Sacred Matters: A Place for Contemplation by Govinda DeCastro

SACRED MATTERS: A PLACE FOR CONTEMPLATION

GOVINDA DeCASTRO

SACRED MATTERS 3

Thesis Statement

Part 1 Developing a List of Characteristics of Sacred Space

Part 2 Testing the Hypothesis 1. Field Research Julia Morganâ&#x20AC;&#x2122;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

Part 3 Nine Characteristics of Sacred Space APPROACH COLOR CONNECTION WITH NATURE ENGAGEMENT OF THE SENSES LIGHT AND SHADOW PROPORTION MEMORY THRESHOLD SOUND VIBRATION Part 4 Site Analysis

Part 5 Program

27 31 33

Part 6 DESIGN Drawings Site Plan Floor Plan Cross Section Longitudinal Section Approach Threshold + Memory Color + Light and Shadow Connection With Nature Engagement Of The Senses 2

THESIS STATEMENT The topic of research for this thesis is sacred space. The word sacred has many definitions, and in this case I am referring to a space that is reverently dedicated to some person, purpose, or object. The thesis begins with an inward investigation of what a sacred space means to me. Next, the thesis attempts to define it. I see the above definition as an adequate one. I do think, 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. lifeâ&#x20AC;&#x2122;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 personâ&#x20AC;&#x2122;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 undisruptive atmosphere and enhance their meditative experience on what they deem important. The physical manifestation of architecture can therefore be used as a tool to find something individually divine within the phenomenal world and ultimately help one to transcend the material world to that place where oneâ&#x20AC;&#x2122;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. Based on the body of information gathered from these two procedures, the goal is to understand and define what makes up a sacred 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 characteristics of sacredness already present on the site and introducing new spatial experiences.

ADVISORS

Susan Ubbelohde Chris Benton

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. On reflecting in sacred places I had been to, I began gathering images of such sites and writing down what I thought made them 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.

Part 2 A n a l y s i s o f J u l i a M o r g a n â&#x20AC;&#x2122;s C h a p e l o f t h e C h i m e s

CONNECTION WITH NATURE

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

MEMORY

A personâ&#x20AC;&#x2122;s memory of their childhood in relation to sacred spaces largely correlates to their present notion of what makes something sacred. The degree of sacredness of this space is essentially tied to personal memories.

THRESHOLD

The threshold of a sacred space is important because 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. 8

LIGHT 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.

SOUND VIBRATION

The sound of running water permeates the columbariumâ&#x20AC;&#x2122;s many spaces by the countless number of water features. Such sound holds the potential to calm the mind.

THE BAUGHMAN CENTER, UNIVERSITY OF FLORIDA

Approach Views

Investigation - Approach

The exterior walls of the center are made of Floridian cypress stained to reflect the natural surrounding and Reflective glass surrounds the mediation pavilion to mirror the landscape.

View to Lake Alice

View to Landscape

VIEWS Architecture immersed in its natural surroundings

Investigation - Connection with Nature

THE CLOISTERS, NEW YORK CITY, NY

REMOVAL FROM THE CITY FABRIC THE CLOISTERS, NYC APPROACH PLACES

Investigation - Approach

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

Investigation - Connection with Nature

M ich a e l B - A r ch i tectu re S tu d e n t Q: D oes c olor play a ro l e i n s a c re d a rc h itectu re ? A: “Well t her e is Co rb u s i e r ’s c h a p e l a t R o n ch amp wher e t he t h i c k n e s s o f th e w a l l p l a y s wi th the c olor of t h e l i g h t a n d th e p a rti c u l a tes t hat ar e in t he a i r i n s i d e o f th a t c h a p e l . There is t his v olume tri c l i g h t th a t i s c o l o re d and l i k e I s aid befo re , i ts s o m e th i n g th a t i s o ut of t he or dina ry, s e re n e , b u t i ts tru e , not l i k e a dis c o bal l g o i n g a ro u n d s h o o ti n g co l o re d light . I t ’s a re a l i s ti c a ffe c t th a t c a n have gr eat pot enc y.”

Sya m a K u n d A - Mu si ci a n

Q: Would y ou c ons i d e r th i s s p a c e (St. Pa tri cks C hat hedr al) s a c re d ? A: “L ook s lik e a s ac re d s p a c e , d o e s fe e l l i k e one ri ght now bec a u s e o f e v e ry o n e a ro u n d but...A s ide f r om al l th e p e o p l e I th i n k th i s i s a c ondus iv e env i ro n m e n t to , y o u k n o w, pra ye r. Q: Wh at do y ou t h i n k i t i s th a t ma k e s i t a co ndus iv e env ir onm e n t: A: Ju s t t he env ir o n m e n t, th e s ta i n -g l a s s wi n dows , t he ar c hite c tu re , i ts j u s t a s e re n e atmo s pher e. ”

Se a n C - A c c o u n ta n t Q: Would y ou c ons i d e r th i s s p a c e (C h a p e l of the Chim es ) s ac r e d ? A: “Th is plac e is v e ry s p e c i a l , b e c a u s e w e have lov ed ones h e re . We h a v e a s p e c i a l co nnec t ion wit h t h e m, a n d th e m e m o ri e s that we s har ed her e o n e a rth . Everyone has t heir s e n s e o f w h a t i s s a c re d . It could be a plac e i n n a tu re , th a t y o u s h a re wi th s om eone, t hat j u s t p u ts y o u i n a s ta te of a we. I gues s it ma k e s y o u fe e l s m a l l , l i k e yo u go t o a lar ge c h a th e d ra l a n d y o u c a n l o ok u p 200 f eet , s o m e th i n g l i k e th a t.”

Ke lly C - P a i n ter Q: Would y ou c ons i d e r th i s s p a c e (C h a p e l of the Chim es ) s ac r e d ? A: “It jus t f eels s o p e a c e fu l , s o ...l i k e i t w i l l al w ays be her e. It’s u p l i fti n g , e v e ry th i n g i s... j u s t m ak es y ou fe e l g o o d to b e h e re . Q: What do y ou t hin k i t i s th a t ma k e s i t u p l i fti n g? A:“I think alot of it h a s to d o w i th th e s h a p e s , the co lum ns , wit h t h e s ma l l e r to p .” 15

Dhir a J - Industr ial Engineer i ng Student Q: W hat rol e does of l i ght and darkness play i n sacred archi tecture? A : “W hen you are outsi de sunl i ght is always pouri ng dow n on you and at ni ght, it s always dark…you have these ul ti mate ext r em es. B ut w hen you are i nsi de thi s chur ch it ’s a compl etel y di fferent w orl d, l i ght dar k, t he comi ng together, the know l edge, it def init e l y pl ays a rol e and you can take t hese t wo and pl ay w i th i t.”

Jon K - Ar chitectur e Student Q: W hat w as your sense of sound and/ or si l ence i n the sacred space? A : “I don’ t thi nk i t necessari l y has t o be si l ent but a harmony…l i ke i f i t’s a bunch of peopl e goi ng about di fferent thi ngs, t hen t he opportuni ty for one to have a tran scendent ki nd of experi ence w oul d be more diff icult . B ut i f peopl e are al l coal esce i nto one t hing then that seems to contri bute to th e exper ience. If there are so many di fferent kinds of experi ences goi ng on i t ki nd of br eaks t he harmony of thi ng.

Glani Nasana DD - R.N. Q: W hat rol e does scal e pl ay? A : “The vastness and l argeness of t he space i s very i mportant. The space sho uld m ake you feel out-of-body, di fferent mindset ex peri ence, an un-human experi ence t hat is speci al .” Q: D oes col or pl ay a rol e? A : “S ure. There are a l ot of psyc hological studi es done on col or. C ertai n col or s t r igger speci fi c feel i ngs and emoti ons i n t he br ain and contri bute to memory recogni tion. ”

Chr is M - Ar chitectur e Student Q: If you w ere asked to make a sacr ed pl ace, how w oul d you desi gn i t? A : “It shoul d be real l y si mpl e beca use t hat ’s how you real l y grab peopl e, i f i t’s i mm ediat e, they get i t l i ke that! It shoul dn’ t be com plex, i t shoul dn’ t be over thought, because som e thi ng sacred i sn’ t over thought, it im m edi atel y grasped, i t’s al most i nsti nctual. Like a tal l space, peopl e get i t, i ts tal l , whoa, t his i s epi c…vastness surreal ness, th at ’s what creates a sacred ki nd of feel i ng.” 16

Part 3 APPROACH The approach to a sacred space can be compared to the crescendo in a musical composition, ultimately leading up to a climactic finale. The journey there in fact begins with the approach, the action of coming nearer to someone or something in distance or time [i]. Architecturally speaking, the approach is integrally related to the notion of time and space in that it’s, (a) the physical distance between the starting point of the journey and its final destination and (b) the time it takes to come to the journey’s end. Woven into the fabric of the approach is anticipation, fear, joy, a sense of accomplishment, the unknown etc., which are all integrated into a spatial sequence within a timeframe. These emotions are present because the approach uses time and space as a foundation to insert different ideas into the mind of what is to come and what has passed. Operationally speaking, the approach functions as a spatial sequence with a starting point, the destination being the sacred space--putting a person into a mindset of anticipation. Our experience of an architectural space is strongly influenced by how we arrive in it. For example, a sacred space will feel more significant when placed at the end of a sequence of lesser spaces[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 endless 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. Now in this case, even though the approach is not inherently defined, it is still there. If that person were to remember all the steps that led 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. On the other hand, the approach can also be something very defined in its spatial organization. In this case, like a set of rules, the approach takes on specific requirements and moves in order arrive at the destination. This time, a person needs to follow rules 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 spiritual perfection[iii]. Externally, the approach to the summit not only involves moving vertically up the steps but also horizontally along certain levels. For a person experiencing this unique approach, “the many wonders along the way may be ultimately as significant as the 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

Mont Saint-Michel, France

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Taktsang Palphug Monastery, Tibet.

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Borobudur, Indonesia

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Notre-Dame-du-Haut, France

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COLOR 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 atmosphere in a memorable way. Admiring a rose, a person who is colorblind would most definitely be amazed by the flowers pure shape, delicate structure, and its infinite complexities. But the rose’s color is the icing on the cake. To many this is the most memorable aspect of the flower and without it the rose simply wouldn’t be the same. In the same way, a sacred space could still impact individuals 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, stained glass windows combined pictorial story-telling with a sophisticated use of colour and light to influence feelings in the viewer.” Color theorists have ascribed specific psychological and perceptual effects to warm colors that contrast those of cool colors. Warm colors, 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. Although there are millions of other variables that come into play in influencing a person’s “mood,” this basic description of how different 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.

Chapel of St. Ignatius, USA

Place of Contemplation, Swtzerland

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Notre-Dame-du-Haut, France

Saint-Pierre, France

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CONNECTION WITH NATURE 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. In general, a person’s mind is generally calmer and quieter when they are connection to nature, whether walking, 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. The harmonization of an architectural space with nature can occur is many different ways. Peter Zumpthor’s Saint Benedict Chapel, 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.

Chapel of the Holy Cross, USA

Thorncrown Chapel, USA

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Chruch on the Water, Japan

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ENGAGEMENT OF THE SENSES Our senses are the primary tool we have to gather information from our external environment. We use our eyes to read books, signs, and text in order to acquire knowledge on particular subjects or to perform simple daily tasks. Our ears are used to listen to individuals or our environment. We touch things to learn how they feel, to inquire whether the temperature of an object is hot or 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 discover how a particular species of flower smells. In this way, the five primary senses work as instruments for us to use in order to acquire knowledge. This fact applies to anyone from a medical student to a practicing architect. So within a sacred space, the tactful engagement of the five senses of an individual is a simple and effective way to place them into a mindset that is conducive to deeper thoughts or mediation. At the Bhakti Center in New York City, for example, the main concept behind the space is the full engagement of the five senses. The center creates an atmosphere where upon entering, peopleâ&#x20AC;&#x2122;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 fragrance of incense is that of flowers and exotic spices. The eyes are also engaged in seeing the central focal piece of the room, a beautifully 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. The five senses have a direct correlation with the thoughts of the mind because they send the information they gather to it. Thus, if the senses are controlled and geared to a particular object, the mind follows.

Bhakti Center, USA

Bruder Klaus Chapel, Germany

Chapel of the Chimes, USA

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LIGHT AND SHADOW

…Light is the key to well-being… Le Corbusier

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. This unveils a quiver of possible experiences, ranging from directing individuals to have a focal point or bewilderment of one’s surrounding. Light within a sacred space is also integrally connected to memory because a lot of times the most memorable things from a sacred space is the quality of the light or an enlightened epiphany inside of the space. 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. As mentioned above, the spatial organization depends largely on the context. The spatial sequence of going from dark to light 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 sacredness of fire, light, and its relationship to humans. She writes how in different “societies sacredness is a way to communicate the extreme 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. Natural light and artificial light both have a powerful effect on the atmosphere of a sacred space. If light and shadow determine the qualities of a space, what are the light qualities of a sacred space? As stated by Kreuz, “when use in the right amount at the right 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.” Bruder Klaus Chapel, Germany

Notre-Dame-du-Haut, France

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Antelope Canyon, USA Jamia Masjid, India

Jamia Masjid, India

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SCALE 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 expounded 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 reality that conquers the gravity of the earth, or succumbs to it [iii].” The proportions we experience during our everyday lives can be seen as normal or regular. They may be designed in such a way to be efficient, manageable, and to human proportions. As Mike B. describes, “extremities like extreme horizontals or extreme verticals, 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. The project requires the removal of 64,000 cubic meters of rock and the main idea is for visitors an experience the immensity of the space. Chillida also intended to shed both direct and diffuse light into the rust-brown cavern, intensified by its emptiness and silence[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

Antelope Canyon, USA

Bruder Klaus Chapel, Germany

Mount Tindaya, Fuerteventura

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

Saint-Pierre, France Jamia Masjid, India

Stegers, Rudolf. Sacred Buildings. Germany: Die Deutsche Nationalbibliothek, 2008. 8. Print. Firminy Le Corbusier en heritage. France: I’Universite de Saint-Etienne, 2008. 203. Print.

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Investigation of Scale MEMORY 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 individual 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 sculptors, 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.

Chapel of the Chimes, USA

Vietnam Veterans Memorial, USA

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THRESHOLD 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 whose characteristics is a peaceful, calm, and quite environment. The importance of the threshold lies in that it must mediate between these 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. The qualities of a threshold may vary from a simple series of doorways to a long, complex and dimly lit corridor. The procession 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. A threshold into a sacred space also varies according to context. For example, in a quite, peaceful village in the foothill of the Swiss Alps, a sacred space may contrast its context and be filled with noise. The threshold then is a transitional space from one that is quiet to one full of noise. In a chaotic city, a sacred space is a place that is calm and free of noise. The threshold then becomes another 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. Ranakpur Temple, India

Notre-Dame-duHaut, France

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Bruder Klaus Chapel, Germany

Chapel of the Chimes, USA

Govindaji Temple, India

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Antelope Canyon, USA

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Saint-Pierre, France Jamia Masjid, India

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

SOUND VIBRATION

“A return to the silence within oneself to find the secred that is in every being, the great void, unlimited, which our notion of sacredness does or does not live.” Le Corbusier

The sound vibrations emitted in a space have a profound effect on the atmosphere. Words spoken by an individual could have a lasting affect a person’s entire life positively or negatively. The sounds that are emitted in a space consequently create a particular 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, as mentioned above, and (2) the synchronicity of its emission. For example, if large quantities of people were going about different things, then the opportunity to for one to have a transcendent type of experience would be more difficult. But if people all coalesce into one thing then that intensifies the experience. . If there are too many different kinds of experiences going on it kind of breaks the harmony of thing. [i] Complete silence can also be very spiritual. By removing all the sound of a space, a mysterious quality could emerge, one that differentiates from normative human interactions. Most sounds we hear throughout the day in some way are connected or a result 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. Water Temple, Japan

Nuns at Prayer, Myanmar

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

[i] Interview with Mike B.

Chapel of the Chimes, USA

Part 4 SI T E: U C B E R K E L E Y, C A LIF O R N IA 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 chosen to give the campus a sacred space, where students could inquire, reflect and retreat. Student life at a top-level university like Berkeley can be very stressful and demanding physically and emotionally. Providing a non-sectarian sacred space to the UC Berkeley campus fabric would be a great addition.

APPROACH SEQUENCE

The site is located off to the side of the main circulation path inside the Berkeley 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 deadends 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 redwood trees towering to the west and Strawberry Creek cupping the site to the north. 1

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GREEN SPACE

BICYCLE CIRCULATION

SITE

A P L A C E F O R C O N T E M P L AT I O N 6 OF 9 ELEMENTS OF SACRED SPACE

Based on the siteâ&#x20AC;&#x2122;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, connecting those within the space with the dayâ&#x20AC;&#x2122;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.

CONNECTION WITH NATURE

Strawberry Creek running along the siteâ&#x20AC;&#x2122;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

For the majority of the time the only sound that will enter the space is that of flowing water in the creek. Human voices will be 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 as a place for students to reflect, contemplate and ponder. Inquiries can be made to the cabinet of curiosity where different symbols and artifacts will be placed to trigger certain sacred memories within the individual.

Part 5 PROGRAM

SITE + PROGRAM

The Contemplation Center at UC will be part of the campus community and will serve as a place where students, faculty and the general public may come and reflect on sacred matters. 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 during weekdays and public events like weddings and memorial services during the weekend.

When John Zona was chosen to design the University 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 colors and the texture of the art,” Zona said. “And from there, I will draw 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 occupant’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.

The setting for the contemplation center is ideal to service 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, coastal redwoods and Douglas-firs. The center’s design will preserve much of the natural landscape and manage to not disturb the natural ecosystem it sits in.

Strawberry Creek is a major landscape feature of the University of California, Berkeley, and was one of the primary 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 communities use Strawberry Creek each year as a resource for education and research.

TOTAL PROGRAM : 3,400 SQFT Central Spaces - Contemplation Room - Entry / Reception - Staff Office - Gardens - Restrooms The thesis through its entirety explores sacred spaces. 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.

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

Building Exterior Program: - Outdoor contemplative garden The Contemplation Center has two meditation gardens, one at its entrance and one its end. The first garden that will preserve and integrate the existing trees on the site with the overall approach sequence. The secondary garden will move along Strawberry Creek ending at the small amphitheater by Sather Gate. - Restrooms The 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. - Staff Office The 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.

Part 6 S I T E P L A N S C A L E 1 / 3 2 ” = 1’0”

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FLOOR PLAN - SCALE 1/16” = 1’0”

APPROACH

T H R E S H O L D & M E M O RY Upon entering the first space, one sees that the walls are inscribed with ancient 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 the Old Testament. Finally, Hebrew and Arabic poems immerge as the wall continuous on. The purpose of the text, carefully 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 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. 40

COLOR, LIGHT & SHADOW

In sacred spaces, the context plays a large role in the equation of how to transcend the material realm. As mentioned earlier, the spatial organization depends largely on the context. The spatial sequence of going from dark to light 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 individualâ&#x20AC;&#x2122;s common mindset. 41

C O N N E C T I O N W I T H N AT U R E

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, the flora, and fauna. 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. 44

ENGAGEMENT OF THE SENSES

As one enters the last space, their body is floating over the creek, and its senses fully engaged, immersed in one object, nature.

CROSS SECTION

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LONGITUDINAL SECTION

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