The Temple in the Ruin by benjamintprocter

The Temple in the ruin

Ben Procter

The Temple in the Ruin by Ben Procter Bachelor of Science in Architecture Wentworth Institute of Technology, 2022 Submitted to the School of Architecture and Design in partial fulfillment of the requirements for the degree of Master of Architecture at the Wentworth Institute of Technology, April 2023

.......................................................................... Ben Procter Author School of Architecture and Design

.......................................................................... Certified by Carol Burns Thesis Supervisor

.......................................................................... Accepted by Jason Rebillot Director of Graduate Programs

©2023 Benjamin Procter All rights reserved. The author hereby grants to Wentworth Institute of Technology permission to reproduce and to publicly distribute copies of this thesis document in whole or in part using print, digital, or other means now known or hereafter created.

Plagiarism Statement Plagiarism is the submission or inclusion of someone else’s words, drawings, ideas, or data (including that from a website) as one’s own work without giving credit to the source. When sources are used in a paper or drawing, acknowledgement of the original author or source must be made through appropriate references (footnotes, endnotes) or if directly quoted, quotation marks or indentations must be used. Even if another person’s idea, opinion, or theory is para-phrased into your own words, you can be accused of plagiarism. The same holds true for draw-ings. Only when information is common knowledge may a fact or statistic be used without giving credit (https://www.wit.edu/catalog/2016-2017/academic-honesty).

I, Benjamin Procter am aware of the serious nature of plagiarism and of the fact that it includes design concepts, images, drawings and other representations be-yond the written word. I will not intentionally use someone else’s work without acknowledgement and will not represent someone else’s work as my own. Signature.......................................................................... Date

4.18.23

The road to making this thesis has been long, “arduous, (and) fraught with perils” ~Mircea Eliade.

However equally enlightening and fulfilling. This was only made possible from my loved ones who has stayed by my side through it all.

My mom and dad with their constant love and support.

My brothers, Nathan and Sam who has shown me the path I follow is well lit.

My girlfriend Luna and her unconditional adoration, devotion and insight.

My friends who has given me the best advice and motivation.

Carol Burns, who knows how to organize a messy head space.

And all of my professors from freshman year until now, giving never ending inspiration and guidance.

Strive to Create

As long as human beings exist they will instinctively strive to create. In a way, that’s what binds them to their creator.1 ~Andrei Tarkovsky The responsibility of an artist is to have the ability to bring something into this world that creates a connection between flesh and the infinite power of the cosmos.

For architecture, among all the arts, is the one that most boldly tries to reproduce in its rhythm the order of the universe, which the ancients called cosmos.2 ~Umberto Eco

Architecture has the potential to deliver this love of life and creation the most out of all mediums in a designed experience and its sensitivity to the elements that keep the world pure.

Through art humankind expresses hope. Everything else is irrelevant. All that which doesn’t express hope, and isn’t built on a spiritual foundation has nothing to do with art.3 ~Andrei Tarkovsky

Different art forms based on their complexity and what they do they have different degrees of relevance to this idea of reaching for the divine. Architecture is the highest form because it is such an obvious metaphor, you’re standing in the divine space.4 ~Sam Hyde Architects have a high order to uphold in the design of civilizations future.

To be able to create a separation from the environment to protect humanity from the forces of nature all the while designing a way to unify flesh with the cosmos.

Humankind defended itself against the world, instead of merging with it and establishing a connection with it.5 ~Andrei Tarkovsky

Architecture is the mediator between flesh and the cosmos

Humans depends upon only three kinds of environment: the organism, the external world and society.6 ~Durkheim

An architecture which does not separate from nature but rather has become one with nature are abandoned buildings. Vacant of humans but full of all other forms of life, derelicts stand in a space between spaces. In a constant state of liminality, neither destroyed or used, neither acknowledged or forgotten, always a landmark in the immediate surrounding society. Some of the quietest places can be found in a ruin, and when entering, the space becomes can sit still almost like time has stopped.

A sacred place is a timeless sanctuary, a portal to another realm where time stands still and we are transported beyond the boundaries of our daily lives. It is a place of refuge from the temporal chaos and a window into the eternal.7 ~Mircea Eliade

Fg. 1. Scene from Andrei Tarkovsky film Stalker. 1979.

Ruins are a rejection of modernity while depth is accepted and cherished. I go into the thick, solid rock walls of the ruin to discover the depth humans have Our postmodern world is a world of surfaces and our postmodern condition one of profound superficiality.8 ~Mark C Taylor

The key to understanding the silent power of a ruin is by being mindful of how the elements penetrate and make the structure one with nature.

I look to the forbidden ruin to orient us in this world. To baptize oneself in its rain. To kindle the effervescence of life. To recognize the infinite above. To become one with the quiet, malleable ground. To adore the life of earth.

Ruins are sacred.

Teachers

I wanted to best understand the sacred and its place it has in this world. If I am to design with it in mind, then I ask: What are the definitions of Sacred? How do humans access the sacred through ritual? How is nature a sacred hierophany?

I looked to other, well respected creators and their understanding of the sacred in order to manifest this eluding subject into a tangible awareness in my own mind.

I began by asking them what their definitions of sacred are.

Emilie Durkheim, a French sociologist, sees society as religion. “God is only a figurative expression of society.”9 When worshiping god (or a higher power) society is worshiped, stemming from the transcendence an individual witnesses when in a collective, like minded community, guided morally through this congregation.

“A religion is a unified system of beliefs and practices relative to sacred things, that is to say, things ~ Set apart set apart and surrounded by prohibitions - beliefs ~ Forbidden and practices that unite its adherents in a single moral community called a church.”10 Here we find Durkhiems definition of sacred, set apart and forbidden.

“By

definition,

sacred

Separate~ beings are separate beings.

That which characterizes

A Break~ them is that there is a break of continuity between them and the profane beings.”11 Here we see a distinction between “good” or morally straight, to “evil” or ordinary. This is not to say ordinary is evil but, when made as black and white as sacred and profane, the ordinary opposes sacred.

Wonder~

Anthony Lawlor, architect and author of The Temple in the House, has been able to define sacred as through his own experiences in these forbidden spaces. “I’m coming to think of sacred space as the space between me and the place, that field of perception where that recognition of the beauty and wonder of these places comes alive. That’s the sacred space.”12 Here Lawlor is not talking about any tangible thing but rather what the space does to the inhabiter. Where the senses translate, behind the eye of the beholder, all of the information gathered in their immediate surroundings.

To Lawlor, the sacred is within us. A space is made sacred within us, through our perception and mental translation of that space.

~ Beauty

Mircea Eliade, historian of religion, who has written The Myth of the Eternal Return and The Sacred and the Profane to name a few, has his definition of the sacred, however similar to others in its own way.

Center~ Absolute~ Reality

“The center, then, is pre-eminently the zone of the sacred., the zone of absolute reality.”13 “The navel of the Earth” at Delphi, or the middle of a town square where gatherings happen, or maybe oneself. The center of the world can be anything and different for everyone, however all similarly manifests communication with the cosmic region.

September 22, 2022. Ruins of Delphi, Greece

Rituals are heavily tied to the sacred, it being the greatest action held within a sacred space. To Catherine Bell, rituals are “rules of conduct governing how people should act in the presence of sacred objects.”14

I now look to better understand rituals and the power a community builds when acting out these traditions.

To capture the “passionate intensity, feelings of ‘effervescence,’ in which individuals experience something larger than themselves.”15

To Durkheim, ritual plays a crucial role to “cement the social order of which it is a part by bringing individuals together and reinforcing their common bonds of identity.” 16 Through rituals individuals experience a unity, found in coming together and forming a home. That is to say a common ground. Where everyone is equally treasured, adored, and understood.

Lawlor sees ritual as a bridge for people to connect with life and its purity “I saw the power of architecture as ritual space, to meet the needs of a ceremony, that can allow us to reconnect with life.”17 To connect with life, this is to connect with something greater than the individual, to the cosmos, to creation, or simply connection with the community. Lawlor makes a strong point though, that it is architectures responsibility to foster the space for rituals.

Eliade similarly understands ritual as a way to “express and communicate the sacred, creating a bridge between human beings and the divine.”18 If rituals communicate the sacred, then sacred can be thought of as the community. This bridge between human and the divine must happen in the sacred, considering, as stated before, a sacred space manifests a connection between humans and the divine, in that case rituals performed in a space makes that space sacred.

A hierophany is a manifestation of the divine, a tangible sacred person, place or a thing. It is easy to see how nature is a hierophany as it is a thing created from a higher being. Pure self renewing life. The largest manifestation of unity, with recent discoveries of plants that talk to one another and fungus community spanning miles long, “it is the realization of wonder. The experience of tremendous power which people of course living in the world of nature is experiencing all the time. You know that there is something there that is much bigger than the human dimension.”19

I ask my teachers what their interpretation of nature’s relationship to sacred is.

Edited image of my sacred forest. Tyngsborough, MA. Spring, 2021

In places like this I live arboreally, within and among the life of nature, my forest temple, my isolated island, removed from the profane and among the sacred.

Edited image of my front yard. Tyngsborough, MA. Summer, 2022

Edited image of my back yard. Tyngsborough, MA. Summer, 2022

Edited image of mountain in Pucón, Chile. Summer, 2022

Moss found in the forest. Tyngsborough, MA.

The most exciting dimension a video can capture is the dimension of sound. With music an emotion can be brought out, that is why I tend to want to create videos, strike an emotional cord in the viewer.

Durkheim, being a sociologist, had confronted the separation between nature and soceity. However, he came to a different conclusion from separation, “Even if society is a specific reality it is not an empire within an empire; it is part of nature, and indeed its highest representation. The social realm is a natural realm which differs from the others only by a greater complexity.”20 In this case if society is sacred, as defined by Durkhiem, then nature would also be sacred.

For Lawlor nature is separate from society and architecture has the ability to bridge this gap. “The split between human beings and nature, mind and body, spirit and mother has generated damaging conflicts at every level of life.”21 He sees the power of architecture to reconnect our postmodern, profoundly superficial world with the wonder and grandiose of nature. Back to a primal time, when nature was our designed world. Always in touch, physicality and mentally, with something larger than the human.

Eliade would generally agree with the other two. “The sacredness of space, and in particular of the natural world, is a permanent attribute of religious man’s universe.”22 Always with us, even if not physically visible it comforts to know the air inhaled, even indoors, is given to us by a plant somewhere. “Mountains, springs, caves, and trees are the most frequent and most tangible supports for sacredness, and it is not only a question of the divine presence, but also of a certain ambiance of power and freedom that they possess.”23 And to reach towards a greater connection with nature we too feel an ambiance of power and freedom.

What I have been able to learn from my teachers cited above is that there is not one definition of the sacred set in stone. It is much more open to the individual and what experiences they carry with them. It is what can be perceived as opposing evil and as morally right, a guidance towards purity. It also doesn’t have to be a tangible thing but instead the abstract idea of a thought, growing and sprouting in the mind. Even with these different views however, ritual will always be connected to sacred, to be able to lift the spirit closer to a divinity, or can sometimes be a manifestation of something sacred.

Ritual is one of the most predictable features of every human society.24 ~Dimitris Xygalatas 26

Through my own time I have found nature to be a hierophany considering every time I immerse myself in the forest I am brought into what feels like a sacred realm. Wonder and exploration have a home here in the woods and I am not alone in natures connection with sacred. But are humans separate from nature and are seeking possible reunion? Or is society already connected to nature?

These open interpretations reveal the strongest point of sacred and that is it is up to interpretation. It gives power to the individual to decide what is morally straight and what guidance to follow. Currently, I am guided by wonder and exploration and so my sacred spaces reflect this.

Immersed

We were at the ancient island of Aegina on day 5 of an 8 day trip to Greece to explore its sacred landscape with the global research studio run by Meliti Dikeos. The island is home to the Temple of Apollo and directly above the ground in the picture to the right, the Temple of Athena Aphaia.

When exploring the museum on site I noticed a cave on the back end of the temples base. Immediately I walked directly in that direction in real life, finding the cave in the same place. I pulled the metal chicken wire aside, squeezed tightly between it and the solid rock wall to emerge into the quietest place on earth.

Fg. 2. View of cave detailed into foam model.

The road is arduous, fraught with perils, because it is, in fact, a rite of the passage from the profane to the Sacred.25 ~Mircea Eliade 30

Image capture: Mar 2022

Content may be subject to copyright.

Photo of the cave opening through chicken wire fence. September 21, 2022

Photo of the inner cave. September 21, 2022

The most dense walls surrounded me blocking any noise from traveling. The ceiling 5 feet above the ground, I was down on my knees crawling through the space. A well, pictured to the left, pierces through the cave and I realize it is the same circular grate seen at the base of the temple, 20 feet through the solid rock above my head.

Photo of grate at the temple’s base. September 21, 2022

My exploration and wonder peaked in this place, that is why it is a sacred space.

Sacred is a term used to separate objects, places, or people from the everyday mundane world, otherwise known as the profane.

Around the world there are spaces that become sacred once humans give it a name that separates it from the ordinary world. After years of people encountering the space, their experience can be recounted as otherworldly, forbidden and ethereal, and thus becomes sacred by name.

In the south of Chile, within the turquoise waters of Lago General Carrera, there is a small island called

The Marble Cathedral

Fg. 3. Marble Cathedral, Patagonia, Chile.

Fg. 4. Marble Cathedral, Patagonia, Chile.

I loved this idea of the inner and the outer, like when you see someone and you say, ‘that person is radiant.26 ~ Siamak Hariri When Siamak Hariri was given the opportunity to design the continental Baha’i temple in South America he had to think of a “new form of sacred space” because the foundation of the Baha’i community is that it is open to all. It is a space for all ethnicities, all faiths, or even no faith at all. There were no precedents for Hariri to look at and had him feeling like he is designing one of the first cathedrals for Christianity in Europe or the first mosque for Islam.

Fg. 5. Bahá’í Temple. Metropolitana, Chile

After fourteen years of designing he found his inspiration in a number of sacred hierophanies.

A plant reaching up towards the sky, a reach for the divine.

Fg. 6. Plants reaching for the sky

The ritualistic Sufi whirling dancers, who spin in large skirts as a form of physical meditation. Fg. 7. Sufi whirling dancers

The way light can be used as a material, “a pure form, a single form of emanation.”

Fg. 8. Single, pure emanating material.

If a pray is answered, all the pillars of the dwelling are ashine with His light.27 ~ Siamak Hariri 37

Mill City

Lowell

Massachusetts, commonly referred to as “Mill City”.

Photo of three mill city shops. Lowell, MA. March 12, 2023

fg. 9. Mill City BBQ sign.

The heavy masonry brickwork and repetitive window rhythm is baked into the life and love of the city of Lowell.

fg. 10. Typical interior mill floor.

Before artificial electrical lighting, cotton mills had to rely on natural light so tall, wide windows were fitted between each structural bay. The bays of these mills were square and so in the center of the rooms sat large timber columns holding up the joists above. This allowed for a totally open floor plan, which was equipped with enormously wide cotton looms, placed side by side to not waste any floor space and to all be attached to a rotating axial motor which ran along the ceiling (fg.11). These motors were all powered hydraulically from parallel rivers, orientating not only the building itself but also the town in the context of the natural landscape.

fg. 11. Drawing of Lowell, MA.

However, the building in question does not follow parallel to the adjacent canals, an outlier in the fabric of Lowell.

Fg. 12. 1906 map with annotations.

Irregular sized site, shaped for its function to supply a human necessity. The complex is made up of three major structures: The coal house The pump room And the boiler house

Nowadays the site does not serve this purpose. It remains vacant, tall and alone. Often dismissed completely, regardless of how much space it takes up in the center of these apartment buildings.

The coal shed and boiler room is the center of a larger complex of 4 large mills turned into housing units.

The center, then, is pre-eminently the zone of the sacred.28 ~ Mircea Eliade

Current existing axon.

Existing site plan. Bristol Paper, Charcoal. 23”x29”

Existing section. Bristol Paper, Charcoal. 23”x29”

But an empty shell, like an empty nest, invites day dreams of refuge.29 ~Gaston Bachelard

For if the dust in the shell can experience resurrection, there is no reason why the pulverized shell should not recapture its spiraling force.30 ~Gaston Bachelard 47

I was drawn to the site long before I had begun thinking of the sacred, however present.

Trees spilling reaching out of the shell into the sky. Vines painting the brick walls green An oasis within the urban fabric.

However forbidden

Fg. 13. View of roofless coal house with greenery inside.

The roofless coal house. Summer, 2021

The Sacred is saturated with being.31 ~ Mircea Eliade

How can this space become inhabitable again but for humans to enjoy the life that has found a new home here?

How can the ruin become habitable?

The Offering

The following are pictures edited to show how I imagine the coal house to become once inhabitable.

To show its sacredness visually.

And audibly through carefully selected music.

I look to reveal how the five elements penetrate the ruin.

If the ruin is within nature and forbidden, then the people who will soon inhabit the space will be required to inhabit nature.

Five Elements

The rooms delineation

Section

Quote from the respected teacher

Artifact found within the given space Ritual that happens within the given space

Five parts of the prayer

This provided a sequence to be followed after passing through the profane and into this sacred realm.

Beginning in the green space, the fountain square, the path follows the scratched marks through the building.

Elemental site plan. 6 layers of bristol paper, charcoal, watercolor paint. 23”x 29”

Close up of chimney. 6 layers of bristol paper, charcoal, watercolor paint.

Close up of fountain room’s connection to fire space. 6 layers of bristol paper, charcoal, watercolor paint.

The ritualistic celebration of rain perspective

The effervescence found in the fire room perspective.

Recognition within the chimney, framing the sky perspective.

The quietest air found within the meditative space perceptive.

Adoration of nature perspective.

Site plan. Bristol paper, graphite, charcoal, water color, stained chipboard, gardening soil, moss. 23” x 29”

Close up of site plan

A ruin is not in “dynamic rivalry with the universe”32 or “an inhabitant of the world, in spite of the world.”33 but rather stands proudly, immersed in the Earth’s built environment.

That is what makes a ruin sacred, to be a true inhabitant of the world.

Basement plan. Bristol, graphite, watercolor, charcoal. 23” x 29”

Section through fountain square, oasis, and meditation room. Bristol, graphite, charcoal, moss. 23”x29”

Close up of section

Section cutting through fire room. Bristol paper, graphite, charcoal, watercolor

Installation in Watson auditorium. April 11, 2023

Making an Artifact

Chipboard mold in progress.

The process of capturing the sacred.

Mold after failed plaster pour

After a week of cutting, gluing, and taping the mold to stabilize it I had thought I was ready to begun pouring the plaster and create a relic of this time.

Failing to mix the plaster showed I was out of harmony with water and earth. By not giving either the respect needed I got mud and I can’t work with mud.

Keep pushing on Keep pushing on

Re-learning the proper way to mix plaster, I found a rhythm in the process, almost ritualistic in the sounds.

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The swirling of water

The cup of plaster tapping the edge pouring the powder in

And finally the sound of the mixture running down into the mold.

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Only photo of the model in one piece.

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Slowly the walls began to crumble, breaking apart from one another.

Now the model is truly of a ruin.

Placing each piece together within the gardening soil gave me a sacred space.

Only photo of the model in one piece.

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Explore the ruin yourself on Polycam.

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In Return

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I have seen thesis as a way to gather all of the thoughts, imaginations, and dreams throughout the past 5 years in architecture school and display in one cohesive piece. This is why I look back at my first final project freshman year and I see the relic I had made out of plaster and knew I wanted to come full circle by making another artifact. One that will be a statement of this time in my life.

I brought this relic from freshman year to the roofless site I found myself in this year. To weather under the rain for a week.

Pure Reflective Flawless

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Relic left in roofless coal house. March 25, 2023

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Relic after battle. April 18, 2023

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A week later I picked up the relic from the site. Damp and retaining the rain water, I squeezed through the opening out of the ruin, compressing the relic causing cracks which slowly disintegration the weaker elements. Due to its weight I had used it to be a stabilizer for the mold of the current project, which ended up receiving some rouge plaster drops.

Stained Discolored Dirty

I gave the title for this project “The Catalyst” because it had been the beginning of my architecture school, the start to a long journey. It’s ability to continue to catalyze reflection and constant exploration is prevalent and admirable.

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I hope to see this newly formed artifact to similary be a catalyst.

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For future exploration into the unknown.

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To grasp into the abyss.

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To find a voice that is my own in architecture.

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That will build spaces which worship a greater power.

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And thus, unify humanity.

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Until then, I will see the outside world in a different way. As a space to adore.

And I will listen to Demon Days by Gorillaz a little bit louder.

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Next to the temple of Apollo, Aegina, Greece. September 20, 2022

Gorillaz - Demon Days 2005 In these demon days, we’re so cold inside. It’s so hard for a good soul to survive. You can’t even trust the air you breathe ‘Cause Mother Earth wants us all to leave When lies become reality You numb yourself with drugs and TV Pick yourself up, it’s a brand new day So turn yourself ‘round Don’t burn yourself, turn yourself Turn yourself around into the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun To the sun, to the sun

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End Notes

1. “Andrey Tarkovsky: A Cinema Prayer,” directed by Andrei Tarkovsky Jr., documentary, 97 min., 2019, streaming video, Criterion Collection. 2. Umberto Eco, The Name of the Rose, trans. William Weaver (San Diego: Harcourt Brace Jovanovich, 1983), pg. 13. 3. “Andrey Tarkovsky: A Cinema Prayer,” directed by Andrei Tarkovsky Jr., documentary, 97 min., 2019, streaming video, Criterion Collection. 4. Dollar Stream. “Sam Talks: The Highest Form of Art for Men and Women.” Video, 12:22. Uploaded March, 27, 2023. 5. “Andrey Tarkovsky: A Cinema Prayer,” directed by Andrei Tarkovsky Jr., documentary, 97 \ min., 2019, streaming video, Criterion Collection. 6. Émile Durkheim, “The Elementary Forms of the Religious Life” (1912; repr., New York: Free Press, 1995), pg. 43. 7. Mircea Eliade, The Sacred and the Profane (New York: Harcourt, Brace & World, 1959), pg. 14. 8. Taylor, Mark C. “Hiding.” Chicago: University of Chicago Press, 1997 9. Émile Durkheim, “The Elementary Forms of the Religious Life” (1912; repr., New York: Free Press, 1995), pg. 58. 10. Émile Durkheim, “The Elementary Forms of the Religious Life” (1912; repr., New York: Free Press, 1995), pg. 44. 11. Émile Durkheim, “The Elementary Forms of the Religious Life” (1912; repr., New York: Free Press, 1995), pg. 61. 12. Kidel, Mark, dir. “Architecture: Portals to Consciousness with Anthony Lawlor.” New Dimensions Radio, 2014. 13. Eliade, Mircea. “The Myth of the Eternal Return: Or, Cosmos and History.” Princeton, NJ: Princeton University Press, 1971. pg. 17. 14. Catherine Bell and Catherine Bell, Ritual: Perspectives and Dimensions--Revised Edition (New York: Oxford University Press, 1997), pg. 24. 15. Catherine Bell and Catherine Bell, Ritual: Perspectives and Dimensions--Revised Edition (New York: Oxford University Press, 1997), pg. 25. 16. Émile Durkheim, “The Elementary Forms of the Religious Life” (1912; repr., New York: Free Press, 1995), pg. 24. 17. Kidel, Mark, dir. “Architecture: Portals to Consciousness with Anthony Lawlor.” New Dimensions Radio, 2014.

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18. Mircea Eliade, The Sacred and the Profane (New York: Harcourt, Brace & World, 1959), pg.14 19. Joseph Campbell and Bill D. Moyers, directors, Joseph Campbell and The Power of Myth with Bill Moyers (Full Series) (DVD; Acorn Media, 2001). 20. Émile Durkheim, “The Elementary Forms of the Religious Life” (1912; repr., New York: Free Press, 1995), pg. 44. 21. Anthony Lawlor, The Temple in the House: Finding the Sacred in Everyday Architecture (New York: Penguin Books, 1994), pg. 11. 22. Mircea Eliade, The Sacred and the Profane (New York: Harcourt, Brace & World, 1959), pg. 63 23. Mircea Eliade, The Sacred and the Profane (New York: Harcourt, Brace & World, 1959), pg. 63 24. Dimitris Xygalatas, Ritual (Oxford: Oxford University Press, 2021), pg. 44. 25. Eliade, Mircea. “The Myth of the Eternal Return: Or, Cosmos and History.” Princeton, NJ: Princeton University Press, 1971. pg. 18. 26.TEDx Talks. Siamak Hariri. “How do you build a sacred space?” Video, 18:37. January 5, 2015. https://www.youtube.com/watch?v=sRT61YB0hSQ. 27. TEDx Talks. Siamak Hariri. “How do you build a sacred space?” Video, 18:37. January 5, 2015. https://www.youtube.com/watch?v=sRT61YB0hSQ. 28. Eliade, Mircea. “The Myth of the Eternal Return: Or, Cosmos and History.” Princeton, NJ: Princeton University Press, 1971. pg. 17. 29. Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1994), pg. 107. 30. Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1994), pg. 117. 31. Mircea Eliade, The Sacred and the Profane (New York: Harcourt, Brace & World, 1959), pg. 12 32. Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1994), pg. 46. 33. Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1994), pg. 46.

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