BA Architecture Year 3: Dissertation: Exploring the Healing Potential of Japanese Zen Aesthetics

EXPLORING THE HEALING POTENTIAL OF JAPANESE ZEN AESTHETICS

JENNIFER WEBER

UNIVERSITY OF GREENWICH

BA (HONS) ARCHITECTURE

YEAR 3 DISSERTATION

TUTOR: DR. CAROLINE RABOURDIN

WORD COUNT: 7344

14.01.2022

To be presented to the Department of Architecture and Landscape at the University of Greenwich as part of the BA (Hons) Architecture course.

Except where stated otherwise, this dissertation is based entirely on the author‘s own work.

ABSTRACT

Bringing together the subjects of Healing Architecture and Japanese Design, this Dissertation examines the application of Zen philosophy within architectural spaces. Deriving from Zen, five acknowledged design principles, Kanso, Fukinsei, Shizen, Yugen and Ma/Hashi will be explored and analysed in relation to physical and psychological wellbeing. Located on Awaji Island in Japan, the Honpukuji Water Temple by Tadao Ando will be investigated in consideration of each principle, providing a further visual understanding of its notion.

The gathered research leads to the conclusion that the incorporation of Japanese Zen principles indeed results in a variety of health-enhancing factors, with a significant impact on mental conditions like anxiety, depression, and post-traumatic stress disorder. Moreover, its effectiveness has additionally been proven to positively contribute to physical health factors, such as blood-pressure and cognitive capability. However, certain principles yet require further scientific research to confirm their healing potential.

MOTIVATION

INTRODUCTION

Having first handedly experienced Japanese culture for two educational semesters, created a spark of interest, that has been growing bigger ever since.

At that time, I had not yet been aware of either the philosophy of Zen, nor Japanese Aesthetics. But by becoming part of the Japanese´s everyday life, I had to adapt myself quickly. Although the sudden exposure towards minimalism, has been challenging at first, it was the calming sense of emotional awareness I felt, when standing in those spaces, which caught on to my attention.

Both my personal belongings and environmental factors have decreased immensely, yet I did not sense their lack. It was the opposite: After just a few weeks I have noted a significant increase in concentration, creativity, productivity and optimism.

Apart from living in another country, my daily life has not changed much. And although school days were longer, they were perceived as faster and more effective, waking up at four thirty in the morning

has become surprisingly easy, due to qualitative rest and at that point, a significant question kept reappearing in my mind:

Is less really more?

Due to my existing interest in Architecture and Design, I could not resist, but pick up the shifted pattern of my environment. Even though, my attention was directed on the minimalistic nature of surrounding spaces, it occurs that Japanese architecture incorporates far more than just simplicity. What exactly are those other principles and what can we generally learn from Japanese Design?

Over the past three academic years, my research interests have been deriving from Healing Architecture and Japanese Design, with this paper blending both fields together.

RELEVANCY OF THE RESEARCH

Productivity culture is currently experiencing its peak. Through external influences, whether its bestselling displays at the bookstore or self-development experts on digital platforms, we are constantly encouraged to live a perfectly organized and productive life.

Whilst this mindset may work for a range of people, we must recognize that in parallel, burn-out levels among other stress related illness are on a persistent rise.

(Mayer, 2021)

Slowing down our lives, and cherishing what our surrounding environment has to offer might be of higher efficiency after all. Instead of living a perfectly organized life, we can find comfort in a perfectly imperfect one.

Study‘s reveal that the average person in the United Kingdom spends 90% of their time indoors. (Opinium, 2018) Which is why our interiors become as significant influence towards our behavior and health.

This is where spaces of mindfulness unravel their importance, generating the question of how architecture and spatial design can cultivate mindfulness and contribute to wellbeing.

Given the title’s indication, the objective of this Dissertation will be the exploration of Japanese Zen Aesthetics in relation to their healing impact on human wellbeing.

By firstly discussing the philosophy of Zen and its applicability in design, this establishes a base-understanding towards the concept of Wabi-Sabi. To attain an understanding of Zen, Gavin Blair’s „Zen in Japanese Culture“ and Roher Davies‘ „The Japanese Mind“ have provided a theoretical sense of the subject.

The concept of Wabi-Sabi has been investigated with the works of author Beth Kempton and moreover given an introduction towards the methods which are to be discussed.

Dr. Yoko Kawai is a contemporary Japanese Architect and specializes in the creation of wellbeing spaces by utilizing Japanese Zen Aesthetic principles. In this field, where there is an obvious lack in qualitative research, her works have served a high value for this dissertation.

METHODOLOGY

The application of Zen in Design will be introduced with the mind-body-space connection and the blurred self-space boundary. These concepts allow Zen to be felt throughout a spatial experience and they can be achieved through the sophisticated application of Zen design principles.

The fundamental source for identifying those principles has been the historic written work „Zen and the Fine Arts“ by philosopher Shin‘Ichi Hisamatsu. Three of his recognized principles, Kanso, Fukinsei and Shizen, will be analyzed in the following paper, in addition to two other important principles known as Yugen and Ma/Hashi, which have been thoroughly explored by Kawai.

Each chapter dedicated to a Zen Aesthetic Principle, is divided into three parts building upon each other:

Firstly, defining the meaning and aim of the principle, secondly, a discovery of its effect on health, supported by scientific research, with an extensive use of data from medical journals and databases.

Furthermore, an architectural precedent, Tadao Ando´s Honpukuji Water Temple will be analyzed in relation to each Zen principle, providing a further visual understanding on each theory.

Lastly, the conclusion will provide an overview of the collected research and further discuss whether those principles are a sufficient tool for the creation of healing spaces. It will give an insight on whether those principles perhaps have been translated into contemporary architectural theories in the western hemisphere and whether there are cultural design similarities to be identified.

As an additional note, all five examined Design principles have been considered in the making of the physical copy of this dissertation:

Kanso (simplicity) and Fukinsei (asymmetry) have been applied in the overall layout and page design;

The integration of Shizen (nature and naturalness) has been attempted through inserts of a natural textured source of paper;

Yugen (mysteriousness), through slightly fading quotations and poems;

And Ma (emptiness), a concept which will be explored at the end of this paper. It is a principle which sets focus on slowing down and along with the appreciation of emptiness. It has been incorporated through placement of empty space within the following pages. The reader is encouraged to acknowledge Ma, pause and slow down.

zen; profound meditation

THE PHILOSOPHY OF ZEN

To efficiently explore the topic of Japanese Zen Aesthetics and investigate its influence on human wellbeing, it is essential to foremost understand the cultural approach towards a healthy way of life. The Japanese culture, indeed, is a very unique one and its refined essence can rarely even be described by the Japanese themselves.

“Japanese cultural standards and definitions of beauty have been nurtured over many generations. Starting in the Heian era, Japan revitalized its focus on the natural world, embracing its unpredictable fluctuations and adopting a sensitivity to and appreciation for nature.” (Prusinski, 2013)

Although culture is a constantly shifting and evolving concept which is complex to define, the Japanese´s attitude is certainly given intercontinental appreciation in their disciplined, peaceful, and cherishing nature. Fundamental traits of this identity derive from an integral and historic component of the Japanese culture: The philosophy of Zen, which defines as “a state of calm attentiveness in which one‘s actions are guided by intuition”. (Merriam-Webster, 2022)

Despite Zen descending from Buddhism, and over two thirds of Japan´s population being Buddhist, the principles and teachings of Zen transcend religious concepts and can be found deep in the roots of the Japanese´s being, subtly shaping multiple aspects of an individual’s life.

The essence of the ancient philosophy, which originally emerged in India, has been brought to China until finally, during the twelfth century, it was introduced to Japan. There it has grown into a fundamental way of living and till the present day it is delicately applied to almost every aspect of the Japanese culture. Undoubtedly, traces of Zen can be identified in the traditional cuisine, an individual´s mindset and etiquette, traditional artistry, along with the objective of this paper, Design and Architecture. (Blair, 2019)

During a number of her talks, Dr. Yoko Kawai compares the indistinction of the self-space boundary to the feeling of flowing under water. This is when the body, mind and space merge together and become one. As a result, the perceiver is exposed to profound mindfulness.

ZEN IN JAPANESE AESTHETICS

Although unravelling a philosophy into physical space perhaps be considered a difficulty, the translation of Zen onto design occurs to be a valuable example. With Zen´s adaptation in multiple cultural aspects, the rise of Zen Aesthetics has progressed and evolved into an integral part of Japanese design theory.

Zen philosophy promotes a state of mindfulness, moreover the word mindfulness defines further into “maintaining a moment-by-moment awareness of our thoughts, feelings, bodily sensations, and surrounding environment, through a gentle, nurturing lens”. (Greater Good, 2022)

In Zen Buddhism the belief is acknowledged as a “condition of space and self being separated but connected at the same time”. (Kawai, 2018) Dr. Yoko Kawai, who is a Japanese Architect, and lecturer at the Yale School of Architecture, specifies in the utilization of Japanese design concepts into spaces of wellbeing. During a series of documented lectures, she clarified that when a person is mindful, the boundary between the self and space blurs, and in order to accurately comprehend the implementation of Zen in Japanese Design, we must firstly understand the fundamental correlation between the mind, the body, and space

Mind, body, and space continuously work as transmitters and receivers between

one another. As a person enters a physical space, their brain, besides forming a visual perception, unconsciously receives external influences such as smell, sound, and touch. These environmental factors have an immediate impact on the mind, along with an indirect influence on the body, for the reason that the mind is an elemental component of the body. In such a manner, the body naturally becomes an integral part of the physical environment too.

Kawai concludes that “we do not always need to close our eyes and shut out the rest of the world to be mindful. Awareness of the environment is also essential. When we are mindful, the boundaries between space and the body begin to blur, simultaneously separating and connecting. Dissolving the self/space boundary is a key component of traditional Japanese architecture.” (Kawai, 2019)

Japanese spatial concepts explore this relationship between the self-space boundary with the intend to form the indistinction between. When blurring of the self-space boundary is achieved through Zen design principles, it leads to the formation of mindful spaces, which have the potential to positively impact human wellbeing. (Kawai, 2018)

Fig. 1

WABI-SABI: ELEGANT SIMPLICITY

After forming the basis for this paper by outlining the philosophy of Zen and its applicability in Design, this allows to further delve into the topic of Japanese Aesthetics and explore Wabi-Sabi, a concept descending from Zen Buddhism, which understanding is established by definition of the first character Wabi, which means “loneliness or melancholy”, and Sabi, which translates into “patina or elegant simplicity”. (Basarir, 2020)

When assembled back together, they embody the complex meaning of „an intuitive appreciation of ephemeral beauty in the physical world that reflects the irreversible flow of life in the spiritual world” as precisely formulated by author Andrew Juniper. In a simpler manner, author Richard Powell defined Wabi-Sabi as “a way of life that appreciates and accepts complexity while at the same time values simplicity”.

In Japanese Aesthetics, it is remarkably recognized that Wabi-Sabi transcends philosophical boundaries, and its nuance naturally translates into physicality, through a delicate and appropriate implementation of Zen Aesthetic principles, which this paper will uncover in the following. (Kempton, 2018)

“By defining beauty through these aesthetics, Japan has generated an awareness of the beauty of nature not typically found in other societies, especially in sprawling urban settings.”

(Prusinski, 2013)

With the passing of years, a number of historians have studied and uncovered multiple principles of Zen philosophy. For instance, in his written work “Zen and the Fine Arts” (1971) highly renowned Zen philosopher Shin´Ichi Hisamatsu identified the seven principles Kanso (simplicity), Fukinsei (asymmetry), Koko (austere sublimity), Shizen (naturalness), Daisuzoku (freedom from habits), Sei-jaku (tranquillity), and Yugen (profound grace). In addition, a contemporary talk by Dr. Yoko Kawai for the Japan Society in New York, further highlighted the principles of Ma/Hashi and Utsuroi/Michi-Yuki in relation to spatial Design.

Although the number of aesthetic principles is indefinable, this paper will examine upon a selection of five theories, Kanso, Fukinsei, Shizen, Yugen and Ma/ Hashi due to their potential of being applicable onto design concepts, aiming to curate healing spaces of Wabi-Sabi.

loneliness; melancholy patina; antique look

KANSO: SIMPLICITY

Kanso, identifies as the Japanese principle of simplicity. Also known as “minimalism” in modern architectural theories, its focal point is set on the importance of decluttering a space to the very extent that only what is truthfully significant to the perceiver obtains the value to become part of the environment.

The principle of Kanso does not alone apply to the placement, or non-placement, of elements, such as furnishing and décor, but certainly evolves at the core of both interior and exterior spatial concepts. Avoiding colour-diversity, minimalizing materiality, and simplifying navigation layouts become essential to the formation of mindful space. The way of Kanso welcomes a mindset towards design which does not rely on visual appeal,

but rather it emphasizes on bringing clarity to spaces along with a positive recognition of deliberately chosen elements which underline their importance onto the perceiver.

The traditional Japanese tea-room displays a good example to grasp the concept of Kanso, as it visualizes its principles of simplicity in all given forms: the colourpalette is kept on a similar tone-level, the minimal presence of furniture and the consistent use of a limited material selection. In most cases, a traditional teapot clarifies the purpose of the space by naturally catching one´s attention.

Fig. 2

The traditional Japanese tea room follows Zen Aesthetic principles, including the simplistic rules of Kanso

Kanso, the art of simplicity is practiced not only in design but identifies in most aspects of the Buddhist way of living, along with the five other Zen principles which will be discussed in this dissertation. Simplifying one´s lifestyle, and minimalizing the human desires is one of the ancient rules that establishes the base towards the objective of Buddhism: releasing the attachment to desire and the self.

Inspecting the effect of both a minimalistic lifestyle and environment scientifically in relation to human health and wellbeing, studies confirm that the reduction of items in a person´s environment naturally promotes a state of mindfulness and increased awareness and appreciation towards the remaining elements.

“Our ability to find beauty in less and emptiness is our resilience to find happiness in any circumstances, even when they are not favourable.” (Hara, 2017)

The influential aphorism “less is more”, achieved its recognition by cause of acclaimed architect Ludwig Mies van der Rohe. Its truthfulness has been supported by various research inspecting human behaviour and neural response in relation to simplified surrounding.

A study conducted by the American Psychological Association explains that the proposal of limited options contributed effectively towards its perception. This study concluded that being offered too many choices, resulted in the consideration of none at all. (Iyengar and Lepper, 2000) Another study by the Princeton Neuroscience Institute found that cluttered spaces create disruptions in the human visual cortex leading to consequences such as concentration difficulties, (McMains and Kastner, 2011) whereas organization and simplicity bring peace to the physical environment and “spark joy”, according to Marie Kondo, a renowned Japanese decluttering specialist. With her bestselling Book “The Life-Changing Magic of Tidying Up” (2014) she aims to support people around the world to improve their health and well-being by simplifying their lifestyle and surroundings with the principles of Kanso.

slow down, pause, cherish the emptiness.

Examining the Water Temple in relation to the principle of Kanso, its presence becomes obvious though multiple of the structures given forms. Tadao Ando´s works are prominent for a predominant use of the material concrete and at Honpukuji, he once again successfully implemented the material.

Looking at the architectural layout, it is kept on a minimalistic basis too. Approaching the temple from outside, it yet appears quite plain and confusing.

„We have planned the access to the new temple particularly carefully.“

(Tadao Ando)

A visitor climbs the steps to a hill that take him past the old temple precinct and a Buddhist cemetery. Following a sloping pathway of white gravel, he reaches nothing but a large wall with a rectangular opening, resembling the main entrance.

Behind this supposed entrance to the temple, a second wall awaits, but this time curved. Carrying on the journey via a reinforced concrete path, there is yet no architectural element, standing out in the structure. The materials simplistic nature does not distract the visitor. Instead, when enclosed by greyish borders and lightly tilting the head, there is a sudden appreciation towards the sky and trees,

EXAMINING THE WATER TEMPLE IN RELATION TO KANSO

peaking forth into the architecture, until lastly, the centrepiece of the temple, a lotus pond, is reached. Walking along the edge, finally one finds a staircase that cuts through the pond´s water surface and elegantly takes them below the ground.

Although this architectural piece entirely reflects the simplistic essence, the implication behind each carefully chosen element is rich in symbolic resemblances.

“I think architecture becomes interesting when it has a double character, that is, when it is as simple as possible but, at the same time as complex as possible.”

(Tadao Ando)

Examining the structure, it becomes clear that it conflicts with the being of traditional temples. Altough Tadao Ando did not include any direct visual references when composing the design of the water temple, he borrowed particular patterns and symbols, and converted those to his personal elegance. The simplistic design of the temple and its bare concrete faces aim to represent the modest life of Buddhist monks, underlining their freedom from desires. Honpukuji´s placement, settled in the ground, along with its surrounding landscape, becomes a symbolic of the Buddhist belief to retreat into solitude. (Bense, 2003)

Fig.

Photographic impressions of the Water Temple´s main elements.

FUKINSEI

Fukinsei defines as the art of asymmetry in Japanese Zen aesthetics. It describes the absence of perfection, and its understanding can be applied to physical elements as well as in a philosophical meaning, the Japanese way of Life.

This principle implies that there are numerous objects in our environment which are uneven, and though some shapes have geometrically balanced proportions, they may be crooked and show traces of usage in certain parts. Fukinsei´s purpose is to represent and clarify the true non-perfect nature of things, and by its application in art and design, it ties the element to reality, which our mind, as a matter of course, perceives with higher authenticity. (Hisamatsu, 1971)

Integral aspects falling into our perception may lack perfection and symmetry, but yet balance can be found in everything. An example of this approach towards asymmetry can be found in Kintsugi, an art technique of Wabi-Sabi, which purpose is to elegantly characterize crooked pottery by mending shattered pieces with liquidated gold. (Fig. 9) This technique symbolizes the enhancement of beauty in an object, or idea, through imperfection, rather underlining its truthful antiquity.

“The aesthetics of imperfection elevates this fall from the graceful perfection to an even higher aesthetic plane by celebrating vicissitude and perishability.”

(Saito, 1997)

On another instance, Fukinsei can also be depicted in Ikebana, a traditional flower arrangemend techinique, (Fig. 8) or the Enso, a sacred calligraphic symbol of Zen-Buddhism. (Fig. 7) With its uneven and free-hand form it represents the ever-changing and organic nature of life, equivalent to the ideology of Fukinsei (Lomas, Etcoff, Van Gordon and Shonin, 2017)

asymmetry

fu - kin - sei

Fig. 7

Japanese Enso

“Are we to look at cherry blossoms only in full bloom, the moon only when it is cloudless?

To long for the moon while looking on the rain, to lower the blinds and be unaware of the passing of the spring-these are even more deeply moving.

Branches about to blossom or gardens strewn with faded flowers are worthier of our admiration.”

(Yoshida, 1967)

FUKINSEI AND WELLBEING

In its philosophical meaning, the influence of Fukinsei on wellbeing may best be described as the acceptance of imperfection.

Undertaking the translation of Fukinsei into a design language, the perception of a space which is not based on perfection, serves as a visual reminder of the true nature of life, that things do not have to be perfect in order to be considered beautiful. Uneven, unfinished or even broken elements results in a visual imperfection and establishes a stronger sense of comfort for the inhabitant. The result may be the acceptance towards one´s environment as it is, without the obsessive search for perfection.

In fact, studies on this subject have revealed that perfectionist traits result in a higher vulnerability towards mental illnesses such as depression, with noted interpersonal disparity and social desperation. (Smith et al., 2018)

Whilst perfectionism has been seen as a ambitious characteristic for a long period of time, various recent scientific studies confirm otherwise and inform about the hidden danger that derives from it.

Perfectionism does not only interfere with chronic pain treatments, (Kempke et al., 2013) but has also been depicted a contributing factor towards eating disorders, like anorexia and obesity. (Halmi et al., 2000) Further studies, found that perfectionists are more likely to practice self-harm or commit suicide. (Pia et al., 2020)

The application of the Fukinsei-principle in spatial design, aims to curate spaces of balance, and accordingly establish a sense of balance in the perceiver. Asymmetric design implements visual interest to space, generates room for imagination and engages with the creative mind:

Mastroeni explains this phenomenon with the function of the human brain to process information. While it is easy for the mind to identify similarities and repetitive patterns, spatial asymmetry contributes to a further engagement with the environment and takes longer for the brain to understand. This procedure results in the space to be perceived as more interesting. (Mastroeni, 2020)

Fig. 8, 9

Traditional Japanese Ikebana and Kintsugi

EXAMINING THE WATER TEMPLE IN RELATION TO FUKINSEI

Continuing the examination of the Water Temple, it will be analysed in relation to the principle of Fukinsei. For this, Honpukuji will be looked at firstly from plan and section view, until its details will be discussed.

Although the Water Temple is constructed of some geometrical forms, such as circles and squares, most figures intersect with each other and develop new formations, creating a deliberate lack of symmetry in the plan layout.

When analysing Honpukuji in cosideration of Fukinsei´s idea of non-perfection, the structures decay serves an interesting example. Especially the external concrete surfaces suffer from severe natural influences, like rain, resulting in irregular patterns of moist, dirt and cracks. These imperfections remind the visitor of the passing of time.

Rather than an evenly distributed flooring, Tadao Ando has made use of white pebbles and placed them all over the temple´s external pathway. With every visitor´s step, these pebbles transform in their overall arrangement, they are everchanging.

The pond´s water surface perhaps be interpreted as another irregularity. The lotus´growing from within the water, don´t follow a specific order, but rather go with the natural flow, resulting in patches of uneven greenery.

Fig. 10, 11

Plan and Section of the Honpukuji Water Temple

slow down, pause, cherish the emptiness.

Interpreting imperfection through material decay and irregular surfaces.

Fig. 12, 13

SHIZEN

The third aesthetic principle explored in this paper is known as Shizen. It carries the meanings of “nature”, “natural” and “spontaneous” (Nihongo Master, 2022) which each individually can be interpreted as their own design principle.

The first of the three meanings , “nature”, is understood as the literal application of natural elements onto spatial design. By incorporating nature into interior environments, in a non-artificial way, spaces automatically take up the essence of Shizen-principles.

For instance, when integrating stone and wooden elements, these welcome a notion of Shizen to evolve in the space, as these elements are in fact extracted from nature and naturally carry the authenticity of Shizen. (Hisamatsu, 1971)

The other significant meaning of Shizen, “natural”, defines as “not made or caused by humankind” (Oxford Learners Dictionaries, 2022)

This understanding intertwines with the third translation, “spontaneous”. As Shin´Ichi Hisamatsu depicts it:

“true naturalness is the - no mind - or - no intent - that emerges from the negation both of naive or accidental naturalness and ordinary intention.” (Hisamatsu, 1971)

This concludes that the core of natural and spontaneous being, lays in a non-artificial approach towards design, but rather an environment formed so carefully, making it seem like it has not been formed by human hand at all.

SHIZEN AND WELLBEING

As Shizen´s implication of „naturalness“ is comparable to Fukinsei´s understanding of non-perfection, which effect on wellbeing has been previously explored, this paragraph targets Shizen´s meaning of “nature”.

According to an article on biophilic design, the exposure to a natural environment supports the improvement of emotional restoration. A reported decrease of stress levels certainly reduced muscle tension, anxiety, anger, fatigue, and encouraged the sense of clarity and orientation. (Garcia, n.d.)

Oliver Heath Design, specializes in that very field of biophilic spaces and health design. Based in Brighton, their studio involves architects, interior designers, psychologists and researchers. Their foundings further explain that by integrating nature into workplace environments, an increase of 8% in productivity and 13% in wellbeing has been measured. Biophilic elements in educational spaces increased learning by up to 25% and lead to an improvement of student´s examination results. Moreover, healthcare facilities have noted a shortage of 8.5% in patient´s recovery times with a 22% reduction in medication treatments when exposed to natural surroundings. (Heath, n.d.)

On another instance, Japanese researchers have studied how the ratio of wooden elements in the environment influenced human health and scientifically demonstrated the significant decrease of blood pressure and pulse rate in spaces with 45% wooden coverage, and a reduction of brain activity in spaces with a 90% ratio. (Tsunetsugu, Miyazaki and Sato, 2007) This documented relaxation of the mind, may be compared to a meditative state along with blurred self-space boundary.

The given research demonstrates that incorporating Shizen, as in nature and natural elements into spatial concepts, significantly diminishes negative emotions, enhances productiviy and creativity, improves blood pressure and heart rates, leads to better quality of sleep, and generally improves the healing journey.

Japanese traditional Architecture incorporates Shizen through the extensive use of natural materials such as wood, and sets gardens and landscapes into the foreground.

Fig. 14

EXAMINING THE WATER TEMPLE IN RELATION TO SHIZEN

Examining Honpukuji in relation to Shizen, presumably the most distinct element of interest becomes the lotus-covered water surface. Tadao Ando used the lotus flower and its meaning within Buddhism as a central reflection of his temple architecture. The lotus is considered the most distinct of all flowers and symbolises perfect purity.

“When you look at Japanese traditional architecture, you have to look at Japanese culture and its relationship with nature. You can actually live in a harmonious, close contact with nature - this very unique to Japan.”

(Tadao Ando)

The pond stands out from the rest of the structure, as previously mentioned during the exploration of Kanso. It elegantly sits in the Landscape of the Japanese Island, Awaji, (Figure 16) with an astonishing view becoming part of the structure. Due to the simplistic nature of the structure, it generates a higher recognition towards natural elements surrounding the temple.

The interior of the temple reveals the use of a natural wooden flooring, which can be found in the long corridors, when approaching the shrine. Before stepping onto those wooden elements, each visitor must take of their shoes and carry on the journey with their bare foot. In relation to Shizen, this results in a higher conciousness towards the natural material with each step through the building.

Apart from that it can be noted that the interior of the temple has a valuable amount of natural light, entering the space, which is an additional incorporation of nature within the architecture. Its importance will be further explored in the following chapter of Yugen

Fig. 15, 16

Buddhist monks emerging into the Temple and Honpukuji´s placement onto the Landscape of Awaji Island.

mysterious profundity; quiet beauty

YUGEN: THE ART OF THE UNKNOWN

Yugen is the Japanese concept of appreciation towards mystery. In addition to its extensive application in architecture, it can be also discovered in the culture´s historic and contemporary art. It is said that by creating mysteriousness, a perceivers mind is challenged into further imagination of the frame which is currently viewed. Being encouraged to figure out a certain space in the mind and establishing it in imagination, results in much “richer and deeper imagined landscapes” than the actual reality would uncover, (Kawai, 2018) because “they stimulate our imagination to either anticipate or to reminisce. A view of something half-obscured in such a manner is much more alluring than when it is fully exposed.” (Saito, 1997)

This principle of composing mysteriousness in spatial design has been scientifically proven to positively stimulate health and wellbeing in the inhabitant of the space.

One instance of achieving this effect of the unknown, is through the play with lighting, and more specifically the experimentation with different degrees of light and shadow.

“Japanese architecture and gardens use ranges of light and shadow at once. A space is rarely entirely bright or dark. Instead, visitors can see the interactions between degrees of light.”

(Kawai and Kurimoto, 2019)

Another technique to this design principle is the concept of partly hiding and concealing an architecture, rather than presenting it to the fullest extent. An example for this is to cover selected parts of a building through elements of nature, like trees or have spaces hidden by a variety in levels, like underground structures.

These spaces can then be “uncovered” one after another throughout the journey of the building. (Kawai, 2018)

yu - gen

In this chapter the question arises: How does mysteriousness impact wellbeing? Experiencing Yugen throughout a architectural journey, significantly enhances alertness and inquisitiveness, since a space which follows the principles of Yugen does not immediately expose its whole nature. This aspect of mysteriousness can create a positive influence towards the creative mind, as the brain is further encouraged to perform actively. Therfore it welcomes higher imagination, which results in the improvement of creativity.

Kawai studied the impact of Yugen on human wellbeing and supports this argument through her own research. She sets forth the importance of human perception of the unknown, as well as the influence of light and shadow on the human mind. She explains that:

“Mysteriousness is one of the few characteristics of a space that is good for your health. Another study suggested that contrast between light and shadow improves people’s impression of healing. These contrasts leave something left to be imagined. And when our imaginations are directed toward an unknown world, we may begin to feel restored.”

(Kawai and Kurimoto, 2019)

The play between light and shadow has been noted to not only benefit spatial visual perception but enhance various health factors and influence both biological and psychological wellbeing.

Exposure to a natural light source, has been reported to specifically influence a person´s perception of time. The daily intake of light affects the production of melatonin, regulates cortisol activity and generates concentration.

Furthermore, the successful application of spatial light and shadow conditions have provided scientific evidence in stabilization of circadian rhythms, qualitative sleep, lifted mindset, reduction of depressive factors as well as the improvement of cognitive capacity. (TCP Lighting Solutions, n.d.)

Fig. 17

Understanding Yugen through a foggy mountain landscape: The imaginary mind perceives more beauty than reality would uncover.

EXAMINING THE WATER TEMPLE IN RELATION TO YUGEN

The discovery of Yugen at Honpukuji starts by viewing the temple from afar in its environmental placement. The temple is settled into the hill, allowing visibility of the structure´s concrete roof only. This establishes a significant contrast to the nearby traditional Japanese houses.

“

Not like a conventional building, but like a mysterious object in nature, the new structure appears.” Ando specifies.

In addition, the walking journey through this architectural piece is accompanied by a consistent presence of Yugen.

As the perceiver deliberately uncovers the sacred space, one step at the time, at this point not yet aware of what is to be expected thereupon, this ultimately results in an increase of mindfulness, both toward the spatial quality and personal mindset.

Tadao Ando set his importance on making Honpukuji a place for contemplation and moreover enhance the cultivation of inner prosperity. (Bense, 2003)

Fig. 18, 19, 20, 21

Uncovering the exterior of Honpukuji

“

Entering the temple by the exterior staircase, the visitor wanders through darkness, until he stumbles upon a bright red space. The long corridor which leads to the main shrine cosinsts of massive wood-panelled walls, allowing natural streams of sunlight to enter. This results in a spectacular play of light and and shadow, completely neglecting the awareness of standing beneath the ground.

The underground hall glows in an intense red, representing the colour of the traditional monk´s attire. Carrying on the journey through the space, a darker corridor, artificially lit from the ground upon, welcomes the visitor. The pilgrimage through altering interior scenes communicates and clarifies the essence of Yugen. From experiencing bare whiteness outside the temple, to submerging into darkness, slowly stepping forward to the sunlight at the main altar. Ultimate mysteriousness with a note of devotion can be sensed by the perceiver.

While we may think about moving through a space, we do not think about how a space could move us. Exploring a sense of a “moving self” can help create mindfulness within a space.”

(Kawai and Kurimoto, 2020)

Fig. 22, 23, 24, 25

Experiencing light and shadow throughout the temple´s interior

MA AND HASHI: BOUNDARY IN MOTION

Ma, which literal translation means “gap” or “division”, is one of the most distinguished Japanese concepts. It focuses on the appreciation of emptiness. Dissecting its Chinese character, it represents two opposing gates with a moon or sun emerging from the centre. Yet the understanding behind the concept carries much more depth.

It can be best described as two spaces or forms, flowing together, and moving towards each other until finally they transform into an intersected and connected figure. (Kawai, 2018)

At first sight the concept of Ma may be perceived similar to the principle of Kanso, yet both theories differentiate from another. The best way to put this, is to recognize that while Kanso centres solely on simplicity, it does not sacrifice on functionality and aesthetic.

Viewing a space from a Kanso perspective, the transmits importance on existing spatial elements, emphasizing their purpose. Ma, on the other hand, brings forth the “negative” space and underlines the pure acceptance of emptiness.

hashi

Fig. 26

Resemblance of the Ma-Kanji: A sun emerging from withing a gate

Hashi, deriving from Ma, translates into “edge condition”, representing a boundary which doesn’t stand still, but is always in motion. The Chinese character of Hashi holds the four fundamental meanings of “periphery”, “bridge”, “veranda”, and “stairs”, with the latest three terms being architectural elements. “Veranda” represents the literal boundary between the exterior and interior of a building and can further be interpreted as a transitional element. Although bridges and stairs are mostly recognized as connective elements in western design theories, they rather represent a boundary in motion in Japanese aesthetics. A strategically placed staircase or bridge has the impact to slow down a person´s journey and promote mindfulness through the spatial layout. (Kawai, 2018)

“It’s striking to remember that the ancient Chinese chose the word “sky” to describe ultimate emptiness.

It’s true that there is nothing in the sky, but it’s one of the most beautiful things we can embrace.

And if you look closely, you will realize it’s not empty but is filled with boundless potential.”

(Hara, 2017)

MA / HASHI AND WELLBEING

Although the concept of Ma differentiates from Kanso, they share a spectrum of previously discussed wellbeing outcomes. Therefore, this chapter further examines the impact of boundaries in motion and spaces for slowing down.

As stated in the introduction, in current times of productivity peaks, external pressuring influences and ongoing exposure towards numerous stress factors, recognizing the power of slowing down carries multiple health benefits. Besides enhancing mindfulness, parallel to other Zen principles, slowing down leads to a clearer thought process, calms down bodily functions such as pulse and heart rate, increases alertness and accordingly contributes to a beneficial wellbeing state.

Its positive influence on wellbeing can be supported by a study on fibromyalgia syndrome patients. Researchers Van Gordon, Shonin and Griffiths have concluded that “participants reported experiencing improvements in psychosocial functioning as well as an increased sense of societal responsibility”. Meaning, that patients found themselves in tranquillity while practising mindfulness and moreover developed an interest in both internal and external awareness, which resulted in the decrease of pain and psychological stress.

(Van Gordon, Shonin and Griffiths, 2015)

According to a study by Harvard scientists, regular mind-body practices strikingly impact 172 genes in the human body. These genes are responsible for the regulation inflammation, circadian rhythms, and glucose metabolism. The research´s outcome has brought forward the effective decrease of patient´s blood pressure. It has been concluded that integrating mindfulness into medical treatments can be beneficial on a range of physical and mental illnesses, such as post-traumatic stress disorder, anxiety, depression and many more. (Bhasin et al., 2018)

Boston University´s psychologists Hofmann and Gómez additionaly clarify that the regular practice of mindfulness has been observed to be the most effective psychological treatment, uncovered in their research. Its outcomes are compareable to those of physical and medical therapies, with highest effeciency on patients with anxiety disorder and depression. (Hofmann and Gómez, 2017)

EXAMINING THE WATER TEMPLE IN RELATION TO MA / HASHI

There are numerous boundary´s in motion to be identified at Honpukuji. The first of such element becomes the slope, leading to the entrance of the temple. Approaching the temple is a slow process, only after climbing the hill the Water Temple can officially be entered through the first door, which acoording to knowledge gathered from Kawai, serves as an open boundary in motion.

The pebble path throughout Honpukuji´s exterior, makes it more difficult to walk upon. Ultimately this raises the visitors attention towards each of their step.

Being surrounded by high walls make the space seem incredibly large, making the perceiver feel small, misplaced in a gigantic and unknown structure. This creates the illusion of time slowing down.

A long staircase, taking the visitor beneath the ground becomes the so-called intermediate element, bringing together the outside with the inside.

Two opposing doors provoke the vistor to not just slow down, but to pause and evaluate which path might be the correct one to take.

When approaching the shrine, another boundary in motion stumbles upon the visitor. Before entering the sacred space it is necessary to take off any shoes. The journey continues by carefully wandering along wooden flooring with the bare foot until the main altar is revealed.

Fig. 27, 28

Boundaries in motion at the Water Temple

CONCLUSION

This dissertation aimed to explore Japanese Zen Aesthetic principles and analyse its healing potential. With the support of scientific studies operating in this field, indeed a variety of health influencing factors have been proven. The gathered research reveals that the application of Zen in Design, is capable of tackling both physical and psychological obstacles, with most effective outcomes measured on conditions like anxiety, depression, and post-traumatic stress disorder.

However, some of the explored principles, such as Fukinsei´s concept of non-perfection, presumably show limited success in western Architecture and Design, due to the fundamentally contrasting cultural viewpoint towards imperfections. Here, the focus rather lays on the development of continually advancing and exceptional buildings, which aim to withstand nonperfections rather than accept or even celebrate them.

Yet, integral elements of Japanese Zen Aesthetics have successfully transitioned into western Design concepts:

The simplistic nature of Kanso can be identified in multiple architectural works of the west. The concept of “less is more” has gained its popularity through Mies van der Rohe during the modernist movement, while nowadays, minimalism has grown further into a “trend” with more and more people recognizing its wellbeing enhancing potential. Furthermore, as Kanso aims for simplicity, yet providing high functionality, it shares its objectives with those of Scandinavian Design. The so-called new concept of Japandi creates the fusion of both corresponding cultural Design philosophies, expanding in western popularity.

The principle of Shizen, the incorporation of nature and naturalness, can be identified in the concept of Biophilic Design. As this field has been thoroughly researched over the past, its significant health improving outcomes have been proven and underlined. Numerous fields, including healthcare, office environments, residential construction and hospitality have acknowledged the importance of biophilic exposure, making it a significant tool for

architects and designers to experiment with.

Anyways, it has been noted that the discussed subject yet lacks medical research in certain areas, which is why some factors may have a contradicting effect on the perceiver. Meaning, that the “mysteriousness” of Yugen perhaps has a critical influence on a person struggling from anxiety disorder. Aspects such as the unforeseeable nature of architectural layouts, could lead to the increase of distress, rather than positively influence it.

This results in the conclusion that Japanese Zen Aesthetic principles, certainly provide a positive health influence, when applied correctly. Nevertheless specific concepts require further scientific indepth analysis. A range of Japanese Design theories have already successfully proven their healing properties and applicability not only in Japanese, but likewise in western Architecture.

PRINTED WORKS

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