The Secular Pilgrimage - Complete Portfolio

The Secular Pilgrimage

Matthew Studio 3

Wreglesworth

3.

Research

12.

Definition & Brief

25.

Entrance Sequence

45.

Central Building

54.

The Pilgrimage

60.

Monuments to Authenticity

84.

Monuments to Death

Contents

2

108.

Exit Ceremony

117.

Bibliography

119.

Appendix

Research

3

Berlin “the world’s most godless city.”

60% of Berlin’s population is not affiliated with any religious group.

Berlin in twice as non-religious as the rest of Germany and even more so that other western countries. As one of the only places in the world to have a non-religious majority, what affect does this have on the people who live and grow up in the city?

Berlin: 60%

Germany: 36%

USA: 18%

Christianity has shaped the way in which western culture operates for hundreds of years. It is the formation for much of our language, our culture, traditions and even the way in which we think. What are the implications of a post-Christian society?

Non-religious Without religion we must search for our own meaning.

Religious

London: 21%

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UK: 25%

Finding Meaning without religion.

Life goals can be a distraction from the present.

Without a pre-ordained purpose to life, it is down to the individual to apply meaning to their existence.

For most people, this results in the development of ‘life goals’. When these aspirations are achieved, a new goal is created almost immediately - a never ending cycle, drifting through life.

A man spends his life walking through a tunnel towards a light. He feels he is getting closer, yet the light remains distant.

One day he finds a rocket. Thinking this could be his ticket to the light, he straps himself to it and lights the fuse.

The rocket is fired upwards, smashing through the ceiling of the tunnel. He is momentarily blinded and is struck by the realisation that the light he has been walking towards has surrounded him his whole life.

After smashing back through the roof of the tunnel, the man decides to no longer walk down the tunnel, and instead use the rubble as a means of climbing towards the light above him.

With no tools or knowledge of construction, the man struggles to reach the light, but his knowledge of what is above him motivates him to continue.

Over time, the man learns how to build taller and more stable structures, allowing him to get closer to the light. He can now sit beneath it for longer periods before falling.

The result of this is living a projected life. We imagine ourselves as the person in the future who has achieved their goal, wondering how that will feel, and as such - not living in the present moment.

In a life which is not dedicated to a god or dictated by religious text, it is of course important to have aspirations for the future. It is, however, necessary to ensure that this does not become a distraction to the here and now.

In studio 1, these ideas were summarised in the short story to the right of this page (See appendix for the complete story).

A man is forever walking towards a light which he assumes will bring him happiness when reached.

He then discovers that the light surrounded him all along.

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Contemporary Life Technological Saturation.

This inability to live in the present moment is exacerbated by the technological saturation of contemporary life.

Martin Heidegger wrote about how technology stimulates us, but in the same moment distracts us from what is around us - “teleported” away from our physical location.

“Hourly and daily they are chained to radio and television. … All that with which modern techniques of communication stimulate, assail, and drive man — all that is already much closer to man today than his fields around his farmstead, closer than the sky over the earth, closer than the change from night to day, closer than the conventions and customs of his village, than the tradition of his native world.”

(Heidegger, 1970).

...and this was written in a time before the internet.

We are now a click away from all the information in the world - the ultimate distraction. Smartphone applications are designed to exploit our addictive tendencies with the goal of keeping us scrolling for as long as possible.

We are no longer connected to our ‘farmstead.’ We no longer know how to be bored.

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Addicted to Scrolling

Smartphone apps are designed to keep our attention for as long as possible.

Jean-Paul Sartre Freedom and Choice

Sartre wrote about how in a world without fixed values, we have total freedom.

This limitless choice often results in anguish - we are “condemned to be free.”

(Sartre, 2006) He illustrates this with the concept of vertigo:

Vertigo is anguish to the extent that I am afraid not of falling over the precipice, but of throwing myself over.” (Sartre, 2006)

In a world in which people can act in any way they choose, the majority of us conform to social norms, choosing to blend in rather than stand out. Following the crowd in this way can result in repetition and monotony.

The choices we make define who we are.

The Precipice

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Albert Camus Philosophical Suicide

Without religion, we are free to truly question the nature of our existence.

Albert Camus believed there was only one philosophical problem, and that is suicide. In a meaningless universe, suicide seems like the appropriate response.

He admits that this is not worthwhile as such a response is merely a way of avoiding life’s big questions.

The same goes for religion. If a higher power is used as the answer to difficult existential questions, Camus believes that a person will remain just as fulfilled as they would having killed themself. This is referred to as philosophical suicide.

Leap of Faith

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Existentialism & Phenomenology

3 Core Themes

Heidegger and Merleau-Ponty

These 3 themes remain key to the final proposal

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From this research I identified 3 core themes to help us feel more present in the contemporary world. These were heavily influenced by the writings of Martin Heidegger and Maurice Merleau Ponty:

Authenticity

Death

Perceptual Awareness

Becoming aware of how society is influencing our decisions allows us to live for ourselves, opposed to the way we think we ought to behave.

Truly confronting death gives a new perspective on the fleeting nature of live.

Being made aware of our body and how we sense the world around us gives a profound sense of presence.

To understand being we must first understand its counterpart - nothing. Most people avoid questioning their own mortality, but if we want to be truly present we must address the issue face on.

Noticing inconsistencies is the strongest example of this phenomena. When we realise our senses have been deceived, we begin to question the world around us. In this moment we are truly present. Merleau-Ponty describes this as ‘solicitations of the world.’

Living authentically, making conscious decisions about our every action enables us to live in the present.

Research Summary

A life without religion means there is complete freedom. The way in which most people choose to live their life results in a failure to live in the present, always looking to the future - caught up in the mundanity of everyday routine.

This is exacerbated by living in the technological age, where apps are designed to keep our attention for as long as possible.

By realising how our decisions are influenced, confronting death and becoming aware of how we perceive the world around us, we will gain perspective on our existence and live in the present moment.

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This project creates an environment in which people can contemplate their existence, giving a new perspective on life and a greater sense of presence.

Pilgrimage Key Features

Time to contemplate & question.

Gives Perspective.

Opportunity to talk to others.

Often physically demanding.

Away from every day life.

Everyday things (food etc.) are organised for you.

A key part of Studio 2 was the study of religious pilgrimage as a way of facilitating contemplation.

Though research and interviews I deduced 6 key themes which are central to religious pilgrimage. It became evident that these same principles could be applied to a non-religious context.

This was the foundation for the design of The Secular Pilgrimage.

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The Secular Pilgrimage Definition & Brief

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The Secular Pilgrimage how & why?

Authenticity

People travel to Berlin, the ‘capital of atheism’, to question their existence.

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Death

This is done by confronting the three core themes of authenticity, death and perceptual awareness.

Perceptual Awareness

The pilgrimage gives a new perspective on life, enabling people to feel more present.

The Secular Pilgrimage Addressing the 3 Core Themes

Authenticity

Death

• 6 monuments are dedicated to authenticity.

• 6 monuments are dedicated to death.

• Perceptual awareness is addressed within the central building drawing visitors attention to how they perceive their surroundings.

• Pilgrims travel around the city visiting 3 monuments per day.

• This starts with pilgrims passing through installations as they begin their pilgrimage.

• These monuments will consist of new build interventions as well as existing structures and locations.

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Perceptual Awareness

• This theme continues through the detailing of the central building.

Pilgrims stay in a central building for 5 nights.

Each day pilgrims visit monuments around Berlin.

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Central Building Monument Locations Pilgrimage Routes

The pilgrims visit 3 monuments each day, returning to the central building in the evening.

Pilgrimage Route

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The Secular Pilgrimage A New Perspective on Everyday Life

Pilgrims have no possessions with them as they embark on their pilgrimage. This means they navigate the city of Berlin with no money and no phone.

As a result they become passive observers, experiencing the city in a more objective way. This helps the pilgrims gain perspective on the daily life of people in the contemporary world.

During their pilgrimage they are free from distractions and free from making decisions.

This creates the optimal circumstance for contemplation.

No Phone

No Money

No Identity Seeing Berlin as an Observer

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The Secular Pilgrimage 3 Types of Pilgrim The monuments around Berlin are in public spaces meaning they can be viewed by anyone. Below I have outlined the three main groups of people who are likely to experience them.

Committed CommittedPilgrim Pilgrim

Curious CuriousPilgrim Pilgrim

Everyday Everyday Pilgrim Pilgrim

The committed pilgrim stays in the central building and performs all of the rituals associated with this. This is the full experience and will be the most helpful for introspection. These pilgrims will view all the monuments in their intended order.

The curious pilgrim is someone who is interested in questioning their existence but is perhaps not quite ready to commit to the full pilgrimage. These pilgrims may not visit all the monuments.

The everyday pilgrim is someone who is not especially interested in questioning their existence. These people will stumble upon monuments by chance as they live their daily lives. After seeing these monuments, the everyday pilgrim may be inclined to discover more.

Some monuments are placed specifically in locations where they will be seen by commuters.

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Central Building

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Central Building Site

Location Plan

Site Plan

Existing Site

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The site was chosen due to its central location and its proximity to water.

Diagrammatic Section The building is raised above the water, detaching it from the city and its surrounding context.

This helps heighten the feeling of sanctuary.

Diagrammatic Plan The design takes advantage of an existing channel which cuts through Spreebogen Park.

Walled by weathered steel, this path directs people to the buildings entrance.

Central Building Axonometric

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Central Building

Exit

Programme

Entrance

Entrance Sequence

Accommodation

Entrance Sequence

Pilgrimage Begins

Rituals

Perceptual Questioning

Accommodation

Pilgrimage Ends

The pilgrimage begins by entering the central building through a waterfall.

4 key rituals are performed after entering the building.

Between these rituals, pilgrims are presented with environments to question their perceptual awareness.

The building contains the living accommodation for the pilgrims.

The central building is also where the pilgrimage ends.

This includes sleeping, eating and washing.

Pilgrims leave the building one by one with an exit ceremony.

These relate to the overarching themes of the project.

The rituals help pilgrims get into the correct state of mind for the coming days.

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This is the first of the 3 core themes to be addressed.

Along with the rituals, this helps set the tone for the following days.

Entrance Sequence Rituals

Sacrifice Technology

Relinquish Possessions

New Identity

Shave Head

After passing through the waterfall, pilgrims smash their phone on a sacrificial plinth.

Next, pilgrims remove all of their possessions.

Here, questions are raised about the value of material objects.

Having removed all of their belongings, pilgrims change into black coveralls.

Finally, pilgrims are required to shave their head. This also raises questions of identity and authentic choice.

This action is symbolic of the pilgrimage - a journey in the present - free from distraction and a re-connection with the fundamentals of existence.

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With this act, the pilgrim leaves their identity behind, crating a blank canvas for their pilgrimage.

Giving the pilgrims neutral and standardised clothing helps with the questioning of authenticity. They carry none of their identity on their back and as such are more free to act how they choose.

Having a shaved head unites the pilgrims and with this act, they are fully committed to the pilgrimage.

Entrance Sequence Questioning Perception Perceptual awareness is one of the core themes of this project. Drawing a persons attention to how they perceive the world around them is helps them live in the present moment.

It was important to address this theme at the beginning of the pilgrimage as an increase in bodily awareness will aid in the contemplation of authenticity and death.

Waterfall

Exponential Staircase

Stepping Stones

Light Room

Irregular Details

As well as being a shocking and dramatic start to the pilgrimage, the waterfall also responds to humans being visually centric beings.

A staircase must be climbed in which the riser hight increases exponentially.

Like with the staircase, this small intervention relates to the movement of the body, but this time with emphasis on balance.

As with the waterfall, this intervention addresses how humans are visually centric perceivers. This room accepts this and seeks to draw the viewers attention to the mixing of light.

The central building contains several irregular details. This is to ensure pilgrims are constantly thinking about their perception during their stay.

When walking through, all of the senses are bombarded apart from vision - at this moment the pilgrim is blind.

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As the pilgrim begins to walk, they measure their environment with their movement.

This draws attention to the body and how it interacts with the world.

The way light falls on objects dictates how we interpret the world around us.

When this is brought to their attention, the pilgrim will notice themself perceiving.

Actions such as turning on a tap or opening a door are usually second nature. When these details are moved to unusual positions pilgrims must engage with every action.

Entrance Sequence

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Approach

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Approach

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The Threshold Waterfall

Pilgrims enter the building through a waterfall.

The waterfall acts as a threshold - the beginning of the pilgrimage. Being bathed in water acts as a symbol of re-birth. Walking through can be viewed as a secular baptism - the start the pilgrim’s journey.

The act of passing through the waterfall is the pilgrims their first opportunity to challenge their sensory perception.

As humans we are visual beings, with our understanding of the world around us largely derived from our sense of sight.

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The noise of the water hitting the concrete below is deafening. The water covers the entire body causing clothes to stick to the skin. The water can be smelt and tasted.

When below the falling water, the pilgrim is blind.

Water is a central theme within the building, acting as a symbol for the journey the pilgrims are on. This will be discussed in more detail in later pages.

Entrance Threshold

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Ritual 1 The Sacrifice of Technology

01

01

The first ritual is the sacrifice of technology. As with the Hajj pilgrimage to Mecca, where an animal is sacrificed, here it is a mobile phone.

This action is symbolic of the pilgrimage - a journey in the present - free from distraction and a re-connection with the fundamentals of existence.

Section a-a

a

a

Level 01 Plan

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Scrap pile grows over time.

The pilgrim walks across a bridge to a plinth. Here they use a hammer to destroy their mobile phone which is then added to the pile below.

This pile of discarded technology must be walked across to continue.

Sacrificial Plinth

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Ritual 2 The Removal of Possessions

01

01

Next, the pilgrims find a large hole in which they must deposit all of their possessions. With this act, the pilgrim leaves their identity behind, crating a blank canvas for their pilgrimage.

This action, along with the previous ritual allows for contemplation regarding the true value of material possessions. It is difficult to discard everything you have on your person - but life goes on.

Section a-a

a

a

Level 01 Plan

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Nothing is allowed past this point. They leave this room naked.

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Ritual 3 A Neutral Identity

After leaving the depository, pilgrims have to step outside without clothes to get to the next room. Here they confront the prudish nature of contemporary society in which the naked body is sometimes seen as offensive.

01

01

To reach the next room there is a small gap which must be jumped across. This is a leap of faith - a point of no return. Pilgrims must trust in what is on the other side, as there is no way back. This is a symbol of religious faith.

Section a-a

In the next room, pilgrims are presented with all the possessions they need for the next 5 days of their pilgrimage: • Black coveralls • Guidebook/Journal • Pen

• Shoes • Underwear

a

a

Level 01 Plan

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Guidebook

Coveralls

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Changing Area

The book acts as both a guidebook and a journal.

It contains maps and information about the monuments.

Questions are posed to stimulate the pilgrims, with space for them to document their thoughts and feelings.

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A Neutral Identity The buttons are brass, matching the architectural details of` the building and monuments.

Coveralls

The purpose of this outfit is to minimise the number of items held by pilgrims, again challenging the importance of material possessions.

3

2

Giving the pilgrims neutral and standardised clothing helps with the questioning of authenticity. They carry none of their identity on their back and as such are more free to act how they choose. Remember, the key to authentic choice is acting how you choose, not in the way that you think you should be acting.

The style is neutral, with shortened legs and arms to minimise the utilitarian look of a boilersuit.

1

It is understandable that a group of 10 people wearing black boilersuits might look strange, and maybe this will make the pilgrims feel self conscious. This is important when addressing authenticity. It does not matter what other people think about you - and realising this is an important part of the pilgrimage.

1. Daily Supplies (Lunch etc.)

2. Guidebook/ Journal

3. Pebbles Collected from Jungfernheide Forest Pilgrim Coveralls

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Perceptual Awareness Exponential Staircase After changing into their new clothes, pilgrims are presented with a large staircase. As they begin to climb, they realise that the steps are getting larger. Each riser increases by 5mm resulting in the final steps being just under 1m in height.

Exponential Staircase

Having a staircase which has inconsistent riser heights draws attention to the body.

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Ritual 4 Shaving the Head In the next room they will shave their head. This takes the removal of visual identity one step further.

The process is also important in relation to authenticity. Traditionally in the West, the majority of men have short hair and the majority of women have long hair. Why is this? It is a result of the society that we live in.

a

a

Level 02 Plan

02

02

Barber Shop

This takes place in a mirrored, faceted room. Pilgrims will be able see their hair being removed from all angles.

Section a-a

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Like when they removed their clothes, shaving their head again raise questions regarding choice. Did they have this hairstyle because it is what they want to look like? Or was it a hair cut that society would deem acceptable?

With this action they are fully committing to the pilgrimage.

Perceptual Awareness Stepping Stones

Before entering the next room, the pilgrims again step outside, allowing them to feel the cold air against their newly shaven head.

Stepping stones must also be negotiated, a further small scale intervention relating to perception. Similar to the staircase, this relates to the movement of the body, but with more emphasis on balance.

Stepping Stones

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Perceptual Awareness Light Room

The final stage of the entrance sequence is a room dedicated to light.

As with the waterfall, this intervention addresses how we as humans are visually centric perceivers. This room accepts this and seeks to draw the viewers attention to the mixing of light.

Mixing light model

The way light falls on objects completely dictates how we interpret the world around us.

When this is brought to our attention, we notice ourselves perceiving. At this moment we feel completely present.

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The form of the room is developed from a test model from Studio 1 which looked at how colours of light mix on contrasting textures.

In the light room, the blue light is replaced with natural light, and the jagged texture replaced by a staircase.

Light Room - View From Below

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Due to the way light falls on the stairs, the room will look completely different when looking back.

This is the final stage of the entrance sequence.

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Central Building

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Central Building Programme

As the building will be vacant for the majority of the pilgrimage, facilities can be minimised.

Areas Accessible to Pilgrims: • • • • •

Garden Communal area - for eating and relaxing.

Bedrooms - A small bedroom each, containing a bed and a writing desk.

Bathrooms Decking area - Here pilgrims can sit by the water.

The central building is dedicated to eating, sleeping and journal writing.

It is a place for recovery and reflection following the daily pilgrimage.

Staff Areas: • • • •

Kitchen - for preparing meals and packed lunches.

Laundry areas - to provide clean clothes and linen.

Staff bedrooms Storage areas

Full time staff play an essential role in the pilgrimage. It is important that the tasks of everyday life such as cooking and cleaning are taken care of - this means less distractions.

The staff (dressed in white uniform) are encouraged to interact with guests and assist in any way possible during the pilgrimage. Given training in existentialism, staff members act as a sounding board for pilgrims who may have questions about what they have seen and done on that day of the pilgrimage.

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Staff members take care of pilgrims everyday needs. This means distractions form contemplation are minimised.

Staff can also answer questions about the pilgrimage.

Final Exit

05

05 Bedroom

Bedroom

Mezzanine

04

04 Daily Exit

Garden

03

Communal Area

Communal Area Kitchen

03

Bathroom

02

02 Decking

Long Section a-a

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Staff Bedroom

Decking

a

Staff Bedrooms

Laundry

a

Level 02 Plan

Storage

Toilets

a

a Kitchen Showers

Level 03 Plan

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Daily Entrance/Exit

Map

Garden

a

a Communal Area

Level 04 Plan

Mezzanine

a

a

Level 05 Plan

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Central Building Communal Area

The communal area is the central space of the accommodation and the most frequented area of the building. This is where pilgrims eat, talk about their experiences, write their journals and plan for the following days.

The space is dominated by a large water feature. This is the focal point of the accommodation and reinforces the significance of water as a symbol of the pilgrimage.

A large wall mounted map helps pilgrims plan their routes for the following day.

Communal Area

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A mezzanine level connects the central space to private bedrooms. These are simple containing only a bed and a desk.

There are no views of the outside from within the building.

All daylight enters from high level. This maintains the feeling of a sanctuary, giving pilgrims the optimum environment to contemplate their journey, free from distraction.

Mezzanine Level

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Central Building Relationship to Water

The pilgrimage begins by walking through a waterfall before following the flow of the water to its source. The communal area features a large water feature and the flow of water can be seem from the showers.

This symbolism comes to a head when the pilgrims leave the building. Here they confront the source of the water (this will be covered in later pages).

The water acts as a leitmotif for the pilgrims’ journey

View From Shower

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Water within the building

Central Building Irregular Detailing

The building is full of irregular details to constantly create an awareness within the pilgrims of how their bodies engage with their environment.

The most noticeable example of this will be the irregular positioning of door handles. This will mean that every time a pilgrim opens a door, they will actively engage with the action.

When someone is constantly engaged with actions that are usually second nature, they are present in the moment. This all relates to the core theme of perceptual awareness.

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The Pilgrimage The themes of authenticity and death are broken down into 12 sub-categories - each with a corresponding monument.

The daily pilgrimage involves visiting these 12 monuments over the course of 4 days.

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Authenticity 6 Principles of Influence

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Being aware of how we are influenced allows us to make informed decisions about how we act. This is key in making authentic decisions.

The six principles of influence which I describe here are taken from the research of psychologist Dr Robert Caldini. The way we subconsciously make decisions is not always negative, but it is important to notice when and why we make these choices.

Reciprocity

Liking

A person is more likely to act favourably towards somebody who has helped them previously. If we are helped by another, we feel indebted to them socially or financially.

We like things that make us look good. This could be someone who compliments us, siding with the winning team or simply something that makes us more attractive.

Consistency

Authority

People have a natural desire to live consistently and dislike making u-turns on their previous decisions. If a goal is announced to a group of people, it is much more likely to be achieved than if recited internally.

People are more likely to follow the orders of those with authority. That could be an official looking sign or a person in uniform.

Social Proof

Scarcity

Possibly the most easily related to the concept of authenticity, social proof is about how humans are much more comfortable when following a crowd. We like to travel in groups and take cues from our peers.

We add value to things that are scarce. A restaurant with a queue outside will make us think that the food is high quality.

Death Being & Time

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All of the six principles relating to death are taken from Heidegger’s Being and Time. The first four relate specifically to the death of the individual, with the last two relating to death in a more abstract way through themes of insignificance in scale and time. Addressing all of these themes should create a greater sense of presence.

Importance

Freedom

Your death is the most important, It cannot be experienced through the death of others.

Death is the most important part of our lives - it is the limit against which we measure our freedom. We can live our lives how we choose, yet all end up at the same destination.

Certainty

Insignificance in Time

Death is one of the only certainties of life - it does not discriminate. Everybody knows this, but it is a subject which is often avoided.

The earth was here for millions of years before our birth and will remain equally after our death. Our lifetime is a blip in the time-line.

Indefinite

Insignificance in Scale

Despite being a certainty, it is not known when our death will come. It could be in 50 years, it could be today.

The earth is merely a pixel in the universe, as are we in relation to the earth.

Monuments

6 monuments are created for each core theme.

2 Themes

Importance

Indefinite

Time

Reciprocity

Liking

Scarcity

Certainty

Freedom

Scale

Consistency

Authority

Social Proof

Monuments to Death

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Some of these are new build interventions, whilst others use existing structures.

Monuments to Authenticity

Pilgrimage Timetable

Day 1

Entrance rituals & meet other pilgrims

Day 2

Scale - Importance - Freedom - Scale

5.5h

28km

8h

Day 4 Reciprocity - Time - Liking,

5.0h

25km

8h

Day 4

Social Proof - Authority - Scarcity

3.5h

17km

8h

Day 5

Consistency - Indefinite - Certainty

5.0h

25km

8h

Day 6

Exit ceremony

Day

1

Day 3 D

Day 3

2 ay

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Time finding the sites and time spent at the monuments is accounted for within the schedule.

Schedule Map

Pilgrimage Routes

Central Building

Monuments

Monuments Metaphor and Symbolism

Pilgrims are free to apply their own meaning to the monuments.

These monuments will create environments for introspection and existential questioning. Despite possessing intentionality, their ambiguity will allow pilgrims to apply their own meaning to the structures. “a word or a picture becomes a symbol when it holds extra meaning apart from the patent and initial meaning. Then, it gains an undefinable, unknown, more extensive, ‘unconscious’ aspect” (Jung, 1964: 21).

It is important for the monuments to be physically engaging. Not only will this make the intervention more memorable and meaningful, but an experience that stimulates multiple senses is much more likely to create a sense of perceptual awareness.

The Memorial to the Murdered Jews of Europe by Peter Eisenman is a good example of this. The artist designed the monument to create a confusing and uneasy feeling within the viewer, stating that there is no symbolic significance.

Nevertheless, people visiting the memorial often compare it to a graveyard or that the concrete blocks represent coffins. Although this was not the intention of the artist, it adds depth to the experience.

The memorial is also a good example of a monument within the public realm as it is often experienced and enjoyed by casual passers by.

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Monuments to Authenticity

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Monument to Authenticity Reciprocity

When somebody does something for us, we are much more likely to do something for them in return. We feel a form of social debt - this is the concept of reciprocity.

This principle of influence will be represented by the existing giant seesaws at Potsdamer Platz.

As this is an existing structure, bronze handles will be added to indicate that it is part of the pilgrimage.

Location Plan

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Pilgrims play with other pilgrims or with members of the public. The activity requires engagement from both parties.

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Monument to Authenticity Consistency

This monument responds to the idea that actions are more likely to be taken if a verbal commitment has been made. As humans, we instinctively do not like to go back on our word.

The consistency monument takes advantage of the pre-existing amphitheatre within Mauerpark - a place in Berlin renown for public performances and public speaking.

Location Plan

Amphitheatre

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At this location, pilgrims will stand on a square of bronze in the central performance area and announce to the public their aspirations for the pilgrimage.

Paving removed and in-filled with bronze.

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Monument to Authenticity Social Proof

Social proof is the most important principle of influence in relation to authenticity. It is the idea that we take cues from those around us. People are comfortable within a group - following the crowd. It is easier to live this way than to stand out.

The structure is in the centre of a public park in the popular neighbourhood of Kreuzburg. It sits directly on the main path which cuts trough the park.

The recently gentrified area of Kreuzburg is important to this intervention as it acts as an urban symbol of social proof.

Two Different Routes This intervention gives pilgrims a choice between a well trodden path and an entrance which is less obvious. Each option offers the viewer a completely different perspective.

Location Plan

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From within a glass corridor, pilgrims are presented with their own reflection.

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As the glass walkway will be brightly lit internally, with the surrounding area unlit, the glass will become highly reflective.

Long Section

Short Section

Those who follow the well trodden path will walk through an internally lit glass corridor. As the structure that encloses it is unlit, the walkway will appear entirely reflective.

By choosing the less obvious entrance to the building, it is possible to see those walking through the walkway above.

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From below it is possible to see those who are walking through the glass corridor.

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Monument to Authenticity Liking

We instinctively like things that make us look good - physically and socially.

This could be somebody paying us a compliment or something that makes us feel more attractive.

The principle of liking is why people often side with the winning team, as they believe it will make them look better.

The monument of liking consists of two seemingly identical rooms either side of a footpath. The room to the west is designed to make the viewer look their best, whilst the room to the east is deliberately unflattering.

One building is flattering, the other is jarring.

The footpath which separates the two interventions follows the line of the Berlin wall. This site was chosen as a symbol of liking. Before the wall fell, the west of Berlin was a far more prosperous and attractive place to live. For this reason the positive pavilion is located on this side.

It was important to choose a site with little trace of the wall, to ensure that the message of the pavilion was not dominated by politics.

Location Plan

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The intervention is based on a 1977 experiment in which participants were presented with photographs of themselves alongside a mirror image. The results showed overwhelmingly that people preferred the image which was mirrored as this was the representation that they were most used to seeing.

In the west pavilion, pilgrims will be presented with a traditional mirror in a naturally lit space. This shows the viewer what they perceive to be their most attractive self.

In contrast, the east pavilion will contain what is known as a ‘true mirror’ - a simple system which uses angled mirrors to flip the reflection. This space will contain unflattering artificial lighting to compliment the jarring image of the reversed reflection.

East Pavilion

True Mirror Test Model West Pavilion

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West Pavilion

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East Pavilion

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Monument to Authenticity Authority

Existing watchtower

Section a-a

Section b-b

Location Plan

a

b

b

The principle of authority states that we are less likely to question the requests or actions of those in positions of authority. This can range from a government body to a person in uniform.

This intervention seeks to highlight the consequences of not questioning authority.

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a

The site is the Schlesischer Busch Watchtower, one of the few watchtowers remaining since the fall of the Berlin wall. The tower will overlook the installation acting as a symbol of authoritarian oppression.

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Axonometric

Pilgrims are presented with a series of choices. Paths lead their way to signs marking the ‘correct entrance’.

If the visitor chooses to follow the directions of the signs, they will enter a space which gradually becomes more and more restrictive.

If they disobey the orders of the sign they will reach a vantage point the same height as the watch tower.

Questioning orders results in a confrontation with authority.

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Entrance

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Monument to Authenticity Scarcity

When something is in high demand, our perceived value of it increases. If an item is sold out, we assume it must have been good. If a restaurant has a large queue outside, we expect the food served to be high quality.

This intervention is located at the Berghain nightclub, infamous for its long queues and highly selective door policy. It is said that 70-80% of people who attempt to get in are rejected.

Location Plan The Queue

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Queue Axonometric The intervention here is a strip of bronze leading up to the door. Pilgrims will queue between 1 and 2 hours offering time for contemplation about scarcity and the pilgrimage as a whole.

Pilgrims are guaranteed rejection as they cannot pay to enter.

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Monuments to Death

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Monument to Death Importance

Heidegger believed that your death is the most important - it cannot be experienced through the death of others.

This intervention involves a giant tomb stone representing the death of whoever is standing in front of it.

Ghostly Reflection

Statue with polished area

The giant tomb stone will be made of bronze. Part of the pilgrimage ritual at this location will be to polish a small area at head hight. The result will be a partially reflective surface, presenting the pilgrim with a ghostly mirror image.

Location Plan

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Tombstone Elevation

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Westend cemetery was chosen for the location of this installation due to the vast numbers of elaborate tomb stones and mausoleums seemingly competing against each other.

This monument will tower over these existing graves, signifying that no death is more important than your own.

Elaborate Tombs at Westend Cemetery

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Monument to Death Certainty

Death is a certainty. It is one of the few certainties of life, but despite this most people avoid thinking about the subject altogether. This intervention seeks to highlight the certainty of death.

A pilgrim will walk towards the mirror with one eye closed until they find their blind spot - when they do the mirror showing their reflection will seem to disappear, symbolising that one day they too will disappear.

Location Plan

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When they reach this point they will find themselves standing on what appears to be a grave stone, again, a representation of their death.

The Blind Spot

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Friedrichsfelde Cemetery was chosen as a site due to its distance from the centre of Berlin. This means that there is time for contemplation whilst walking to and from the intervention. This is important as the subject mater requires reflection.

The intervention is located at the very back of the cemetery requiring a 15 minute walk past tombs and mausoleums. This adds significance to the destination.

Inspired by the blind spot model I made in studio 1, this intervention replaces the red ball with a mirror.

Blind Spot Model

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See appendix for full explanation.

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Monument to Death Indefinite

Despite death being a certainty, there is no way of knowing when it will occur.

This uncertainty is an important part of contemplating mortality.

The intervention will involve the installation of 365 individual elements each containing a bell - these represent each day of the calendar year.

Pilgrims will throw a stone from an existing, disused tower onto the installation bellow, which will strike a bell at random. This symbolises the random nature of death.

Location Plan

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Bell

The stones are collected from Jungfernheide Forest (the location of another monument) and are stored in the top pocked of their coveralls until used here.

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Monument to Death Freedom

Death is the limit against which our freedom is measured - we are free to do what we choose during our lifetime, but the destination is the same for everyone - death.

This intervention places a large void in the middle of the Jungfernheide Forest as a representation of death. To reach this location, pilgrims will have to navigate through woodland, leaving the footpath and weaving in between the trees.

Axonometric

Location Plan

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Elevation

Forest Void

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No two people will walk the same path to the intervention, representing the freedom we have during our life. The destination, however, is the same for everyone.

Walking Through Trees Diagram

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Monument to Death Time

This intervention seeks to give perspective of time beyond the span of a human life. This will be addressed by highlighting geological time.

The intervention allows people to walk around and under a large concrete structure, analysing how the object, which was created before their birth, has decayed over time and will continue to after their death.

Axonometric

1941 Location Plan

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2019

3000

4000

5000

6000

7000

Created before our birth, the structure will continue to exist long after our death.

A staircase wraps around the structure allowing pilgrims to get close to the areas of erosion and to touch the surface.

A proportion of the earth beside the structure will be removed, allowing viewers to stand below - 12,000 tonnes above them.

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The Heavy Load-Bearing Body is a solid cylinder of concrete constructed in 1941 to test the stability of the ground in Berlin. The structure remains in its original location today.

Heavy Load-Bearing Body

Cracks filled to slow erosion

In recent years, a concrete cap has been added to the structure and cracks have been filled in an attempt to slow the decay. As part of this intervention, these additions will be removed, returning the concrete to its former state of disrepair.

Before

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After

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Monument to Death Insignificance in Scale

This installation seeks to draw peoples attention to their scale in the universe by highlighting the rotation of the earth.

A giant Foucault pendulum will be installed on the intersection above a dial indicating the cardinal directions.

Due to the rotation of the earth, the pendulum will appear to change direction throughout the course of a day.

Location Plan

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The pendulum’s swing changes direction throughout the course of the day due to the rotation of the earth.

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The size of the tower allows the pendulum to swing for up to 24 hours.

Pilgrims will visit this monument twice in the same day to observe how the swing changes in direction.

24:00

08:00

18:00

This site was chosen due to its location on a busy intersection which is often heavily congested during rush hour. Commuters will see the monument on their way to work, and again on their way home. This will allow them to see how the direction of the pendulum has changed during the course of the day.

As mentioned earlier, it is important for members of the public to see these interventions, not just the pilgrims.

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Exit Ceremony

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Central Building Exit Ceremony Pilgrims take it in turn to be transported to the roof of the building. Here they will come face to face with the source of the water which has been central to their stay.

Exit Ceremony - Decking Level

Exit Ceremony - Garden

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Central Building Exit Ceremony On the roof they will they will find a hole which cuts through a pool of water. At this point it will become clear that this pipe is what cuts through the communal space - the focal point of the pilgrims accommodation.

There is no other way back down - their only option is to jump.

Exit Ceremony - Hole

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End of the Pilgrimage Berlin Central Station

Pilgrims jump down the pipe and slide underground. Walking to the end of a dark tunnel they will find a lift which takes them up to the heart of Berlin Central station.

The building is Berlin’s largest train station and doubles as a shopping mall.

To Berlin Central Station

Connection to Central Station

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Exit Pipe - Section

End of the Pilgrimage Re-entry into Society

Here they exit through a discrete construction site door where they are ‘thrown’ back into the reality.

With commuters rushing by and shoppers eyeing up new material possessions, this place is the antithesis of their pilgrimage experience - a shocking return to reality.

Berlin Central Station

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Back to Reality

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Bibliography

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Barker, H., Taylor, Y., (2007). Faking it: the quest for authenticity in popular music, Faber & Faber, London.

Holl, S., Pallasmaa, J., Pérez-Gómez, A., (1994). Questions of perception: phenomenology of architecture.

William Stout Pub, San Francisco, CA.

Bryant, C.D., Peck, D.L. (Eds.), (2009). Encyclopedia of death and the human experience. SAGE, Los Angeles.

Jung, Carl Gustav (1964). İnsan ve Sembolleri (Man and His Symbols). (Trans. By. Ali Nahit Babaoğlu). İstanbul: Okuyan Us Yayınları.

Camus, A., (2005). The myth of Sisyphus, Great ideas. Penguin, London.

Camus, A., (1989). The stranger, Vintage Internat, New York.

Mallgrave, H.F., (2011). The architect’s brain: neuroscience, creativity and architecture, Wiley-Blackwell, Chichester.

Cheng, V.J., (2004). Inauthentic: the anxiety over culture and identity. Rutgers University Press, New Brunswick, N.J.

McGrath, S.J., (2008). Heidegger: a (very) critical introduction. W.B. Eerdmans Pub. Co., Grand Rapids, Mich.

Cialdini, R., (2007). Influence: The Psychology of Persuasion, Revised ed. edition. ed. HarperBusiness, New York

Merleau-Ponty, M. (1964). The primacy of perception. Evanston: Northwestern University Press.

Coldwell, W., (2016). ‘Nightlife reports: clubbing in Berlin.’ The Guardian. [online] https://www. theguardian.com/travel/2016/jul/15/berlin-clubs-nightlife-germany-techno Connolly, K., (2009). ‘Atheist Berlin to decide on religion’s place in its schools.’ The Observer.

Critchley, S., (2009). ‘Being and Time, part 1: Why Heidegger matters Simon Critchley.’ The Guardian.

Csikszentmihalyi, M. (Ed.), (1995). Optimal experience: psychological studies of flow in consciousness.

Cambridge University Press, Cambridge.

De Botton, A., (2014). The Architecture of Happiness. Penguin, London.

De Botton, A., (2013). Religion for atheists: a non-believer’s guide to the uses of religion. Penguin, London.

Golomb, J., (1995). In search of authenticity: from Kierkegaard to Camus, Problems of modern European thought. Routledge, London.

Hale, J. (2016). Merleau-Ponty for architects. London: Routledge.

Harris, S., (2015). Waking up: searching for spirituality without religion. Black Swan, Cambridge Heidegger, M., (1970). Discourse on Thinking, New edition edition. ed. HarperPerennial, New York Heidegger, M., (2013). Being and time, 35. reprint. ed. Blackwell, Malden.

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Merleau-Ponty, M., (2012). Phenomenology of perception. Routledge, London.

Nietzsche, F., (2001). The gay science: with a prelude in German rhymes and an appendix of songs.

Cambridge Univ. Press, Cambridge.

Nietzsche, F., (1961). Thus spoke Zarathustra: a book for everyone and no one. Penguin, London.

Omri, U., (2018). ‘The short history of Berlin Techno.’ Techno Station. [online] https://www.technostation.tv/short-history-berlin-techno/ Pallasmaa, J., (2012a). Encounters 1. Rakennustieto Publ., Helsinki.

Pallasmaa, J., (2012b). The eyes of the skin: architecture and the senses. Wiley, Chichester.

Penelhum, T., (2013). ‘Religion after atheism.’ Religious Studies, 49, 249–255.

Sartre, J.-P., (2006). Being and nothingness: an essay on phenomenological ontology. Routledge, London.

Sharr, A. (2007). Heidegger for architects. London: Routledge.

Smith, T., (2012). ‘Beliefs about God across Time and Countries.’ NORC/University of Chicago.

Steiner, R., (1987). Man as a Being of Sense and Perception. Anthroposophic Press, Hudson.

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Appendix

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A short story about a man.

A man spends his life walking through a tunnel towards a light. He feels he is getting closer, yet the light remains distant.

A man spends his life walking through a tunnel towards a light. He feels he is getting closer, yet the light remains distant.

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One day he finds a rocket. Thinking this could be his ticket to the light, he straps himself to it and lights the fuse.

One day he finds a rocket. Thinking this could be his ticket to the light, he straps himself to it and lights the fuse.

The rocket is fired upwards, smashing through the ceiling of the tunnel. He is momentarily blinded and is struck by the realisation that the light he has been walking towards has surrounded him his whole life.

After smashing back through the roof of the tunnel, the man decides to no longer walk down the tunnel, and instead use the rubble as a means of climbing towards the light above him.

With no tools or knowledge of construction, the man struggles to reach the light, but his knowledge of what is above him motivates him to continue.

Over time, the man learns how to build taller and more stable structures, allowing him to get closer to the light. He can now sit beneath it for longer periods before falling.

The rocket is fired upwards, smashing through the ceiling of the tunnel. He is momentarily blinded and is struck by the realisation that the light he has been walking towards has surrounded him his whole life.

After smashing back through the roof of the tunnel, the man decides to no longer walk down the tunnel, and instead use the rubble as a means of climbing towards the light above him.

With no tools or knowledge construction, the man struggles reach the light, but his knowledge what is above him motivates him continue.

Over time, the man learns how to build taller and more stable structures, allowing him to get closer to the light.

He can now sit beneath it for longer periods before falling.

of to of to

To be authentic is to create one’s own pattern of live, detached from societal influence.

The word ‘authentic’ is usually used to describe something which is not a forgery - the ‘genuine article’. If the term was applied to humans, it would imply that there was a legitimate prototype by which all other humans could be compared.

For this reason, authenticity in the philosophical understanding is more complex and is in many ways a word is self-nullifying and resists definition.

What is Authenticity?

But for the sake of this project I’m will concede to this definition: “To be authentic is to create one’s own pattern of live, detached from societal influence.”

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Or as Jacob Golomb put it: “A ‘horizon of infinite perspectives’ from which the individual can survey his or her own life and mould it accordingly.” (Golomb, 1995) We are all a manifestation of the environment in which we are born and in which we grow. Becoming aware of how we are being influenced gives us a fresh perspective and allows one to live their life in an honest way. When a person lives for themselves, they acquire meaning.

Death and Authenticity.

Truly confronting death gives a new perspective on the fleeting nature of live.

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Being-towards-death is a purely Heideggerian concept which links strongly with authenticity. It is the idea that if we truly acknowledge death and accept it as a part of our life, we free ourselves from the anxieties associated with it and become free to live authentically.

Death is non-relational

Death is indefinite

Your death is the only one that matters. It cannot be experienced through the deaths of others.

Despite it being a certainty, it could happen at any time.

Death is a certainty

Death is not to be outstripped

As humans, we tend to dance around the topic of death and hide it away in hospitals and funeral homes. Death is a taboo subject in everyday life. It is not until we lie on our deathbed or face a near-death experience that we see our lives from a new perspective. If we acknowledge death, we see ourselves for who we truly are free from the roll that we play in society.

To understand being we much first understand its counterpart - nothing.

Running away from this will result in a failure to feel present.

No matter how much it is avoided as a topic of conversation, it is going to happen and it will not discriminate rich or poor, man or woman.

It is incredibly important and is the limit against which our freedom is measured.

Blind spot.

+

All humans have a blind spot and being made aware of this is a strong way of demonstrating how unreliable our senses can be.

The blind spot test is a common experiment in which a dot on a page can seem to disappear when a certain distance from the eye.

I have made a three-dimensional version of this experiment in which a red ball disappears from sight. The effect of a physical, tangible object vanishing from sight has quite a profound effect on the viewer.

Being made aware of the inconsistencies of perception makes us question reality.

Try it now.

Close your left eye and look at the cross in the image above. Slowly altering the distance between your face and the image, you will notice that the red sphere disappears at a certain distance from your face (you may have to get quite close).

This is your blind spot.

An architectural representation of this concept is exciting - a situation in where a physical object, a building, would disappear before your eyes.

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