Architecture&Enlightenment:

AnExplorationoftheExperientialPossibilitiesoftheConstituentsofArchitecture

Athesissubmittedinpartialfulfilmentoftherequirementsfor
thedegreeofMasterofArchitecture(Professional),
UnitecInstituteofTechnology,2010

NinaHorvath


Abstract

Thereisageneralacknowledgementofthelackofspiritualandemotionalrichnessincontemporary
architecture.Thisthesisattemptstoaddresstheissueofnormalisedandemotionlessarchitecture,through
thedesignofaZenCentreformeditationandothercommunityactivitiesthatunitethebodyandmind.

Theprojectwasgroundedinthebeliefinthepotentialandabilityofthekeyarchitecturalconstituents
structure,form,space,light,coloursandmaterialstoproduceanemotionallyricharchitecture.The
investigationalsoinvolvedextensiveresearchintoarchitecturalprecedents,thephenomenologyofhuman
perceptionandcognition,andtheintangiblequalities,ortheessenceandmeaningofaspiritualarchitecture.

Akeyelementofthedesignmethodologyweretheconceptsofblissandflow,whichinvolvedcreative
immersioninfreehandmodellingandpencilsketching,andsupportedthenotionofsensorythinkingthrough
theuseofthehandsincreativework.

Theresultantschemehasaninseparablerelationshiptothetheorybehindtheprojectandexistsasafusionof
ideasfromnumerousstrandsofresearchonspiritualprecedents,thearchitecturalconstituents,human
perceptionandcognitionandZenphilosophy.

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TableofContents

1.0IntroductionandLiteratureReview........................................................................................................................1
1.1ResearchQuestion..............................................................................................................................................1
1.2Experience,PerceptionandConception.............................................................................................................1
1.3TheSpiritual........................................................................................................................................................6
1.4TheConstituentsofArchitecture......................................................................................................................10
1.4.1StructureandForm....................................................................................................................................11
1.4.2FormandSpace..........................................................................................................................................15
1.4.3SpaceandLight...........................................................................................................................................18
1.4.4ColoursandMaterials................................................................................................................................22
1.4.5ReviewofConstituents..............................................................................................................................25
1.5ThePhenomenologyoftheBrionCemetery....................................................................................................26
2.0ProjectDevelopment............................................................................................................................................31
2.1DesignIssuesandProgramme..........................................................................................................................31
2.2Users.................................................................................................................................................................33
2.3Site....................................................................................................................................................................34
3.0MethodologyandDesignProcess.........................................................................................................................38
3.1BlissandFlow....................................................................................................................................................38
3.2DesireLines,AxesandIntersectingPlanes.......................................................................................................39
4.0DesignOutcome:ASensoryJourney....................................................................................................................47
4.1TheEntranceJourney...................................................................................................................................47
4.2Gallery...........................................................................................................................................................49
4.3LightWell......................................................................................................................................................49
4.4BodyandMindStudios.................................................................................................................................51
4.5MeditationHall.............................................................................................................................................51

4.6ConferenceandTheatreSpace....................................................................................................................52
4.7EnlightenmentSpace....................................................................................................................................53
5.0Conclusion.............................................................................................................................................................55
6.0CriticalAppraisal....................................................................................................................................................58
7.0Bibliography..........................................................................................................................................................69
8.0Declaration............................................................................................................................................................73

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TableofFigures

Figure1ChapelofNotreDameduHaut,LeCorbusier........................................................................................................3
Figure2PalazzodelCinema,StevenHoll.............................................................................................................................6
Figure3ThermalBaths,PeterZumthor...............................................................................................................................7
Figure4IndianInstituteofManagement,LouisI.Kahn....................................................................................................14
Figure5ChichuArtMuseum,TadaoAndo........................................................................................................................17
Figure6GuerreroHouse,AlbertoCampoBaeza...............................................................................................................20
Figure7LightWell,SalkInstituteforBiologicalStudies,LouisI.Kahn..............................................................................21
Figure8TindayaMountainProject,EduardoChillidaJuantegui.......................................................................................23
Figure9BrionCemetery,CarloScarpa...............................................................................................................................27
Figure10VisittoBrionCemetery,July2009.....................................................................................................................30
Figure11ZenMeditation...................................................................................................................................................33
Figure12RendallPlace,EdenTerrace,Auckland..............................................................................................................35
Figure13WiderContextofSite.........................................................................................................................................35
Figure14ExistingConcreteStructure................................................................................................................................37
Figure15InitialSketchShowingOutlineofRuinwithinBoundaries................................................................................40
Figure16EarlySketchDesign.............................................................................................................................................41
Figure17AxesModel.........................................................................................................................................................43
Figure18HandModel,Scale1:500....................................................................................................................................44
Figure19EntrancewaySketch...........................................................................................................................................45
Figure20ConceptualIdeasforMeditationHall................................................................................................................46
Figure21ChurchinFoligno,FuksasArchitects..................................................................................................................50
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Figure22MeditationHallDevelopmentSketch................................................................................................................53
Figure23CantileveredEnlightenmentSpace....................................................................................................................54

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1.0IntroductionandLiteratureReview

1.1ResearchQuestion
Howcanarchitecturalspacessupportourexperiencesandconceptionsofthespiritual?

Thisquestionentailstwomainareasofresearch.Firstly,theconceptofhumanexperienceandconception.
Secondly,theideaofaspiritualarchitecture.

1.2Experience,PerceptionandConception
TheearliestsurvivingwritingonthesubjectofarchitectureisVitruviustreatiseDearchitecturafromthe
1stcenturyBCE.TheRomanarchitectsideaswerehighlyinfluentialintheRenaissanceperiodandshaped
thedevelopmentofWesternarchitectureasweknowittoday.AccordingtoVitruvius,agoodbuilding
shouldsatisfythethreeprinciplesoffirmitas,utilitasandvenustas.1Translated,firmitasrelatestothe
abilityofastructuretostanduprobustlyandremainingoodcondition,utilitasthatitshouldbeusefuland
fulfilitspurpose,andvenustas,thatisshoulddelightpeopleandraisetheirspirits.Asomewhatprosaicbut
moreconcisetranslationofthethreeprinciplesisstrength,commodityandbeauty.Thefirsttwoprinciples,
durabilityandutilityarestraightforwardandrationalobjectives.Theyrelatetothepracticalrequirements
thatabuildingshouldmeetinordertoshelterandprotectitsinhabitants.Itisthethirdprinciple,beauty,

VitruviusPollio,Vitruvius:TenBooksofArchitecture(NewYork:CambridgeUniversityPress,1999)26.

whichappearstobemorecomplexandraisessomeinterestingarchitecturalquestionsofsignificanceto
thispaper.

Venustas,relatestotheabilityofabuildingtodelightpeopleandraisetheirspiritsandappearsasamuch
morecomplexarchitecturalobjectivewhencomparedtothepracticalnatureoffirmitasandutilitas.
NorbergSchulzacknowledgesthemorecomplexaspectsofourlifeworldinhisstatement:

Oureverydaylifeworldconsistsofconcretephenomena.Itconsistsofpeople,of
animals,offlowers,treesandforests,ofstone,earth,woodandwater,oftowns,
streetsandhouses,doors,windowsandfurnitureButitalsocomprisesmore
intangiblephenomenasuchasfeelings.2

Delightisanemotion,afeeling,andhenceanintangiblephenomenon.Vitruviuswasreferringtothe
intangible,psychologicalandemotionaleffectthatarchitecturecanhaveonthehumanspirit.Thetaskof
anarchitecttoachievedelightfulbuildingsraisesquestionsofperception,asexperienceissubjective.The
abilityofabuildingtoinduceanemotionalreactionwillofcoursedependontheindividualinhabitant,as
somepeoplemaybemoresusceptibletosuchexperiencesthanothers.Thedegreetowhichabuildingor
spacecanreachouttopsychologicallyaffectthemostdisengagedofvisitors,isperhapsawaytomeasure
thequalityofthearchitecture.

ChristianNorbergSchulz,GeniusLoci:TowardsaPhenomenologyofArchitecture(NewYork:Rizzoli,1980)6.

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Figure1ChapelofNotreDameduHaut,LeCorbusier

Architecturethatappealstotheemotionsappearstobeacomplexdesignambition.Accordingto
Pallasmaa,animpressivearchitecturalexperiencesensitisesourwholephysicalandmentalreceptivity.It
isdifficulttograspthestructureofthefeelingbecauseofitsvastnessanddiversity.4Theissueof
subjectiveexperiencerelatestothephilosophicalfieldofresearchknownasphenomenology.Inthelate
20thcentury,NorbergSchulzproclaimed,Afterdecadesofabstractscientifictheory,itisurgentthatwe
returntoaqualitative,phenomenologicalunderstandingofarchitecture.5Aravot,whostressesthe
importanceofphenomenologyincontemporaryarchitecturaldiscourse,describesphenomenologyasa
3

SevenHoll,JuhaniPallasmaaandAlbertoPerezGomez,QuestionsofPerception:PhenomenologyinArchitecture(SanFrancisco:
WilliamStoutPublishers,2006)125.
4
JuhaniPallasmaa,TheGeometryofFeelinginTheorizingaNewAgendaforArchitecture:AnAnthologyofArchitectural
Theory19651995,ed.KateNesbitt(NewYork:PrincetonArchitecturalPress,1996)453.
5
NorbergSchulz,GeniusLoci,5.

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corefieldofphilosophythatisrootedinthefirstpersonperspectiveandseeksintersubjectivity,the
sharedcognitionthatshapesourideasandrelationshipswiththeworldsurroundingus.6Todaythereare
numerouscontemporaryarchitectswhoarerecognisedfortheirphenomenologicalapproachto
architecture,whichisbasedaroundtheconceptofthebodyinspace.JonathanHalereferstotheworkof
TadaoAndoinJapan,HerzogandDeMeuroninEuropeandStevenHollinAmericaandnotestheirdesire
toarticulatematerialqualities,inordertoheightenourperceptualawarenessoftheencounterbetween
thebodyandtheworldofthings.7

Mostarchitectureisdesignedtobeinhabitedandhenceitisinevitablyexperienced.ThepoetJorgeLuis
Borgeswrote,Thetasteoftheappleliesinthecontactofthefruitwiththepalate,notinthefruititself;
inasimilarwaypoetryliesinthemeetingofpoemandreader,notinthelinesofsymbolsprintedon
pagesofabook.8AcomparablestatementbyPallasmaareads,Theartisticdimensionofaworkofart
doesnotlieintheactualphysicalthing;itexistsonlyintheconsciousnessofthepersonexperiencingit.9
Liketheapple,thepoemandtheworkofart,thesameprinciplessurelyapplytoaworkofarchitecture.
Doestheexpressionofapieceofarchitecturelieinthephysicalbuildingorintheconsciousnessofthe
personexperiencingit?OnthesubjectofexperienceHollstated,Arealarchitecturalexperienceisnot
simplyaseriesofretinalimages;abuildingisencountereditisapproached,confronted,encountered,

IrisAravotandEranNueman,InvitationtoArchiPhen:SomeApproachesandInterpretationsofPhenomenologyinArchitecture
(Bucharest:Zeta,2010)6.
7
JonathanHale,BuildingIdeas:AnIntroductiontoArchitecturalTheory(NewYork:Wiley2000),123.
8
JuhaniPallasmaa,TheEyesoftheSkin:ArchitectureandtheSenses(London:Wiley2005)14.
9
Pallasmaa,TheorizingaNewAgendaforArchitecture,ed.KateNesbitt,449.

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relatedtoonesbody,movedabout,utilisedasaconditionforotherthings,etc.10Experienceistheactof
apprehendingbymeansofthesenses.InhiswritingHollreferstotheimportanceofbuildingsthat
acknowledgeallthesenses.Heexpresseshisconcernforcontemporarydesignthathasbecomesolely
aboutthevisualsense,Thearchitectureofourtimeisturningintotheretinalartoftheeye...insteadof
experiencingourbeingintheworld,webeholditfromoutsideasspectatorsofimagesprojectedonthe
surfaceoftheretina.11ThetraditionalfivesensesproposedbyAristotlearesight,hearing,touch,smell
andtaste.However,inQuestionsofPerceptionanadditionaltwosensesareproposed.Pallasmaasuggests
thatwehaveinfactsevensensesandthatmuscleandbonearealsoinvolvedinhumancognition:

Similarly,anarchitectinternalisesabuildinginhisbody;movement,balance,distance
andscalearefeltunconsciouslythroughthebodyastensioninthemuscularsystem
andinthepositionsoftheskeletonandinnerorgans.Astheworkinteractswiththe
bodyoftheobservertheexperiencemirrorsthesebodilysensationsofthemaker.12

Hisargumentfortheadditionaltwosensesisbasedontheideaofthehumanbodyasadimensioningand
proportioningtool.Muscleandskeletonserveasthedevicesfortheintricatemovementsofthebodyand
thereforemeasureandevaluatespatialproportionsandrelationships.

10

SevenHoll,JuhaniPallasmaaandAlbertoPerezGomez,QuestionsofPerception:PhenomenologyinArchitecture(San
Francisco:WilliamStoutPublishers,2006)35.
11
Holl,PallasmaaandPerezGomez,QuestionsofPerception,29.
12
Ibid.,36.

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13

Figure2PalazzodelCinema,StevenHoll

1.3TheSpiritual
Themeaningofthewordspiritualhasdevelopedovertimeandtodayhasnumerousmeaningsand
connotations.Traditionallyitwasassociatedwithreligion,religiousexperienceandtheHolySpirit.
However,themodernday,secularandbroadermeaningofthewordreferstoasenseofotherworldliness.
Ithasbecomeawordthatisalsocommonlyusedaswaytodescribeintangiblethingsthatlacka
straightforwardexplanation.Itisgenerallyacceptedthatspiritualitycanbefoundinmusic,nature,art,
poetry,inmanyotherareasoflifeandofspecificrelevancetothispaperinthatitcanbefoundin
architecture.

13

StevenHoll,Intertwining:SelectedProjects19891995(NewYork:PrincetonArchitecturalPress,1995),17.

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14

Figure3ThermalBaths,PeterZumthor

Perhapsspiritualitycanbefoundinanythingandeverything,butisithowweperceivespiritualitythat
makesitexistorisitabsolute?Moreover,whatconstitutesaspiritualexperience?Isittheabilityof
14

HenryPlumer,TheArchitectureofNaturalLight(London:Thames&Hudson,2009)62.

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somethinginourlifeworldtomoveorevokeemotioninus?Perhapsitistheabilityofsomethingtoalter
ourmoodoraffectuspsychologically.NorbergSchulzreferredtointangiblephenomenainourlifeworld
suchasfeelings.15Likefeelings,aspiritualexperienceisperhapsalsoanintangiblephenomenon.Itisan
experiencethatweknowcantakeplacebutisalsoanoccurrencethatishardtodefine,describeorlabelin
concreteterms.

Inanattempttodefinesuchphenomenaletusfocusforamomentonaspiritualarchitectureinthe
simplesttermspossible.Shouldsucharchitecturenotultimatelybeabouttheabilityofaspaceorplaceto
moveusandaffectourspiritorsoul?InhisacceptancespeechforthePritzkerPrizein1995,Andospeaks
ofasimilarintent:WhatIhavesoughttoachieveisaspatialitythatstimulatesthehumanspirit,awakens
thesensitivityandcommunicateswiththedeepersoul.16Pallasmaaalsomayhavecapturedtheessence
ofaspiritualspaceinhisstatement,Animpressivearchitecturalexperiencesensitisesourwholephysical
andmentalreceptivity.Itisdifficulttograspthestructureofthefeelingbecauseofitsvastnessand
diversity.17Hence,althoughaspiritualexperiencemaybeintangibleanddifficulttograsp,itcanalsobe
thataspiritualarchitectureissomethingthatsimplymovesusbyaffectingoursevensensesinsomeway
toevokeourinneremotionsonadeeperlevel.

ArchitectssuchasPallasmaaandBarraganhaveacknowledgedthedisconcertinglackofspiritualand
emotionallyricharchitecturethatseemstocharacterisemoderntrends.AccordingtoPallasmaa:
15

NorbergSchulz,GeniusLoci,6.
TadaoAndo,Ando1995Laureate:AcceptanceSpeech,www.pritzkerprize.com,(accessed11July2010).
17
Pallasmaa,TheorizingaNewAgendaforArchitecture,ed.KateNesbitt,453.
16

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Thebuildingsandtownscapesofourtimecommonlylackaspiritualandemotional
content.Thesenseofemptiness,distanceandrejectiontheydopossessderivesfrom
theinabilityofmodernsettingstoresonatewiththeunconscioussensibilitiesofthe
humanmind.Theprogressofmodernarchitecturehasnormalisedhumanemotions,
andconsequentlyisunabletoreflectemotionalextremessuchasecstasyand
melancholy.18

BarraganholdsasimilarpointofviewthatisenforcedbyhisstatementIbelieveinanemotional
architecture.Itisveryimportantforhumankindthatarchitectureshouldmovebyitsbeauty;ifthereare
manyequallyvalidtechnicalsolutionstoaproblem,theonewhichofferstheuseramessageofbeautyand
emotion,thatoneisarchitecture.19

PallasmaaacknowledgesthatAttheturnofthemillennium,thegreatchallengeforarchitectsisthere
sensualisation,remythologisationandrepoetisationofthehumandomicile.20

18

JuhaniPallasmaa,Encounters:ArchitecturalEssays,ed.PeterMacKeith(Helsinki:Rakennustieto,2005),70.
EmilioAmbasz,TheArchitectureofLuisBarragan(NewYork:MuseumofModernArt,1976),8.
20
JuhaniPallasmaa,Encounters,70.
19

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1.4TheConstituentsofArchitecture
Insummary,asearlyasthe1stcenturyBCE,Vitruviushadacknowledgedwithhisthirdprinciplevenustas
thepsychologicalandemotionaleffectofgoodbuildings.InrecentyearsthephenomenologistPallasmaa
capturedtheessenceofaspiritualspacewhenhestated,Animpressivearchitecturalexperience
sensitisesourwholephysicalandmentalreceptivity.Itisdifficulttograspthestructureofthefeeling
becauseofitsvastnessanddiversity.21AndalthoughasaccreditedbyNorbergSchulzasanintangible
phenomenon,formypurposesitcanbearguedthataspiritualarchitectureissomethingthatsimply
movesusbyaffectingoursevensensesinsomewaytoevokeourinneremotionsonadeeperlevel.

Itcanthereforebeacknowledgedthatarchitecturalspacescanbeperceivedasspiritual,butthequestion
remainsastowhatqualitiesaspacemustencompassinordertoinducesucharesponsefromitsvisitors.
TheNorwegianarchitect,BirgitCold,haspublishedherviewsonspiritualityinarchitecture:

Spiritualityaswellasbeautyiscreatedorcomestolifewhentheconstituentsof
architecturestructureandform,formandspace,spaceandlight,coloursand
materialsinteractasapieceofart,communicatingwiththeintellect,theemotions,
thespiritandthesenses.Asyouseefromthesedescriptionsthebeautiful,trueand

21

Pallasmaa,TheorizingaNewAgendaforArchitecture,ed.KateNesbitt,453.

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goodarealsointerrelatedinarchitecturewiththesensuousaestheticandvigorous
quality.22

Coldsstatementintroducestheideaoffourpairsofarchitecturalconstituentsthatwhendesigned
successfullytointeractasapieceofart,canproducegoodarchitecturethatisspiritualandbeautiful.
Thus,thesefourconstituentsmustberesearchedandexploredtobegintounderstandhowarchitectural
spacessupportourexperiencesandconceptionsofthespiritual.

1.4.1StructureandForm
ThefirstpairofarchitecturalconstituentsproposedbyColdisstructureandform.Theessentialpurpose
ofstructureistoallowbuildingelementstocreatespaceandformbyovercominggravity.Structural
elementstransportloadsfromthepointoforigindowntothegroundandrespondtosuchloadsbasedon
theirgeometricalandmaterialproperties.Theformalexpressionofstructuralcomponentsboth
individuallyandcollectively,intermsofmaterialityandtheloadsthattheycarrywilldeterminetheir
uniquetectoniclanguage.

BjornSandakerspeaksoftherelationshipbetweenaestheticsandstructure,stating,Ifwecan
aestheticallyunderstandthestructuresvisualappearance,wewillappreciateitfully,bothwithour

22

BirgitCold,Beautiful,TrueandGoodArchitectureinArchitecture,Aesth/Ethics&Religion,ed.SigurdBergmann(Frankfurt:
FrankfurtamMain,2005)18.

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intellectandwithoursenses.23Hisstatementpointsoutthepotentialtoinstinctivelyunderstandthe
appearanceofstructureandheishencereferringtothenotionoftectonicexpression.Inregardsto
tectonics,Niemeyermakesaninterestingpropositionontheabilityofstructuretoexhibitbeauty.
AccordingtoNiemeyer,Thecorrectstructuralsolutionsareaestheticallythemostsatisfactoryand,
througharefinementofdetails,maypossiblybecomeasourceofrealarchitectonicbeauty.24Herethe
ideaoftheauthenticityofstructureisreinforced.Niemeyersupportshoneststructuralexpressionandthe
beliefthatthecorrectstructuralsolutionwillalsobecorrectaesthetically.WhenNiemeyermentions
architectonicbeauty,healsobeginstohintattheintangibleandemotivequalitiesthatstructurecan
possess.

Ifweconsiderarchitecturetohaveastructurallanguage,perhapsstructuraldetailsandjointsarethe
pointsofinterestforcomprehendingsuchalanguage.Frascariwritesabouttheimportanceofthejointfor
tectonicendeavoursnotingitsvalueasthefundamentalsourceandprimaryexhibitorofstructural
language.Herecognisesarchitectureasanartbecauseofitsconcernforputtingtogether,spacesand
materials,inameaningfulmanner.25Hestates,thejoint,thatisthefertiledetail,istheplacewhereboth
constructionandtheconstruingofarchitecturetakesplace.26

23

BjornN.Sandaker,OnSpanandSpace:ExploringStructuresinArchitecture(Abingdon:Routledge,2008)97.
RobertMarkandDavidBillington,StructuralImperativeandtheOriginofNewFormTechnologyandCulture,30,no.2,
(1989)310.
25
MarcoFrascari,TheTelltheTaleDetailinTheorizingaNewAgendaforArchitecture:AnAnthologyofArchitecturalTheory
19651995,ed.KateNesbitt(NewYork:PrincetonArchitecturalPress,1996)510.
26
Ibid.
24

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Independently,Frascari,NiemeyerandSandakerhaveproposedthatarchitectonicbeautycanbeproduced
byauthenticstructuralexpressionandwillbearticulatedthroughthejointordetail.KennethFrampton
takesthisdiscussionanimportantstepfurtherandspeaksofthespiritualvalueofsuchadetail:

Thereisaspiritualvalueresidingintheparticularitiesofagivenjoint,inthethingness
oftheconstructedobject,somuchsothatthegenericjointbecomesapointof
ontologicalcondensationratherthanamereconnection.Weneedonlytothinkofthe
workofCarloScarpatotouchonacontemporarymanifestationofthisarchitecture.27

Framptonsuggeststhatthespiritualvalueofstructureandtheconsequentialformitproducescomesfrom
theparticularitiesofthejointsanddetails.CarloScarpasworkisusedasanexampletoshowhowwell
constructedcomponentscanresultinapowerfulandemotivearchitecturalresult.Hissuggestionofthe
spiritualvalueinthedetailalsobringstomind,thefamoussayingbyMiesvanderRohe,Godisinthe
detail.

Hence,althoughstructureandformareconcernedwiththepracticalrequirementsofprovidingshelter,
transportingloadsandconnectingparts,itisthethoughtandmeaningthatareinfusedintothesolutions
tosuchproblemsthatallowsanexpressiveformallanguagetodevelop.Thislanguagecanbeinterpreted

27

KennethFrampton,TheCasefortheTectonicinTheorizingaNewAgendaforArchitecture:AnAnthologyofArchitectural
Theory19651995,ed.KateNesbitt(NewYork:PrincetonArchitecturalPress,1996)523.

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particularlywellatjointsanddetailsandhasthepotentialtoaddemotiveandspiritualvaluetothe
buildingthroughitsinherentarchitectonicbeauty.

28

Figure4IndianInstituteofManagement,LouisI.Kahn

28

YukioFutagawaandRiichiMiyake,Light&Space2:ModernArchitecture(Tokyo:A.D.A.Edita,1994),338.

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1.4.2FormandSpace
ThesecondpairofarchitecturalconstituentsproposedbyColdisformandspace.Theconceptofspaceis
adifficulttopictodefine,astherearenoconcreteanswersastowhetherspaceisanentityinitsownright,
arelationshipbetweenentitiesorratherpartofaconceptualframework.Intriguingly,Coldpairsspace
withbothformandlight,encouragingthenotionofarelationshipbetweentheseentities.

Tschumimakesaninterestingpropositionontheconceptofformandspace.Heproposestwosystemsfor
understandingtheconceptofspaceinarchitectureanddescribestheseasthelabyrinthandthe
pyramid.AccordingtoTschumi,thepyramidstandsforthosetrendswhichconsiderarchitectureathing
ofthemind,asadematerialisedorconceptualdiscipline,withitslinguisticormorphologicalvariations.29
Thelabyrinthisempiricalresearchthatconcentratesonthesenses,ontheexperienceofspaceaswellas
ontherelationshipbetweenspaceandpraxis.30Thepyramidisthereforeconcernedwiththeconceptof
spacewhilstthelabyrinthisconcernedwiththeexperienceofspace.Thepyramidisaboutlanguageand
themind,whilethelabyrinthisaboutperceptionandthebody.Tschumipointsouttherestrictionsofthe
labyrinth,remindingusthatwithinthelabyrinth:

Onecanparticipateinandsharethefundamentalsofthelabyrinth,butones
perceptionisonlypartofthelabyrinthasitmanifestsitself.Onecanneverseeitin
totality,norcanoneexpressit.Oneiscondemnedtoitandcannotgooutsidetosee

29

BernardTschumi,QuestionsofSpace:LecturesonArchitecture(London:E.G.Bond,1990)12.
Ibid.

30

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thewholethenatureofthelabyrinthissuchthatitentertainsdreamswhichinclude
thedreamofthepyramid.31

Inthelabyrinth,sensesandfeelingsareenhancedandthemomentofperceptionisthefundamental
sensoryexperience.However,thespaceisnotexperiencedinabsoluteterms,theexperienceisonlya
resultofsensorydatathatisbeingperceivedateachindividualmomentintime.Tschumipointsoutthat
whilststandingwithinacubewemayseeacorner,oraside,ortheceiling,butneveralldefiningsurfaces
atthesametime.32Hence,throughthebodyinspace,weexperienceform,butonlypartsofawholecan
beexperienced.Tschumishedsfurtherlightontheconceptofspaceinhisstatement:

Spaceisreal,foritseemstoaffectmysenselongbeforemyreason.Thematerialityof
mybodybothcoincideswithandstruggleswiththematerialityofthespace.Mybody
carriesinitselfspatialpropertiesandspatialdetermination:up,down,right,left,
symmetry,dissymmetry.Ithearsasmuchasitsees.Unfoldingagainsttheprojections
ofreason,againsttheabsolutetruth,againstthepyramid,hereisthesensoryspace,
thelabyrinth,thehole.33

31

Ibid.,28.
Ibid.,22.
33
Ibid.,21.
32

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34

Figure5ChichuArtMuseum,TadaoAndo

Tschumisideasonspaceandformareofrelevancetounderstandinghumanperceptionandhenceare
surelyofimportancetotheformationofaspiritualarchitecture.Itissomewhatdifficulttomakea
judgementastowhethersuchanarchitectureshouldbethatofthepyramidorthelabyrinth.Howeverit
canbepointedoutthatmanyofthespiritualprecedentsthathaverelevancetothisproject,suchasAndos
ChichuArtMuseum,ScarpasBrionCemeteryandZumthorsThermalBathsallseemtoportray
34

PhilipJodidio,TadaoAndoatNaoshima(NewYork:Rizzoli,2006)118.

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characteristicsthatbeararesemblancetothelabyrinth.Ultimately,whatcanbegainedfromTschumis
proposalistheunderstandingofthelimitationsofbothapproaches.Withinthelabyrinth,theabsoluteness
ofthepyramidcannotbeexperiencedbutwhenexperiencingthepyramidtheintimatenessofthe
labyrinthisabsent.

1.4.3SpaceandLight
ThethirdpairofarchitecturalconstituentsproposedbyColdisspaceandlight.Throughouthistory,light
hasplayedaprimaryroleasthemechanismforthedesignofpowerfulandemotivespaces.StevenHoll
mentionsthatitisunsurprisingthatsomearchitectshavewrittenthattheentireintentionoftheirwork
revolvesaroundlight.35Intheancientcathedrals,churchesandcivicbuildings,lightwascommonlyused
todrawtheeyeupwardsconnectingtheobservertothesun,moonandstars.Lightwastraditionallyused
torepresentthegods,theheavensandthemetaphysical.Inarchitecturetoday,signsofthehuman
fascinationwithlightarestillvisible;however,themetaphoricalimplicationsproducedbysuchspaceshave
changed.HenryPlumerdiscusseshowlightisnolongerusedtorepresentstaticandunchanging
absolutesbutratheramoreliberatingrealityinwhichtheonlythingbelievedpermanentischangea
realityideallyconveyedbyamediumthatistheessenceofchange.36Lightgroundshumanityby
remindingusoftheforcesinthisworldgreaterthanusandbyrepresentingspace,timeandthe
inseparablenatureoflightandtime.Plumerremarksontherelationshipbetweentime,spaceandlight:

35

Holl,PallasmaaandPerezGomez,QuestionsofPerception,63.
Plumer,TheArchitectureofNaturalLight,11.

36

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Fluentenergyandvisiblemotionalsoprovideameanstoexpressthewidespread
belief,perhapsdefiningourage,thatspacecannolongerbeunderstoodapartfrom
time,andthatrealityincludesafourthdimension,atemporaloneinwhichlightand
timeareoneandthesame.37

Inthe21stcentury,thespiritualnatureoflight,formany,comesfromdelightatthetransientbeautyof
lightandshadowinspace.Movementindicateslifeandhence,spaceisbroughttolifeastimepassesand
seasonschange.Theconceptofinvestingtimeinordertoexperiencetimeisanotherengagingtrendof
contemporaryarchitects.StevenHoll,TadaoAndoandJamesTurrellarejustafewexamplesofthe
architectswhofrequentlyuselightasamaterialormediumintheirworkandhavedesignedspaceswith
raysoflightthatmoveandmutateastimepasses,remindingtheobserverofthepast,presentandlikely
future.PeterZumthorexpresseshisfascinationandgratitudeforlightandacknowledgesitsspiritual
quality:

Daylight,thelightonthings,issomovingtomethatIfeelitalmostasaspiritual
quality.WhenthesuncomesupinthemorningwhichIalwaysfindsomarvellous,
absolutelyfantasticthewayitcomesbackeverymorningandcastsitslightonthings,
itdoesntfeelasifitquitebelongsintheworld.Idontunderstandlight.Itgivesmethe

37

Ibid.,19.

A + E 19

feelingthattheressomethingbeyondme,somethingbeyondallunderstanding.AndI
amveryglad,verygratefulthereissuchathing.38

39

Figure6GuerreroHouse,AlbertoCampoBaeza

Zumthormakestheconnectionbetweenthemysteriesofdaylightandthespiritual.TadaoAndo,who
oftenreferstohisarchitectureasspiritual,isrenownedforhiscleveruseoflight.Hisworktendstouse
lightsparinglyinacarefulandappreciativemannerandheoftentalksofthespecialqualitiesofspaces
designedbelowtheearthssurface.Hestates,Beneaththeearthssurface,lightisreduced,thesenseof
depthincreases,anddarknessisborn.Ihavelongimaginedspaceassomethingintowhichonedescends,
untillightisgraduallyreducedandoneiswrappedintheatmosphereofcooltranquillity.40JamesTurrell
whoworkedwithAndoontheChichuArtMuseumbaseshisworkonthespiritualqualitiesoflight.He

38

PeterZumthor,Atmospheres:ArchitecturalEnvironments,SurroundingObjects(Basel:Birkhauser,2006)61.
Plumer,TheArchitectureofNaturalLight,42.

39

40

PhilipJodidio,TadaoAndoatNaoshima(NewYork:Rizzoli,2006)8.

A + E 20

states,Wehaveaspiritualrelationtolightthereisalsothequalityoflightseeninadream,thisisthe
lightthatisnotseenwiththeeyes.41

Figure7LightWell,SalkInstituteforBiologicalStudies,LouisI.Kahn42

41

Ibid.,22.
YukioFutagawaandRiichiMiyake,Light&Space2:ModernArchitecture(Tokyo:A.D.A.Edita,1994),338.

42

A + E 21

Lightallowsusvision,butarchitecturallylightcandomanythingsandhasbeenacknowledgedforits
spiritualqualitiesbyvariousprominentarchitects.Itcancreatemovementinspace,bringingarchitecture
tolife.Itcanilluminateandmaterialise,bringingouttheintrinsicqualitiesofsurfaces.Itcanbereflected,
refractedandabsorbedbydifferentmaterialsaswellasrevealingtransparencylevelsinasurface.Itcan
manipulatetheatmosphereofspace,changingmoodsandexperientialqualities.Itcanhighlightandhide
differentarchitecturalelementsandbeusedasatooltodirectvisitorsthroughaspace.Itcanremindusof
thenegligiblepartweplayinthegreaterschemeofthings,ofthepassingoftimeandofthepast,the
presentandmakeusponderthefuture.Eachofthesedifferentqualitiesinturncanbeusedtoachieve
powerfularchitecturalexperiencesandassistintheachievementofaspiritualarchitecture.

1.4.4ColoursandMaterials
ThelastpairofarchitecturalconstituentsproposedbyColdiscoloursandmaterials.Materialsandtheir
coloursplayanimportantpartindefiningthewaysinwhichweperceivespace.Althoughmaterialsare
experiencedvisually,thesupportingpowerofthetactile,auralandolfactoryqualitiesmustnotbe
underestimated.Thewayaspacefeelsintermsofboththehardnessandtextureofthematerial,the
degreetowhichsoundmovesandreflectsoffitssurface,andthesmellandtasteoftheairsurroundingit,
alsomakeastrongcontributiontothesensoryqualitiesofaspace.

Zumthor,whoishighlyregardedforhishonestuseofmaterials,speaksofhisbeliefinexpressingthe
inherentqualitiesofamaterialinconjunctionwithitsarchitecturalcontext,Wemustconstantlyask
ourselveswhattheuseofaparticularmaterialcouldmeaninaspecificarchitecturalcontext.Good
A + E 22

answerstothesequestionscanrevealboththewayinwhichthematerialisgenerallyusedanditsown
inherentsensuousqualities.43Theexhibitionofamaterialsinherentqualitiesorthehonestuseof
materialsisadesignphilosophythatwasprominentintheModernMovement.Itwasbasedontheidea
thatmaterialsshouldbecelebratedforwhattheyare,ratherthandisguisedassomethingtheyarenot.
Perhapsoneofthemostrenownedmodernistarchitectswhoisrememberedforhisauthenticuseof
materialsisFrankLloydWright.AnneCatrinSchultzcomments,Wrightdevelopstheidealthatevery
materialmustbeusedinaccordancewithitsnatureonthebasisofacharacteristicgrammarthathonours
thematerialanditsownstrivingforform.Characteristicssuchasgrain,structureandcolourdetermine
designanduse.44

45

Figure8TindayaMountainProject,EduardoChillidaJuantegui

43

PeterZumthor,ThinkingArchitecture(Baden:LarsMuller,1998)11.
AnneCatrinSchultz,CarloScarpaLayers(Stuttgart:EditionAxelMenges,2007),53.
45
FranciscoAsenioCerver,InternationalLandscapeArchitecture(Spain:Ganduxer,1997),84.
44

A + E 23


Pallasmaaalsoreferstotheimportanceoftectonicsandthehonestuseofmaterialsinhiswriting.Onthe
topicofmateriality,hepointsoutthestrongsensoryqualitiesthatarepossessedbynaturalmaterials.He
states,Naturalmaterialsstone,brickandwoodallowourvisiontopenetratetheirsurfacesandthey
enableustobecomeconvincedoftheveracityofmatter.Naturalmaterialsexpresstheirageandhistory,
aswellasthestoryoftheiroriginsandtheirhistoryofhumanuse.46Holl,whohascloselylinkedviewsto
Pallasmaa,communicateshisdisappointmentinmodernmaterialssuchassheetsofglass,enamelled
metalandsyntheticmaterialsthatfailtoconveytheirmaterialessenceorage.47Hedoesnotcondemn
suchmaterialsaltogetherbutencouragestreatmentssuchassandblasting,bendingandacidoxidation
toincreasethesurfacecolourandtexture.SuchstatementsshowHollsdesireformaterialsthathave
substance,textureanddepthandhisappreciationofmaterialsthatportraytheirageandgaincharacteras
timepassesandtheybecomeweatheredbytheelements.

TheDutchartist,TheovanDoesburg,suggestedthattheinnerenergyofamaterialisheightenedbyits
properuse,Whenreinforcedconcretewasfirstusedcorrectlythetension,theenergyoftheconcrete
cameintoitsowninsuchawaythatarchitecturewasunintentionally,withoutaestheticulteriormotives,
enrichedbyanewkindofbeauty.48Holltakestheconceptofintrinsicenergyonestepfurtherby
suggestingthepowercreatedbetweentwocontrastingmaterials,usingtheallegoryfeatherandstoneas
anexample,Aphenomenalarchitecturecallsforboththestoneandthefeather.Sensedmassand
46

Pallasmaa,TheEyesoftheSkin,31.
Holl,PallasmaaandPerezGomez,QuestionsofPerception,29.
48
Schultz,CarloScarpaLayers,68.
47

A + E 24

perceivedgravitydirectlyaffectourperceptionsofarchitecture.49InreferencetoSigurdLewerentzsSt.
Mark'sChurchoutsideofStockholmhestates,Adualityexistsinthebricksweightpressinginonthedim
light.Thepowerandsoulofthisplacewouldbeerasedifthespacewasbuiltinlightweightmetal
construction.50Hollemphasiseshisbeliefinthepoweroftheexpressionofthecontrastingelementsof
massandgravityandtheinfluentialeffectofthistypeoftectoniclanguage.

ItispossibletoconcludethattheviewsonauthenticmaterialusethatbecameprominentintheModern
Movementarestillregardedhighlybymanyarchitectstoday.Zumthorencouragestheexpressionofthe
inherentsensuousqualitiesofmaterialsintheirrightfulcontext.Pallasmaabelievesinthebeautyof
naturalmaterialsbecausetheyrevealtheirageandhistory.VanDoesburgemphasisestheinnerenergyof
materialsthatcanbeheightenedbytheirproperuse.Hollexpresseshisdesireforsubstance,textureand
depthandmakesaninterestingpropositionontheconceptofthestoneandfeatherametaphorfor
materialswhoseownqualitiescanbemadegreaterthroughcontrast.Thus,throughauthenticmaterial
expression,theinnerbeautyofthematerialanditstruecolourisbroughttolifeandtheoveralleffectcan
contributetobeautyandthespiritualnatureofthearchitecture.

1.4.5ReviewofConstituents
Intermsofstructureandform,itwasrevealedthatthethoughtandmeaningbehindstructuralsystems
andthecarefuldetailingofjointsandconnectionscancreatearchitectonicbeautyandaspiritualvalue.

49

Holl,Intertwining,14.
Ibid.

50

A + E 25

Researchintoformandspacerevealedthetwoapproachesofthelabyrinthandthepyramidandthe
limitationsofbothapproaches.Withinthelabyrinth,theabsolutenessofthepyramidcannotbe
experiencedbutwhenexperiencingthepyramid,theintimacyofthelabyrinthisabsent.Withregardsto
spaceandlight,itbecameapparentthatthemoderndayspiritualfascinationformany,comesfrom
delightatthetransientbeautyoflightandshadowinspace.Lightgroundshumanitybyremindingusofthe
forcesinthisworldgreaterthanusandbyrepresentingspace,timeandtheinseparablenatureoflightand
time.Intermsofcoloursandmaterials,substance,textureanddepthwereimportantaswellasthe
expressionofcharacterandage.Thepowerandenergythatcomesfromarchitecturemadeofcontrasting
materialswasalsoanimportantrevelation.

1.5ThePhenomenologyoftheBrionCemetery
Tolookmoredeeplyintotheconceptofthespiritualinarchitecture,acritiqueonaworkthatencompasses
beauty,emotionandspiritualqualitieswascarriedout.ThechosenworkistheBrionCemetery,whichis
locatedinthetownofSanVitod'Altivole,Italy.Thecritiqueisbasedonavisittothecemeterythattook
placeinJuly2009.CarloScarpacompletedtheprojectin1978,anditisdescribedbyGeorgeRanalliasthe
triumphantmasterworkofScarpasfinalyears,raisinghismaterial,formal,andsymbolicinquirytoapoetic
levelunparalleledinitstime.51ThecemeteryalsoincludeswellexecutedexamplesofColdsspiritual
constituents:structureandform,formandspace,spaceandlightandcoloursandmaterials.

51

GeorgeRanalliHistory,Craft,InventioninCarloScarpaArchitect:InterveningwithHistory,ed.NicholasOlsberg(Montreal:
CanadianCentreForArchitecture,1999),129.

A + E 26

Theprojectcomprisesameditationpavilion,chapel,tombfortheBrions,aspacetoholdthefamily
headstonesandvariousintricatelydesignedpathways,poolsandconnectingarchitecturalelements.Scarpa
accreditsJapanasakeysourceofinspirationfortheproject,speakingoftheAnimistandBuddhist
traditionsandthedifferentpoeticvaluesofthetwo.52Healsomentionshisadmirationaboveallfor
Japanesesupremegoodtasteandstates,theintentionaltreatmentsofmaterials,thedeliberateuseof
theeffectsoflightandshadow,thepoeticisingofsymbolicfunctionofspacesandelementsare
commonalitiesthathavetodoprimarilywithanattitudeofmind.53

54

Figure9BrionCemetery,CarloScarpa

52

GuidoGuidiThinkingwiththeEyesinCarloScarpaArchitect:InterveningwithHistoryed.NicholasOlsberg(Montreal:
CanadianCentreForArchitecture,1999),211.
53
Schultz,CarloScarpaLayers,54.
54
Schultz,CarloScarpaLayers,61.

A + E 27


Whenwalkingthroughtheadjoiningspacesinthecomplex,theemotivequalitiesofScarpasarchitecture
areextremelypowerful.Thelevelofdetailingwithregardstostructureandformisbreathtaking.Scarpa
celebratesjoints,openingsandchangesinlevelthroughmeaningfulartisticexpression.Evenunderneath
thewaterinthereflectionpond,surfacedetailingisasprominentasever.

IntermsofformandspaceColdssecondpairofconstituents,thecemeteryappearstobedesignedfor
thebodyinspace.Passagewaysandopenareasenablethecycleoftheexistingviewandtheemerging
viewtointerplaythroughthemotionofthebody.Despitethelargeamountofopenlawnspace,the
enclosingformsseemtodictatethejourneythroughthecemetery.

Coldsthirdconstituentspaceandlightcertainlyplaysafundamentalroleinformingthearchitectural
languagethatcharacterisesthecemetery.Theremarkableintegrationoftheelementsoflight,shadowand
spacearedirectlyperceivable.Intriguingly,mostofthelinesandpathwaysonthesiterundirectlyalong
theaxesofnorthsouthandeastwest.Theonlyelementsthatdivergefromthispatternarethetombsand
thechapel,whichbothsitonafortyfivedegreeangletotheprevailingaxialarrangement.Although
Scarpasastuteknowledgeoflightanditsqualitiesareevidentthroughoutthecomplex,thechapelstands
outasacaptivatingexampleofthepoeticuseoflightandspace.Lightmanagestoenterthechapelon
eachofitsfaces,highlightingdifferentinternalelementsandanglesthroughoutthedayandyear.Light
alsoentersthroughapyramidalvolumeonthetopofthechapeladdingtotheatmosphericdiscrepancies.
Saitocomments,AtsunsetinMay,rayscastawidepatoflightacrossthefloor,transformingthechapel
A + E 28

intoasurrealisticplacesuggestingthatonemightbespiritedofftoanotherdimensionshouldoneventure
towonderwhereitleads.55Scarpaplayswith,andcontrolsthelightthroughoutthecomplex,creating
movementandcaptivatingcontrastsbetweenlightandshadow.Hisuseofnaturallightandits
unpredictablemovementthroughthespacesymboliseslifeandtimeandencouragesthought,
contemplationandmeditation.

Withreferencetocoloursandmaterials,thecemeteryisnowjustoverthirtyyearsold,anditsbeauty
appearsonlytobestrengthenedbytheweatheringexternalconcretewalls.Vinesandmosscoverdifferent
surfaces,daisiesgrowinthelawn,waterliliesfillthepond,andthesenseofplaceisundeniable.Other
thantheglasstilesthatarefeaturedthroughoutthecemetery,colourseemstobedrawnfromtheintrinsic
natureofthematerials,suchasweatheredgreytimber,bronzedetailingandmosscoveredconcrete.

TheBrionfamilyhadwantedanarchitecturaldesignthatwouldtoucharesponsivechordinpeoples
hearts,inspiringpoetry.56ThisappearstobeexactlywhatScarpahasdelivered.

55

YutakaSaito,CarloScarpa(Tokyo:TOTO,1997)19.
Saito,CarloScarpa,16.

56

A + E 29


Figure10VisittoBrionCemetery,July2009

A + E 30

2.0ProjectDevelopment
2.1DesignIssuesandProgramme
Asawaytotesttheideaofthespiritualinarchitectureandcreateanarchitecturethatcanappropriately
encompassresearchfindingsonthephenomenologyofperceptionandColdsconstituents,the
programmeforthisarchitecturalinvestigationisaZenCentre.ZenisaschoolofBuddhismthatoriginates
fromtheEastandinmoderntimeshasbecomeanincreasinglypopularlifechoiceforWesterners.Zenwas
chosenasthecontextinwhichtoexplorespiritualityinarchitectureduetoitsunregimentednatureand
thegeneralpositiveandacceptingcultureofitsfollowers.Itisabeliefsystemthatrestsunchallengedby
modernsociety,asitisnotdogmatic,hierarchicalorbureaucratic.Thechallengewillbeforthe
architecturetoevokeaheightenedsensespiritualityandawarenessinitsvisitorsanddeliveraphysical
settingwheremeditationandotheractivitiesthatunitethebodyandmindcanbeconveyedandpractised.

TheAucklandZenCentreencouragesindividual,dailypractisedescribingitasthekeystoneto
contemporaryWesternZen.57Theyarereferringtothemeditativepracticecalledzazen:

Besidesbringingustoamoreprofoundunderstandingoflifeanddeath,dailyzazen
bringsgreaterfocus,sharpeningourattentionandclarifyingoursensoryexperience.All
experienceandactivityisenhancedthroughgreaterconcentration,asathletesand

57

AucklandZenCentre,WhatisZen?(Auckland:AucklandZenCentre)2.

A + E 31

performingartistsknow.Withzazenwediscoverthepowerofaconcentratedmind,
becomingmorepresentinthehereandnow.58

Hence,theresultantarchitecturewillessentiallybeaboutaplacetoencouragebothindividualand
collectivezazenpractice.ItwillbelocatedintheinnercitysuburbofEdenTerrace.Theaimwillbeto
createatypeofurbansanctuaryorretreat,allowingvisitorstoescapefromstressfulcitylifeinexchange
forcalmnessandtranquillity.Thecentrewillallowforspacesofsolitude,stillnessandreflectionaswellas
spacesformorephysical,socialandinteractiveactivities.Inadditiontoextensivemeditationfacilities,the
centrewillalsoincludeasmalltheatre,galleryspaces,exercisespaces,libraryanddiningspace.The
centresarchitecturallanguageshouldacttoencouragewellbeingandtheconnectionbetweenbodyand
mind.

ItmustbeacknowledgedthatthisprojectraisesquestionsofwhetherarchitectureactuallymattersinZen.
PerhapsZenissimplyabouttrainingthemind,inwhichcasethephysicalsettingmightnotmatter?The
answertothisisnotclearcutanditislikelythatdifferentmembersoftheZencommunitymayhave
differentoutlooksontheissue.Despitethis,itisdefinitelypossibletotaketheaffirmativeviewonthis
issueandarguethatarchitectureisindeedimportant.Theemphasisonphysicalwellbeingthatisenforced
throughactivitiessuchasyoga,meditationandmartialarts,whereposture,breathingandbalancearethe
focus,surelymeansthatthephysicalsettingisimportantandhencethearchitecturalenvironmentdoes
matter.
58

Ibid.

A + E 32


Figure11ZenMeditation

2.2Users
Althoughthereareofcourseexceptions,researchandstatisticsshowpeoplewhopractiseZenintheWest
oftenhavemanyofthefollowingcharacteristics.Firstofalltheytendtoliberal,leftwingandopenminded
membersofsociety.Theywilloftenhavestronghumanitarianvaluesandwillusuallybeenvironmentally
conscious.Statistically,theyalsotendtobeanexceptionallyhighlyeducatedgroupofpeople.Zenappears

A + E 33

toattractpeoplewithartistictemperamentssuchaspainters,musiciansandwritersaswellasathletesand
peoplewhoaresimplylookingforrelieffromthestressoftheirhecticlives.

2.3Site
ThesiteofchoiceforthecentreislocatedonthesouthernedgeofBasquePark,inEdenTerrace.Acentral
Aucklandlocationwasimportanttoensureasuitableproximitybetweenthecentreandtheworkplaces
andhomesoftheliberalcommunitythatwouldbelikelytouseit.Atpresent,thereisapartiallybuilt,
abandoned,concreteskeletononthesite.Thebunkerlikeruinisafairlylarge,twostoreybuildingwithan
intriguingunfinisheddesolation.Ithasbeenbuiltusingconcretecolumnandbeamconstruction.The
decisionwasmadealmoststraightawaytopreservetheruinandincludeitaspartofthefuturebuilding.

ThesiteslopesdownhillouttowardstheNorthandthecityskylineisvisibleindistance.Theparkis
importanttotheprogrammebecauseitwillactasageneratorofnaturalsoundssuchaswater,birdsand
nature,despitethesitesurbansetting.

A + E 34


Figure12RendallPlace,EdenTerrace,Auckland

Figure13WiderContextofSite

A + E 35

A + E 36

Figure14ExistingConcreteStructure

A + E 37

3.0MethodologyandDesignProcess
3.1BlissandFlow
Coldsfourconstituentsareofrelevanceandimportanceinunderstandinghowarchitecturalspacescan
supportourexperiencesandconceptionsofthespiritual.However,whatColddoesnotaddressinher
writingisthedesignmethodologyforproducingsucharchitecturethatwillallowthesefourconstituentsto
successfullyinteractandbringspiritualityandbeautytolife.Theinterrelatedconceptsofblissand
flowmayperhapsofferinsightintoasuitablemethodfordesigningspacesthatdemonstratethe
intangiblequalitiesofspiritualityandbeauty.

TheconceptofblisscomesfromtheAmericanmythologist,JosephCampbell:

Ifyoufollowyourbliss,youputyourselfonakindoftrackthathasbeenthereallthe
while,waitingforyou,andthelifethatyououghttobelivingistheoneyouareliving.
Whereveryouareifyouarefollowingyourbliss,youareenjoyingthatrefreshment,
thatlifewithinyou,allthetime.59

Theconceptofflowisaseminaltheorybypsychologyprofessor,MihalyCsikszentmihalyi:

59

JosephCampbell,ThePowerofMyth(NewYork:Doubleday,1988),91.

A + E 38

Theideaofflowisidenticaltothefeelingofbeinginthezoneorinthegroove.Theflow
stateisanoptimalstateofintrinsicmotivation,wherethepersonisfullyimmersedin
whatheorsheisdoing.Thisisafeelingeveryonehasattimes,characterisedbya
feelingofgreatabsorption,engagement,fulfilment,andskill.60

TofillinthegapsinColdsformulaforaspiritualarchitecture,thefundamentalprinciplesofblissand
flowcanbeappliedasatypeofdesignmethodology.Theunregimented,creativeandZenlikeapproach
impliedbythetwointerrelatedtheoriesappearsasasuitablewaytoapproachthecomplexdesigntask.So
inanattempttoexplorethepossibilitiesofaspiritualarchitecturethatsuccessfullyutilisesthefour
constituents,atechniqueofblissandflowwillbeemployed.

3.2DesireLines,AxesandIntersectingPlanes
Theconcretestructureonthesitemeantthattheprojecthadastrongthreedimensionalgroundingfrom
thebeginning.Insteadofstartingwithablankpage,alanguagewasalreadyexistent.Thecharacterofthe
ruinanditsopen,axialnatureactedastheconceptorstartingpointfortheproject.

60

MihalyCsikszentmihalyi,Flow:ThePsychologyofOptimalExperience.(NewYork:HarperandRow1990),41.

A + E 39


Figure15InitialSketchShowingOutlineofRuinwithinBoundaries

Sketchingandmodellingtookplacetoexploretherelationshipbetweentheruinanditswidercontext.A
languageofaxesandplanesthatintersectedandrotatedbegantoform,whichwasderivedfromthe
mixtureofangularandorthogonallinespresentintheruin.Initialdesignworkmovedbetweenmodelling
andsketchinguntilasolidproposalbegantoform.Throughoutthisprocess,ideasandfindingsfrom

A + E 40

literatureandprecedents,aswellasknowledgegainedontheconstituents,(structure,form,space,light,
coloursandmaterials)wereinfusedintothescheme.

Figure16EarlySketchDesign

Oncetheruinhadbeenmeasuredup,earlysketchdesigncouldtakeplaceoverthetopofthedrawings
(seeFigure16).Modellingoverthetopofsketches,allowedconceptualideastobemovedintothree
dimensions(seeFigure17).Handmodellingandsketchingwasthepredominantdesignmethodology.
Pallasmaaacknowledgestheimportanceofthethinkinghandforartandcreativework.Henotesthe

A + E 41

benefitsofusingthehandsfordrawing,sculpturinganddesignwork,especiallyintheearlystagesofthe
designprocess.Heencouragestheacknowledgementofsensorythinkingandembodiedintuitionas
counterpartsandcomplementariesofconceptualthought,asameansofunderstandingthemulti
dimensionalandlayeredessenceofartandcreativity.61InconjunctionwithPallasmaasviewsonthe
thinkinghand,earlydesignworkwasproducedentirelythroughamethodoffreehandsketching,
conceptualmodellingandsculpturing(SeeFigure18).

61

Pallasmaa,Encounters,138.

A + E 42


Figure17AxesModel

A + E 43

Figure18HandModel,Scale1:500

A + E 44


Figure19EntrancewaySketch

A + E 45

Perspectivesketchdesigntookplaceexploringthequalitiesofthespaceswithinthecentre.Conceptual
ideasfortheentrancewayasajourneywereexpressed,featuringaglowingsandblastedwallmirroringan
insituconcretewall.Anemphasisonthelabyrinthasthespatialsystembegantodevelopthatrelatesto
theexperienceofspace,perceptionandthebody(seeFigure19).

Figure20ConceptualIdeasforMeditationHall

A + E 46

4.0DesignOutcome:ASensoryJourney
Toconveytheresultantscheme,anarrativeorjourneywillbeusedasamethodofdescribingthe
atmospheresoftheseriesofspaces,astheycouldbeperceivedbyavisitortothecentre.Manyofsuch
spaceswillbelinkedtospiritualprecedentsthatwereusedasasourceofinspirationtothedesign.Eachof
thespaceswithinthejourneywillalsoberelatedbacktotheconstituentsofarchitecture:structure,form,
space,light,coloursandmaterials.

4.1TheEntranceJourney
Theentrancejourneyisimportantasthespaceactstocreateatransitionfromthechaoticoutsideworld
intothetranquilcoreofthecentre.Visitorsenterintoanarrowconcreteandsandblastedglass
passagewayandascendupwardsthroughacentralaxislineonthesite.Thejourneydrawsthevisitor
underground,throughthelowerleveloftheexistingconcretestructureandfeedsthemintotheupper
levelofthestructure.

Throughoutthisjourney,space,lightandmaterialsareemphasised.Firstly,thevisitorpassesaglowing
sandblastedglasswallthatilluminatesthepassagewayandbringsoutthegrain,textureandroughnessof
theinsituconcretewallthatmirrorsit.Thevisitorthenmovesintoadarkerspaceastheycontinueto
moveupwardstowardsthedaylightvisibleahead.Thisprogressionfromlighttodarktolightisintendedto
encourageafeelingofdeparturefromtheworldoutside,andgivethevisitortimetocleartheirmindand
leavestressandinhibitionsbehindthem.

A + E 47

TheentrywasinfluencedbyTadaoAndosarchitecture,whichoftenmakestheactofapproachingand
enteringaspaceintoacomplexandmeaningfuljourney.ItalsodrawsinspirationfromAndosmeticulous
useoflight(seeFigure5).Hisworktendstouselightsparinglyinacarefulandappreciativemannerandhe
oftentalksofthespecialqualitiesofspacesdesignedbelowtheearthssurface.InreferencetotheChichu
ArtMuseum,hestated:

Beneaththeearthssurface,lightisreduced,thesenseofdepthincreases,and
darknessisborn.Ihavelongimaginedspaceassomethingintowhichonedescends,
untillightisgraduallyreducedandoneiswrappedintheatmosphereofcool
tranquillity.62

Theotherelementofarchitecturalsignificanceintheentrancejourneyisthestairandthenotionof
ascending.Pallasmaadescribesthestairastheelementofarchitecturethatisencounteredmost
concretelyanddirectlybythebody.63Healsocommentsonthecosmologicalideasandspiritual
aspirationsthatthestairhasrepresentedthroughouthistory.64Hence,thejourneyupwardsisnotonly
intendedtobegintoinvigoratethesensesofthevisitor,itisalsointendedtosymbolisetheascentaway
fromtherealitiesofourlifeworld,creatingexpectationsandpromiseofcalmandtranquillity.

62

Jodidio,TadaoAndoatNaoshima,8.
Palasmaa,Encounters,63.
64
Ibid.,65.
63

A + E 48

4.2Gallery
Thefunctionofthegalleryspaceistoactasfoyerandopenareawhereexhibitionsandsmallgatherings
cantakeplace.Itisalsointendedasapossiblemeetingpointwithinthecentrewheregroupscanassemble
beforeaworkshoporsitting.Thespaceislocatedwithintheupperleveloftheexistingruinandthevisitor
isexposedinternallytotheconcreteskeletonstructure.Noattemptwillbemadetohideorconcealthe
ageandhistorybehindthestructure,withtheintenttoauthenticallyexpressthetextureanddepththatit
hasobtainedthroughitsexposuretotheelements.

Thesandblastedglassfacethatenclosestheeasternsideofthegallerycanbeswungopen,exposingthe
spacetotheEastandcreatingashelteredoutdoorspacethatcanbeusedforoutdooractivitiesincluding
outdoormeditation.

4.3LightWell
Thelightwellactsasasourceofnaturallighttotheinternalandundergroundspaceswithinthestructure.
Thehighroofandvastnessofthespaceisintendedtoencouragethevisitortocontemplatethebigger
pictureandtheforcesonthisearththatarebeyondhumanityscontrol.Thenegligiblehumanscalein
relationtotheheightofthespaceisintendedtoremindthevisitoroftheirultimateinsignificanceinthe
greaterschemeofthings.Inparticular,thespaceisdesignedtodiscourageselfcenterednessandeliminate
theegobyremindingthevisitoroftheforcesoflight,shadowandtimethatarebeyondourcontrolinthis
world.

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Figure21ChurchinFoligno,FuksasArchitects

TheChurchinFoligno,Italy,designedbyFuksasArchitectswasasourceofinspirationcontributingtothe
ideasbehindthisspace(seeFigure21).LikethechurchbyFuksas,thelightwellisglazedonthetopto
allowdaylighttoflowdownthroughit.Ittransportslightdowntothegroundlevelandilluminatesthe
sandblastedglasswall,whichvisitorsinitiallywalkpastduringtheirentrancejourney.

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4.4BodyandMindStudios
Beneaththefilteredlightthatentersfromthelightwellabove,isaspaceavailableforworkshopsand
classesthatfocusonenhancingtheconnectionbetweenthebodyandmind.Mentalandphysicalwellbeing
willbesoughtandbreathing,posture,balance,flexibilityandfitnesswillbeemphasisedthroughtherange
ofactivitiesavailable.

4.5MeditationHall
Themeditationhallislocatedadjacenttothemainfoyerspace.Toenterintothehallthevisitorascendsa
suspendedstairwhichiscantileveredoutfromthesidewall.Thecantileverisareferencetothe
weightlessnessfeltduringmeditation.Thevisitorthenpassesthroughanangularspacecreatedbya
sandblastedglasswallwhichdirectsandrotatesthembackaroundintothemeditationhall(seeFigure22).

Thetectoniclanguageofthemeditationhallisaboutsensedmassandperceivedgravity,whichiscreated
throughthetwocontrastingmaterialsofconcreteandsandblastedglass.StevenHollstates,A
phenomenalarchitecturecallsforboththestoneandthefeather.Sensedmassandperceivedgravity
directlyaffectourperceptionsofarchitecture.65Thecontrastcreatedthroughtheweightoftheconcrete
andthefeatherlikequalitiesofthetranslucent,lightweightglass,createsharmonyandstrengthensthe
intrinsicqualitiesandpowerofeachmaterialindependently.AccordingtoHoll:

65

Holl,Intertwining,14.

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Architecturesexpressionofmassandmaterialsaccordingtogravity,weight,bearing,
tension,torsionandbucklingliketheorchestrationofmusicalinstrumentsismade
moredynamicbythecontrastofheavy(bass,drums,tuba)andlight(flute,violin,
clarinet)musicsmaterialityisresonantlyconveyedviatheinstrumentstoaural
temporalexperience.66

Hollencouragestheuseofcontrastingmaterialstocreatedynamicandvibrantspacesandusesthe
metaphorofanorchestratoprovehispointthatharmonyiscreatedthroughcontrast.

Otherthanthewholesomeexpressionofmaterials,themeditationspaceisreducedtoitsnecessary
elements.Itissimpleandunpretentious,yetpossessesspiritualqualitiesthatareachievedthrough
powerfulyethonestexpressionofmaterials.Thespacedemonstratesthebeautythatcanbefoundin
simplicityandintendstocreateanatmospherewherematerialvalueslikewealthandstatusnolongerfeel
relevantorimportant.

4.6ConferenceandTheatreSpace
Thetheatreisaplacethatcanaccommodatelargeaudiences.Steppedseatingallowsafunctionalspace
wherehighqualitypresentationsanddiscussionscantakeplace.ThetheatrewillallowZenphilosophyand
theorytobeconveyedandexplainedtogroupsofpeople.Thetheatrecouldalsobeusedforcommunity
meetings,conferences,theatregroupsandothereducationalpurposes.
66

Ibid.

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Figure22MeditationHallDevelopmentSketch

4.7EnlightenmentSpace
Atthenorthernendofthebuildingisaspacethatislocatedatthehighestpointreachablefromwithinthe
centre.Itsitscantileveredoutfromtheslopingsite,symbolisingweightlessness,andtheabilityformassto
overcometheforcesgravity.Thevisitorpassesunderneaththisspaceduringtheirinitialentryintothe
centreandglimpsesitspromiseandattractionfrombelow.Fromthisspace,theviewoutacrossthepark
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towardsAucklandsCBDisrevealedtothevisitor.Thisspaceistheenlightenmentspaceandsymbolises
acceptanceandpeacewiththeworldandoneself.Itisaplacewherevisitorscanmeetoverrefreshments
aftertheirsittingandreconnecttothecitytheyliveinwithfreshenlightenedeyes.

Figure23CantileveredEnlightenmentSpace

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WithregardstotheChichuArtMuseum,Turrellpointsoutthateachvisitorisleftwithhisownthoughts,
butfewcancomeawayunmoved67.LiketheChichuArtMuseumthecentrealsointendstomakeit
difficultforitsvisitorstocomeawayunmoved,inanefforttodepartfromthenormalisedandemotionless
architecturethatcharacterisedmuchofthe21stcentury.Throughthecarefullyresearchedimplementation
ofColdsarchitecturalconstituents,(structure,form,space,light,coloursandmaterials),thespaceswithin
thecentrearedesignedtoinvigoratethesensesofthevisitorinanefforttosensualise,poetiseand
ultimatelyspiritualisethespaceswithinthecentre.

5.0Conclusion
Torecapitulate,JuhaniPallasmaexpressedacriticalviewoncontemporaryarchitecturewhenhepointed
outthelackofspiritualandemotionallyricharchitecturethatseemstocharacterisepostmoderntimes.He
wasforthrightinpointingoutthattheprogressofmodernarchitecturehasnormalisedhumanemotions,
andconsequentlyisunabletoreflectemotionalextremessuchasecstasyandmelancholy.68Inanattempt
tomoveawayfromthedetachedandemotionlesstypeofarchitecturethatPallasmaadescribes,thefocus
ofthisprojectbecameanunderstandingofthequalitiesinvolvedinaspiritualarchitectureandthewaysin
whichsuchanarchitecturemightbedesigned.Hencetheresearchquestionwasformed:

Howcanarchitecturalspacessupportourexperiencesandconceptionsofthespiritual?

67

Jodidio,TadaoAndoatNaoshima,36.
Pallasmaa,Encounters,70.

68

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Thequestionentailedtwomainareasofresearch.Theconceptofexperienceandconception,andalsothe
ideaofaspiritualarchitecture.

Intermsofthephenomenologyofperception,theideaofthebodyinspacebecamethefundamental
ideaorstrategyforwhichthespacesweredesigned.Thesensesalsobecameimportantconsiderations,as
thedesignhadtofullyengageitsvisitorsthroughasensoryexperiencethatinvolvedmuchmorethanjust
thevisualsense.AsStevenHollremindsus,Arealarchitecturalexperienceisnotsimplyaseriesofretinal
images;abuildingisencountereditisapproached,confronted,encountered,relatedtoonesbody,
movedabout,utilisedasaconditionforotherthings,etc.69

Althoughitwasatfirstdifficulttodefineexactlywhatconstitutesaspiritualarchitecture,itbecame
possibletodrawmeaningsfrominternationallyrespectedarchitectswhoseworkdemonstratessuch
qualities.Andomentionedaspatialitythatstimulatesthehumanspirit,awakensthesensitivityand
communicateswiththedeepersoul.70WhilstPallasmaacapturedtheessenceofaspiritualexperiencein
hisstatement,Animpressivearchitecturalexperiencesensitisesourwholephysicalandmental
receptivity.Itisdifficulttograspthestructureofthefeelingbecauseofitsvastnessanddiversity.71
Ultimately,itbecamepossibletoarguethatspiritualitycanbefoundinarchitectureandalthoughperhaps
hardtolabelinconcreteterms,itmaybeanarchitecturethatevokesourinneremotions,appealstoour
senses,canpotentiallyalterourmoodorcanaffectuspsychologicallyoremotionally.
69

Holl,PallasmaaandPerezGomez,QuestionsofPerception,35.
TadaoAndo,Ando1995Laureate:AcceptanceSpeech,www.pritzkerprize.com,(accessed11July2010).
71
Pallasmaa,TheorizingaNewAgendaforArchitecture,ed.KateNesbitt,453.
70

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Thequestionremainedastowhatqualitiesaspacemustencompassinordertoinducesucharesponse
fromitsvisitors.BirgitColdproposedfourarchitecturalconstituentsthatcouldbeutilisedtocreatea
spiritualarchitecture:

Spiritualityaswellasbeautyiscreatedorcomestolifewhentheconstituentsof
architecturestructureandform,formandspace,spaceandlight,coloursand
materialsinteractasapieceofart,communicatingwiththeintellect,theemotions,
thespiritandthesenses.72

Byexplorationoftheconstituentsthroughliterature,precedentsandavisittoandcritiqueofScarpas
BrionCemetery,knowledgeanddesignideasweregainedastowaysinwhichtheconstituentscouldbe
integratedintotheprojecttocontributetoaspiritualarchitecture.Withinthefinalscheme,thespaces
eachportraydifferentideasandfindingsonstructure,form,space,light,coloursandmaterials.Theideaof
thebodyinspaceaswellasZenphilosophyalsoinfluencedarchitecturaldecisions.Thespacesare
designedtoinvigoratethesensesofthevisitor,andthefinalschemehaselementstoappealtoeachofthe
sevensenses,(hearing,taste,touch,smell,sight,muscleandbone).Eachofthesedesignmovesaredevices
thathavebeenstrategicallyusedtoproducearchitecturalspacesthatcouldsupportavisitorsexperiences
andconceptionsofthespiritual.

72

BirgitCold,Beautiful,TrueandGoodArchitectureinArchitecture,Aesth/Ethics&Religion,ed.SigurdBergmann(Frankfurt:
FrankfurtamMain,2005)18.

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Thereareofcourselimitationsanditmustbepointedoutthatarchitecturecanonlysupportnot
produceexperiencessuchasthis.Experienceissubjectiveandperhaps,likeinZenBuddhism,adegreeof
opennessisrequiredforavisitortobeabletogainthefullrewardsfromthearchitecture.

Ultimately,thisprojectrevealedthreeapproachestoproducingarchitecturalspacesthatcansupportour
experiencesandconceptionsofthespiritual.Firstly,throughthestrategicandknowledgeableuseofthe
toolsofstructure,form,space,light,coloursandmaterials.Secondly,throughaphenomenological
approachthatemphasisesthebodyinspaceandtheencounterbetweenthebodyandtheworldof
things.Thisinvolvesspacesthatacknowledgeandappealtoallthesensesandthatensurethevisitorisby
nomeansaspectatorbutanintriguedandexpectantparticipatorwithinthesequenceofspaces.Thirdly,
throughcreativeimmersioninthedesignprocessandthetechniqueofsensorythinkingthatcomesfrom
theuseofthehandsinearlydesignwork.

Toconclude,thespaceswithinthecentreexhibitthesethreeapproachesandthusactasanexampleasto
howarchitecturalspacescansupportourexperiencesandconceptionsofthespiritual.

6.0CriticalAppraisal
Itmightbethatultimatelysocietydoesnotneedenchantingandspiritualarchitecture.Likepoetry,music
andart,itexistsasaconstructthatisinasenseunnecessary,butcanenrichourlivesifweletit.
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Spiritualexperienceissubjectiveandpeoplesperceptionsandinterpretationswillvary,meaningthatthe
findingsinthisthesiscannotbeconsideredasthedefinitiveanswers,orastheonlyanswerstothe
researchquestion.Nevertheless,JuhaniPallasmaaandmanyothershaveclearlystatedtheproblemwith
postmodernarchitecturethelackofspiritualandemotionalrichnessandthisthesishasdoneitsbestto
addressthisimportantissue.Howcanwemeasuretheprojectassuccessfulinproducingspiritualand
emotionallyricharchitecture?Asarchitects,wehavelearnedtoexperiencespacesthroughthelanguageof
architecture,whichexistsinplans,sections,modelsandmanyotherforms,butthereareperhapssome
limitationstothis.Althoughthedesignideasinthisprojecthavebeencarefullyconveyedthrough
extensivecreativeenergywiththemethodsavailable,perhapstheonlywaytotrulytesttheemotionaland
psychologicaleffectofthedesignwouldbetoactuallybuildit.Butthisfurtherdelaysthequestionofhow
tomeasuretheemotionaleffect.Perhapsyoueitherfeelitoryoudonotandperhapsthesuccessorfailure
ofsuchanarchitecturecanonlyresideintheconsciousnessofthosewhohavevisiteditorexperiencedthe
representationsofit.Despitethis,theideasthatshapetheprojectremainasacontributiontoarchitectural
discourseandasaproposaltofuturestudentsofarchitecture.

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ENTRANCEPASSAGEWAY

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MIND+BODYSTUDIO

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LIGHTWELL

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MEDITATIONHALL

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ENLIGHTENMENTSPACE

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7.0Bibliography

Books:

Ambasz,Emilio,TheArchitectureofLuisBarragan.NewYork:MuseumofModernArt,1976.

Aravot,IrisandEranNeuman,InvitationtoArchiphen:SomeApproachesandInterpretationsof
PhenomenologyinArchitecture.Bucharest:ZetaBooks,2010.

Bergmann,Sigurd,Architecture,Aesth/Ethics&Religion.Frankfurt:FrankfurtamMain,2005.

Campbell,Joseph,ThePowerofMyth.NewYork:Doubleday,1988.

Cerver,FranciscoAsenio,InternationalLandscapeArchitecture.Spain:Ganduxer,1997.

Coleman,James,TheNewBuddhism.NewYork:OxfordUniversityPress,2002.

Csikszentmihalyi,Mihaly,Flow:ThePsychologyofOptimalExperience.NewYork:HarperandRow,1990.

Futagawa,YukioandRiichiMiyake,Light&Space2:ModernArchitecture.Tokyo:A.D.A.Edita,1994.

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Hale,Jonathan,BuildingIdeas:AnIntroductiontoArchitecturalTheory.NewYork:Wiley2000.

Holl,Steven,Intertwining:SelectedProjects19891995.NewYork:PrincetonArchitecturalPress,1995.

Holl,Steven,JuhaniPallasmaaandAlbertoPerezGomez,QuestionsofPerception:Phenomenologyin
Architecture.SanFrancisco:WilliamStoutPublishers,2006.

Jodidio,Philip,TadaoAndoatNaoshima.NewYork:Rizzoli,2006.

Nesbitt,Kate,TheorizingaNewAgendaforArchitecture:Theory19651995.NewYork:Princeton
ArchitecturalPress,1996.

NorbergSchulz,Christian,GeniusLoci:TowardsaPhenomenologyofArchitecture.NewYork:Rizzoli,1980.

Olsberg,Nicholas,CarloScarpa,Architect:InterveningwithHistory.Montreal:CanadianCentrefor
Architecture,1999.

Pallasmaa,Juhani,TheEyesoftheSkin:ArchitectureandtheSenses.London:Wiley,2005.

Pallasmaa,JuhaniandPeterMacKeith,Encounters:ArchitecturalEssays.Helsinki,Finland:Rakennustieto,
2005.
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Pollio, Vitruvius, Vitruvius: Ten Books of Architecture: Translated by Ingrid D. Rowland. New York :
Cambridge University Press, 1999.
Plumer, Henry, The Architecture of Natural Light. London: Thames & Hudson, 2009.
Richardson, Phyllis, New Sacred Architecture. London: Laurence King, 2004.
Saito, Yutaka, Carlo Scarpa. Tokyo: TOTO, 1997.
Sandaker, Bjorn N., On Span and Space: Exploring Structures in Architecture. Abingdon: Routledge, 2008.
Schultz, Anne-Catrin, Carlo Scarpa Layers. Stuttgart: Edition Axel Menges, 2007.
Tschumi, Bernard, Questions of Space: Lectures on Architecture. London: E.G. Bond, 1990.
Zumthor, Peter, Atmospheres: Architectural Environments, Surrounding Objects. Basel: Birkhuser, 2006.
Zumthor, Peter, Thinking Architecture. Baden: Lars Muller, 1998.

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Journal Articles:
Mark, Robert and David Billington, Structural Imperative and the Origin of New Form Technology and
Culture, 30, no.2, (1989) 310.

Websites:
Ando, Tadao, Ando 1995 Laureate: Acceptance Speech, www.pritzkerprize.com, (accessed 11 July 2010).

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8.0

Declaration

Name of candidate: Nina Horvath

This thesis entitled Architecture & Enlightenment: An Exploration of the Experiential Possibilities of the Constituents of
Architecture is submitted in partial fullment for the requirements for the Unitec degree of Master of Architecture
(Professional).

I conrm that:
- This Research Project represents my own work;
- Research for this work has been conducted in accordance with the Unitec Research Ethics Committee Policy and Procedures,
and has fullled any requirements set for this project by the Unitec Research Ethics Committee.

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