occupant.

One may ask, how does color work in relation to sacredness? As Humphrey said, “as a vehicle for spiritual expression, stainedglasswindowscombinedpictorialstory-tellingwithasophisticateduseofcolourandlighttoinfluencefeelingsintheviewer.”Colortheoristshaveascribedspecificpsychologicalandperceptualeffectstowarmcolorsthatcontrastthoseofcoolcolors.Warmcolors, often said to be hues from red through yellow (and includes browns and tans), are thought to arouse or stimulate the viewer. Cool colors, often said to be hues from blue green through blue violet (and includes most grays), are said to calm and relax the viewer. Althoughtherearemillionsofothervariablesthatcomeintoplayininfluencingaperson’s“mood,”thisbasicdescriptionofhowdif-ferent colors affect people is another important aspect of creating a sacred space.

In relation to sacred spaces, color theory could provide designers a framework for understanding the possible effects and behavior of particular colors on the occupant. A sacred space in a remote, somber village might use warm colors like reds and yellows to stimulate the inhabitants, triggering an opposite experience from their everyday life. A sacred space in a bustling city might use cooler colors like blues to relax and calm the lives of the fast paced urbanites. In either case, the key element is to create a contrasting experience to the contextual norm for people to immediately understand that the space is not mundane.

In my interview with Mike B, I asked him what role color plays in a sacred space and this was his answer: “Well, there is Corbusier’s chapel at Ronchamp, where the thickness of the wall plays with the color of the light and the particulates that are in the air inside of that chapel. There is this volumetric light that is colored and like I said before, it’s something that is out of the ordinary, serene but true, not like a disco ball going around shooting colored light. It’s a realistic affect that can have great potency.” Similarly, when Plummer describes the Chapel he says, “as we look up, we see changing collages of light – sharp parches of sun, bleary washes of skylight, and intersecting sprays and penumbras. Since the tall wells are painted blue and red, light is pun into a gentle rain of pink or pale blue.” This description does not imply an everyday space. It speaks of an atmospheric condition that transcends everyday architecture.

http://home.manhattan.edu/arts/gallery/galleries/Architecture/ARCH-20c/ARCH-20c-FRANCE-Ronchamp-LeCorbusier-Notre-Dame-du-Haut-1950-54.JPG

http://www.abbeville.com/images-catalog/full-size/0789208806.interior02.jpg

http://resources.metapress.com/pdf-preview.axd?code=v45t6846n168p725&size=largest

http://www.pushpullbar.com/forums/attachment.php?attachmentid=23414&stc=1&d=116505999419

The physical manifestation of architecture comes from organic nature. Materials used for construction like stone or wood all began as part of a complete ecosystem. These materials were then recomposed into a matrix to take on a new life. When a person occupies an architectural space that is connected to the natural world, he or she experiences being part of a logical and harmonious place.

The natural world is a place that is logical and rational as are we human beings who are part of it. When we are connected to the landscape, we can begin to understand the natural orders that govern that place we live in. The more we become aware of natural cycles and systems in this world, the more we become more aware of our own selves and our close connection to these systems. When we become disconnected from the organic natural world, we lose a valuable opportunity for a healthy and harmonious part of life.

Ingeneral,aperson’smindisgenerallycalmerandquieterwhentheyareconnectiontonature,whetherwalking,sitting,etc.Their senses are more acute and in this way they are more attuned with their thoughts and actions. Research has shown that being outside in sunlight actually keeps a person’s state of mind cheerful and happy.

Theharmonizationofanarchitecturalspacewithnaturecanoccurismanydifferentways.PeterZumpthor’sSaintBenedictChapel, for example, is harmonious with nature by its biomorphic leaf shape. Other architects harmonize the space or structure by utilizing local natural materials. The use of local materials shows that the architect has made a conscientious decision to integrate the architecture with the landscape. A great example of this is the Chapel in Sedona, where architect August K. Strotz seamlessly designed a chapel amongst an existing boulder. Nature also has a mystical, underlying logic to its design, and many architects, past and present, have attempted to reproduce this harmonious logic in their built work. Finally, looking at naturally isolated sacred spaces has always been an important starting point for many architects who design sacred spaces.

For the sake of this thesis, the investigation is geared at understanding the connection between people and nature in sacred spaces. How does this connection affect a person’s experience of the space? With the goal of creating a serene, transcendental experience, the sensorial linkage to nature can have a powerful affect on a person state of mind. For example, hearing the sound of running water or having a physical contact with a plant in a choreographed way can trigger in the brain a mindset that is different from the ordinary everyday experience.

Chruch on the Water, Japan

http://www.arizonaforvisitors.com/images/chapel-holy-cross-bsp-430500-400x379.jpg

http://fc05.deviantart.net/fs71/i/2012/010/3/9/church_on_the_water___tadao_ando_by_phongin-terior-d4lwc0k.jpg

http://www.pksb.com/blog/wp-content/uploads/2009/10/gte.01.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2010/12/1292880027-cow5-528x373.jpg

Chapel of the Holy Cross, USA Thorncrown Chapel, USA


20

Our senses are the primary tool we have to gather information from our external environment. We use our eyes to read books,signs,andtextinordertoacquireknowledgeonparticularsubjectsortoperformsimpledailytasks.Ourearsareusedtolistentoindividualsorourenvironment.Wetouchthingstolearnhowtheyfeel,toinquirewhetherthetemperatureofanobjectishotor cold, fuzzy or smooth. The tongue tastes and learns if the food we are eating is sweet, salty, or savory and our smell is used to discoverhowaparticularspeciesofflowersmells.

Inthisway,thefiveprimarysensesworkasinstrumentsforustouseinordertoacquireknowledge.Thisfactappliestoanyonefromamedicalstudenttoapracticingarchitect.Sowithinasacredspace,thetactfulengagementofthefivesensesofanindividual is a simple and effective way to place them into a mindset that is conducive to deeper thoughts or mediation. AttheBhaktiCenterinNewYorkCity,forexample,themainconceptbehindthespaceisthefullengagementofthefivesenses. The center creates an atmosphere where upon entering, people’s senses are immediately engaged and their minds are thus brought to a higher level of thought. Once entering the space, you immediately notice how the walls have a different texture, color, and feel to them. Upon closer investigation, you realize that they are plastered with cow dung, a sacred substance to devotees from India, the birthplace of the Bhakti movement. The smell of burning incense also takes your mind away from the city scene---where most often the smells that prevail are that of garbage, exhaust fumes, and the stench of the underground subway. In contrast, the fragranceofincenseisthatofflowersandexoticspices.Theeyesarealsoengagedinseeingthecentralfocalpieceoftheroom,abeautifully carved wooden altar on which their sacred deities or objects of worship stand. Finally, the ears are also engaged in hearing the sounds of sacred hymns and mantras (a sound repeated to aid concentration in meditation) being chanted. Thefivesenseshaveadirectcorrelationwiththethoughtsofthemindbecausetheysendtheinformationtheygathertoit.Thus, if the senses are controlled and geared to a particular object, the mind follows.

Chapel of the Chimes, USA

http://archdoc.mr926.me/pics2/1220/2011070112203318405.png

Bruder Klaus Chapel, Germany

Bhakti Center, USA

ENGAGEMENT OF THE SENSES

21

Jamia Masjid, India

http://c1038.r38.cf3.rackcdn.com/group1/building2610/media/media_61925.jpg

http://writestitchup.files.wordpress.com/2011/03/chapel-inside.jpg http://picasaweb.google.com/lh/photo/Pf-48WKwfhhwECiNr2HjUAg

http://farm4.staticflickr.com/3138/2555706008_7e087ccfe9_z.jpg

Bruder Klaus Chapel, Germany Notre-Dame-du-Haut, France

Antelope Canyon, USA Jamia Masjid, India

Light and shadow are an essential part of sacred architectural spaces. Depending on the design, light and shadow are used to illuminated things for individuals to see and understand or kept things in the dark just beyond the imagination. Understanding light and shadow as a design tool allows the architect of a sacred space the ability to hide or reveal what he/she chooses the occupant to see.Thisunveilsaquiverofpossibleexperiences,rangingfromdirectingindividualstohaveafocalpointorbewildermentofone’ssurrounding. Light within a sacred space is also integrally connected to memory because a lot of times the most memorable things fromasacredspaceisthequalityofthelightoranenlightenedepiphanyinsideofthespace. Designing an experiential contrast, such as making a person move from a dark space to a brightly lit one can help create a sacred space’s atmosphere. The experiential effect of such a contrast becomes distinction from the everyday atmosphere. This is the goal. Sacred space’s main characteristic is that it is different from everyday spaces, so it is largely dependent on the context. For example, if one were to design a sacred space that would be used during the summer months in Alaska, when days are long, the sacred space may be extremely dark to contrast the prolonged brightness of each day. On the other hand, if the sacred space is for a location that is always dark, the space might be characterized as always being lit and bursting with light. Asmentionedabove,thespatialorganizationdependslargelyonthecontext.Thespatialsequenceofgoingfromdarktolight or light to dark can be either elongated or abrupt, but it must create a strong sense of contrast. The world exists in these ultimate extremes, having a lit day and a dark night. But inside a sacred space, this new world could emerge, where light and dark are battling for competition. In each way, it needs to create a dynamic contrast to affect and impacting the individual’s common mindset. Light is an architectural tool that can have a powerful effect with the proper design. Le Corbusier’s, for example, carved apertures into Notre Dame’s mass, which “turn black under sunshine, only to lighten…as the sun swings past and leaves behind a surface tinged in pale violet.” In this way, the sun’s movement is utilized in the design, lighting up a space for when it is to be used. A space facing east could also be designed for a morning hour of contemplation. Lisa Heschong dedicates one of the four chapters in her book “Thermal Delight in Architecture” solely to discuss the sa-crednessoffire,light,anditsrelationshiptohumans.Shewriteshowindifferent“societiessacrednessisawaytocommunicatetheextreme importance of a symbol to society. When a symbol represents something considered essential to human experience, its preservation is of paramount importance. By deeming it sacred, a symbol becomes inviolable, ensuring its survival through time. The sacredness of the domestic hearth is common to many cultures.” The sacredness of light varies with cultures and individuals, with some worshiping the sun, others associating light with good and darkness with evil, and others who simply see light as a means to see the world. Each case differs based on the cultural level of consciousness. Naturallightandartificiallightbothhaveapowerfuleffectontheatmosphereofasacredspace.Iflightandshadowdeter-minethequalitiesofaspace,whatarethelightqualitiesofasacredspace?AsstatedbyKreuz,“whenuseintherightamountattheright time and in the right place, light can accentuate, direct attention, create an atmosphere of contemplation and composition and composure, foster togetherness in prayer, or underline the solemnity or festiveness of an occasion.”

LIGHT AND SHADOW …Light is the key to well-being… Le Corbusier

22

Jamia Masjid, India

Stegers, Rudolf. Sacred Buildings. Germany: Die Deutsche Nationalbibliothek, 2008. 8. Print.

http://www.volkerbanken.de/galerien/Landscape/Antelope-Canyon-USA.jpg

Firminy Le Corbusier en heritage. France: I’Universite de Saint-Etienne, 2008. 203. Print.

http://www.flickr.com/photos/seier/3151335610/

Bruder Klaus Chapel, GermanyAntelope Canyon, USA


Historically, proportions have always played a role in sacred architecture. From the Greek temple complex at Delphi to the Dogon of Mali, a building’s proportions were always in relation to the human scale. In the 1st century BC, the theorist Vitruvius ex-pounded on this, exploring architectural geometries based on the human body[i]. In my opinion, the proportions of a contemporary sacred space should not be proportionate to the human body. As Chris M. describes, “the surreal, the vastness of the space, the length as well as the width, are sacred because they’re so beyond the human scale. I think that this is an important characteristic for the term sacred, beyond the individual, about this unreachable space or being, something beyond the person. The [sacred] space should make you feel out-of-body, a different mindset experience, an un-human experience that is special [ii].” As stated by Norberg-schulz, “this is the reason why center and embodied explanation mostly coincide, and why the vertical is considered the sacred dimension of space. It represents a ‘path’ towards a reality that may be ‘higher’ or ‘lower’ than daily life, a realitythatconquersthegravityoftheearth,orsuccumbstoit[iii].” The proportions we experience during our everyday lives can be seen as normal or regular. They may be designed in such awaytobeefficient,manageable,andtohumanproportions.AsMikeB.describes,“extremitieslikeextremehorizontalsorextremeverticals, or compression and expansion, those are the kind of things that make an experience more memorable, they make it more removed from the everyday. During the everyday, the proportions of our spaces are regular. They may be one to two times our height, probably between 10 to 80 feet wide. Once you start to get outside these boundaries, even a space that is 2-3 feet by 20 feet, that is a space I will remember being inside of because I never experienced a space like that. [iv]” Sacred spaces that occur in nature have these extreme proportions like Antelope Canyon in Arizona, having walls rise 120 feet above a 6-foot wide streambed, or Angel Falls in Venezuela, whose height is 3,212 feet. These un-human proportions are bewildering, unreal even because they are so distant from spaces we traditionally experience. In recent times, the Spanish sculptor Eduardo Chillida proposed a project of similar un-human proportions in the island of Fuerteventura. In his project, he designed a tunnel approximately 80 meters long leading up to a 50 meter long cavern inside Mount Tindaya.Theprojectrequirestheremovalof64,000cubicmetersofrockandthemainideaisforvisitorsanexperiencetheimmensityofthespace.Chillidaalsointendedtoshedbothdirectanddiffuselightintotherust-browncavern,intensifiedbyitsemptinessandsilence[v]. By coming into such spaces, whose proportions are un-human, the visitor has a chance to enter a mindset of transcendence. This brings up a paradox because a person is experiencing a space and possibly transcending the mundane plane using the material world as the catalyst for such a change of mindset. When well executed, these extreme proportions are so pure that there is little that can impact their sacredness. [i] Pg 37 Humphrey[ii] Interview with Chris M.[iii] Pg 28 The Concept of Dwelling[iv] Interview with Mike B.[v] Pg 33 Rudolf Stegers

SCALE

23

Mount Tindaya, Fuerteventura

http://www.flickr.com/photos/losdalpes/5596838480/in/photostream/

A person’s memory of their childhood experiences in relation to sacred spaces largely correlates to their present notion of what makes something sacred. Based on their upbringing, they develop different concepts of what is sacred and what isn’t, and their memory thus becomes fundamental for future experiences of sacred spaces.

When a person experiences a new space whose characteristics are similar to a memorable sacred space they were once in, they begin to recollect feelings and emotions of the previous sacred space they were in and they begin to associate the new spatial experience as sacred. In this way, memory, sacredness, and architecture all link together.

Memory not only pertains to an individual but also brings up the notion of communal memories. Individuals receive sacred memories from their communities rather than directly experiencing the events recalled, and these memories shape not only the indi-vidual but also as the members of the communities they are a part of (Volf 62).

Memory was a central part of past cultures that didn’t have a developed system of writing. In ancient Greece, for example, Mnemosyne was a goddess who was worshiped and considered the mother of Muses (Mann 155). Aside from paintings and sculp-tors, the primary way one would gain information and knowledge was by word of mouth. Having heard information told through a play or a story, the only way to store it was in one’s memory. This memory was then graphically associated with a piece of architecture or sculpture that could be remembered to reintroduce that memory. Sacred architecture then becomes a site or framework for sacred memories. As such, it helps people transpose memories of past experiences into new contemporary ones, keeping sacred memories alive.

MEMORY

Investigation of Scale

Vietnam Veterans Memorial, USA


24

The threshold of a sacred space is important because it separates the outer world from the inner space. In an urban context, a fast-paced, tumultuous, and chaotic atmosphere can characterize the outer world. Juxtaposed against this is the inner sacred space whosecharacteristicsisapeaceful,calm,andquiteenvironment.Theimportanceofthethresholdliesinthatitmustmediatebetweenthese two contrasting spaces. Thresholds can vary in its design but its role remains the same; to place a person into a mindset that they are transitioning from a fast paced atmosphere into one that is calm and conducive for contemplative.

Thequalitiesofathresholdmayvaryfromasimpleseriesofdoorwaystoalong,complexanddimlylitcorridor.Theproces-sion between the outer and inner space can also vary in the length of time needed to go from its beginning to its end. In either case, the threshold’s design and length should have an affect that changes a person’s mindset from one state to another.

Athresholdintoasacredspacealsovariesaccordingtocontext.Forexample,inaquite,peacefulvillageinthefoothilloftheSwissAlps,asacredspacemaycontrastitscontextandbefilledwithnoise.Thethresholdthenisatransitionalspacefromonethatisquiettoonefullofnoise.Inachaoticcity,asacredspaceisaplacethatiscalmandfreeofnoise.Thethresholdthenbecomesanother type of transition that moves from noise to silence. In other places, the threshold separates private from public, human from the wild, or pure from the unclean. The marking off of an enclosed space thus becomes important because it creates a distinction between the outer and inner world.

THRESHOLD

Jamia Masjid, India

http://farm4.static.flickr.com/3265/3122721913_09271e2f7c_o.jpg

http://www.volkerbanken.de/galerien/Landscape/Antelope-Canyon-USA.jpg

Firminy Le Corbusier en heritage. France: I’Universite de Saint-Etienne, 2008. 203. Print.

http://www.flickr.com/photos/hanspe-cans/2424234676/

http://magictravels.blogspot.com/2011/10/rajast-han-rolling-4haldighati.html

http://www.flickr.com/photos/iqbalaalam/2652314046/in/photostream/

Bruder Klaus Chapel, Germany Antelope Canyon, USA

Govindaji Temple, IndiaChapel of the Chimes, USARanakpur Temple, India Notre-Dame-du-Haut, France


25

The sound vibrations emitted in a space have a profound effect on the atmosphere. Words spoken by an individual could havealastingaffectaperson’sentirelifepositivelyornegatively.Thesoundsthatareemittedinaspaceconsequentlycreateapar-ticular atmosphere that is conducive to particular activities. In the end, the sounds that reverberate inside a space indeed impart the place’s sacredness or otherwise. A sacred space is affected by sound vibrations in two ways: (1) it is affected by the type of sounds that are being emitted, asmentionedabove,and(2)thesynchronicityofitsemission.Forexample,iflargequantitiesofpeopleweregoingaboutdifferentthings,thentheopportunitytoforonetohaveatranscendenttypeofexperiencewouldbemoredifficult.Butifpeopleallcoalesceintoonethingthenthatintensifiestheexperience..Iftherearetoomanydifferentkindsofexperiencesgoingonitkindofbreakstheharmony of thing. [i] Completesilencecanalsobeveryspiritual.Byremovingallthesoundofaspace,amysteriousqualitycouldemerge,onethat differentiates from normative human interactions. Most sounds we hear throughout the day in some way are connected or a re-sult of human beings. Thus, by removing all of the sounds from a space, one can transcend the human plane. As Malcolm mentions, “something that is very loud, very public and urban is the opposite, it’s very human, so as far as you can get away from that the better.” So, reaching sacredness can be done by both ways, by having complete silence or introducing sounds that are in synchronism with a sense of purpose.

[i] Interview with Mike B.

SOUND VIBRATION “Areturntothesilencewithinoneselftofindthesecredthatisineverybeing,thegreatvoid, unlimited, which our notion of sacredness does or does not live.” Le Corbusier


Water Temple, Japan Nuns at Prayer, Myanmar

http-//www.novonucleo.com.br/blog/externos/post/01112011202840.jpg

http://travel.nationalgeographic.com/travel/traveler-magazine/photo-contest/en-tries/67957/view/

26

SITE: UC BERKELEY, CALIFORNIA

The site chosen for the design of the sacred, contemplation space is the UC Berkeley campus in California. Located at the center of the campus, the site was cho-sentogivethecampusasacredspace,wherestudentscouldinquire,reflectandre-treat. Student life at a top-level university like Berkeley can be very stressful and de-manding physically and emotionally. Providing a non-sectarian sacred space to the UC Berkeley campus fabric would be a great addition.

The site is located off to the side of the main circulation path inside the Berke-ley campus, whose master plan was designed by John Galen Howard. During the day, the path is lined with tables put up by different groups. The famous Sather Gate is also located on Sather Road, which is a continuation of Telegraph Avenue. Pedestrians mainly enter the campus from there that seamlessly transitions from Telegraph Avenue.

Strawberry Creek and a steep riverbank to the north, Barrow Lane to the south, and open space to the east and west bind the site. A small 23-car parking lot and an administrative building is located in the south west corner. This corner is the most visible to the public from the main circulation path. To the south, Barrow Lane dead-ends at its entrance. The adjacent buildings to the site are the Graduate Assembly Hall to the east and to southwest Capital Projects housing the campus planning staff. The site is also characterized by the natural surroundings that include a group of large red-wood trees towering to the west and Strawberry Creek cupping the site to the north.

APPROACH SEQUENCE

1

2

3427

Part 4

1

2

3

4

N

28

BICYCLE CIRCULATION

GREEN SPACE

SITE

Based on the site’s contextual condition, 6 of the nine elements described above will be used to remove the students from their everyday routines and place them into a sacred space. The chosen elements are threshold, color, light and shadow, connection with nature, sound vibration, and memory.

THRESHOLD The threshold will serve as a transitional space that removes the students from their day-to-day living routine and places them into a sacred space.

COLOR Colors incorporated into to the sacred space will be integrally connected to light, indicating the days progression through visual means. For instance, during morning time the space may be one color, at noon another, and in the evening yet another, con-necting those within the space with the day’s natural cycle.

LIGHT AND SHADOW Little light will enter the threshold, placing the individual in a polar opposite from the daylight outside the sacred space. As one exits the threshold, he or she enters the main space and again meets the sunlight.

6 OF 9 ELEMENTS OF SACRED SPACE

29

A P L A C E F O R C O N T E M P L A T I O N

CONNECTION WITH NATURE Strawberry Creek running along the site’s edge will give the student a visual and audible connection throughout. Inside the space the will also be a tree on a different level than the main space.

SOUND VIBRATION Forthemajorityofthetimetheonlysoundthatwillenterthespaceisthatofflowingwaterinthecreek.Humanvoiceswillbe kept to a minimum, creating silence to contrast the bustling Sproul Plaza.

MEMORY Lastly, the design of the sacred space will incorporate cabinets of curiosity. The contemplation center will not only function asaplaceforstudentstoreflect,contemplateandponder.Inquiriescanbemadetothecabinetofcuriositywheredifferentsymbolsand artifacts will be placed to trigger certain sacred memories within the individual.

30

PROGRAM

The Contemplation Center at UC will be part of the campus community and will serve as a place where students, facultyandthegeneralpublicmaycomeandreflectonsacredmatters. The center will be open to the public and will be used for meditation, musical performances, weddings, and memorial services. The center will be open to private contemplation dur-ing weekdays and public events like weddings and memorial services during the weekend.

The setting for the contemplation center is ideal to ser-vice the act of retreating from day-to-day life. The site is in the heart of the campus along the edge of Strawberry Creek and is surrounded by a lush landscape of large California live oaks, coastalredwoodsandDouglas-firs.Thecenter’sdesignwillpre-serve much of the natural landscape and manage to not disturb the natural ecosystem it sits in.

http://upload.wikimedia.org/wikipedia/en/8/8b/Strawberry_Creek_near_Dwinelle_Hall.jpg

SITE + PROGRAM

WhenJohnZonawaschosentodesigntheUniver-sity of Florida’s meditation chapel, he completely immersed himself into the site to grasp its atmosphere. “I want to camp in the area for 10 days to see the sun rise and set, to feel the col-orsandthetextureoftheart,”Zonasaid.“Andfromthere,Iwilldraw my concept.” In this way, the program will similarly use many of the contextual elements from the site to help create a sacred space. With Strawberry Creek running to the north of the site, there will be a focal point that will engage all of the oc-cupant’s senses. Seeing the creek, hearing the running water, smelling the earth’s fragrance, and touching the cool water will all help create a complete immerse-environment.

Strawberry Creek is a major landscape feature of the University of California, Berkeley, and was one of the pri-mary reasons the site was chosen in 1860 as the location for the campus. More than 3,000 university students, and many elementary and high school students from surrounding com-munities use Strawberry Creek each year as a resource for education and research.

TOTAL PROGRAM : 3,400 SQFT

Central Spaces- Contemplation Room- Entry / Reception-StaffOffice- Gardens- Restrooms

The thesis through its entirety explores sacred spac-es. Through an analysis of sacred spaces around the world, the design of the Contemplation Center aims to create such a space that could be considered sacred. The space is a retreat for students, faculty and the public alike that will serve as a space that fosters meditation and contemplation.

31

Part 5

Building Exterior Program:

- Outdoor contemplative gardenTheContemplationCenterhastwomeditationgardens,oneatitsentranceandoneitsend.Thefirstgardenthatwillpreserveandintegratetheexistingtreesonthesitewiththeoverallapproachsequence.ThesecondarygardenwillmovealongStrawberryCreekending at the small amphitheater by Sather Gate.

- RestroomsThe Restroom design will also aim to provide a peaceful and serene environment. Programmatically, the restrooms are comprised of individual space that is connected to the natural surrounding but provides privacy.

-StaffOfficeThe Contemplation Center will be open during the school hours and a small staff will supervise the facility. The staff will monitor and regulate the activities within the sacred space and make sure the public space is a safe environment for the occupants.

http://www.bonexpose.com/2011/06/asia-expose-3/zen-meditation-garden/

32

0’ 8’ 24’ 56’

SITE PLAN SCALE 1/32” = 1’0”

33

Part 6

0’ 8’ 24’ 56’

34

0’ 8’ 24’ 56’

FLOOR PLAN - SCALE 1/16” = 1 ’0”

35

0’ 8’ 24’ 56’

36

37

APPROACH

40

Uponenteringthefirstspace,onesees that the walls are inscribed with an-cient text. The texts are in many languages, ranging from Egyptian Hieroglyphics that praising Ra, sun god, to Tibetan prayers written in a mood of oneness or soleness. In Sanskrit, the prayers are about love, and in English, the text quotes theOld Testa-ment. Finally, Hebrew and Arabic poems immerge as the wall continuous on.

The purpose of the text, care-fully carved into the stone, is to trigger in the mind deep memories of sacred space. At that moment, the existential cognition switches into a new state transcending the material paradigms.

When a person experiences a new space whose characteristics are simi-lar to a memorable sacred space they were once in, they begin to recollect feelings and emotions of the previous sacred space they were in and they begin to associate the new spatial experience as sacred. In this way, memory, sacredness, and architecture all link together.

THRESHOLD & MEMORY

41

In sacred spaces, the context plays a large role in the equationofhow to tran-scend the material realm.

As mentioned earlier, the spatial or-ganization depends largely on the context. Thespatial sequenceof going fromdark tolight or light to dark can be either elongated or abrupt, but it must create a strong sense of contrast. The world exists in these ultimate extremes, having a lit day and a dark night. But inside a sacred space, this new world could emerge, where light and dark are bat-tling for competition. In each way, it needs to create a dynamic contrast to affect and im-pacting the individual’s common mindset.

COLOR, LIGHT & SHADOW

43


44

The connection with the natural surrounding lanscape is an important focal point of the project. Most of the contemplation spaces have a visual, audial, tactile and olfactory connection to the creek, theflora,andfauna.

The natural world is a place that is logical and rational as are we human beings who are part of it. When we are connected to the landscape, we can begin to understand the natural orders that govern that place we live in. The more we become aware of natural cycles and systems in this world, the more we become more aware of our own selves and our close connection to these systems.

47

ENGAGEMENT OF THE SENSES

48

Asoneentersthelastspace,theirbodyisfloatingoverthecreek, and its senses fully engaged, immersed in one object, nature.

8’ 24’0’49

CROSS SECTION

8’ 24’0’50

8’ 24’ 56’0’

51

LONGITUDINAL SECTION

8’ 24’ 56’0’

52

DeCastro Arch Thesis 2012

Documents

Transcript of DeCastro Arch Thesis 2012