GOV IN D A De C A ST R O UC Berkeley M. Arch 2012
GOVINDA DeCASTRO 114-23 Lefferts Blvd. Apt. 2R, Queens, NY 11420 govindadecastro@gmail.com - govindadecastro.com (352) 262-0563 OBJECTIVE: To focus on better understanding the social, contextual, and environmental problems we face in today’s society relating to architecture, and to implement innovative technologies and design strategies to solve these problems. EDUCATION:
Master of Architecture, University of California, Berkeley Recipient of the Graduate Opportunity Fellowship Bachelor of Design in Architecture, University of Florida, Gainesville, FL Placed top 10 percentile out of 120 students entering upper division of Architecture
May 2012
May 2010
WORK EXPERIENCE: Institute for Community Living, Brooklyn, NY Jan. 2013 – Present Project Hope Crisis Counselor/Designer - Assist individuals, families, and groups impacted by Hurricane Sandy. Provide survivors with information on financial assistance, job and housing opportunities, and recovery strategies. - Design brochure creating a distinguishable image for ICL’s program and services. - Promote resilience, empowerment, and recovery to survivors. Bhakti Academy, Gainesville, FL Sept. 2012 – Nov. 2012 Independent Contracting - Presented clients and board committee with design proposal. Project was approved. - Drafted schematic proposals, diagrammatic drawings, project scope and 3D model. - Implemented sustainable design strategies for client’s fund-raising presentation. Goring & Straja Architects, Berkeley, CA May 2011 – Aug. 2011 Architecture Intern - Assisted with the production of construction documents, schematic drawings and building details. - Designed presentation board for clients illustrating design options. - Drafted schematics and designed/built 3D model for competition. Michael Pellet Architect, AIA, Gainesville, FL June 2009 – Aug. 2009 Architecture Intern - Assisted principal architect in Campo Verde housing project. - Created a portfolio and presentation boards for Magnolia Bay Innovation Center. - Organized office work by categorizing project based on scale. SKILLS:
- Thoroughly trained in model buildings, drafting, and diagrammatic drawings - Proficient in Vectorworks, AutoCAD, Rhino 3D, Modo, Sketch Up, Form Z, Adobe Photoshop, Adobe Illustrator, Adobe InDesign - Experience in landscape construction - Fluent in English, Spanish, Portuguese, and intermediate in Italian
Table Of Contents City In Translation
01
Bhakti Academy
03
High Performance Faรงade
05
Mission : Swim
07
Urban Stitch
09
Negative Translucency
11
Monastic Architecture School
12
Stretch House
14
Eucalyptus Landscape Urbanism
15
Sacred Matters: A Place for Contemplation
17 i
C I T Y I N T R A N S L AT I O N New York City, NY Critic: Bradley Walters The city of New York is home to two distinct inhabitants, namely the permanent and the temporary. The hotel serves as the translator between the two, juxtaposing their relationship and experience into a single reality. We labeled the travelers staying in the hotel for a short period of time as the temporary the locals who are of the city, living and dwelling in it as the permanent. As the translator, the hotel serves as a way in which these two people can come together to communicate while speaking two different dialects.
Grid and Indeterminate
Grid folds up / Nodes extracted from city
Lobby
Nodes translated into program / fed back into city and Tourists
Yoga studio
Digital media theater
Circulation
Public Spaces
Facade
Transparent Skin
Structure
1
56TH St. and 10TH Ave.
Cross Section
Longitudinal Section
2
BHAKTI ACADEMY Krishna House, 1418 NW 3rd Ave, Gainesville, FL Client: Carl Woodham (Chaplin) The Bhakti Academy is an education facility, teaching youth from around the world. Chaplain, Carl Woodham, asked for the design of a new building in order to accommodate the growth of the Krishna House programs. The design took into account principals of vastu-sastra, which helped align the building’s orientation and allocation of programs most fittingly in accordance to cardinal directions, and sustainable design strategies, to maximize the buildings efficiency and performance. The new design for the building takes into account various design strategies to mitigate energy use. The second and third flood extend out, decreasing the amount of solar gain into the dormitories room.
15 7 11
6
13
5
10 3
4
14
2
1
9 8
Ground Floor Plan
12
Second / Third Floor Plan
Roof Plan
1
Reception/Store
4
Dinning Area
7
Kitchen
10
Student Dorms
13
Roof Gardens
2
Restroom
5
Congregation Hall
8
Wrap Around Veranda
11
Two Bedroom Suite
14
PV Panels
3
Performance Stage
6
Altar
9
Lounge
12
Track
15
Pavilions
3
Several decisions were made to lessen the carbon footprint of this building. An open space running from the ground floor to the roof allows for cross ventilation to occur throughout the programmatic spaces (kitchen, dorms, etc.). In the western, eastern, and southern side, the wrap-around-porch overhang protects the interior spaces from solar heat gain. The porch space (Florida room) allows for inside/outside living for the dorm students. The porch further acts as a buffer space between the internal and external spaces. Photovoltaic Panels
Walking Track
The garden and photo-voltaic panels on the top of the building further contributes to the learning of the Bhakti Academy students. The roof has a footpath, hydroponic green houses and photo-voltaic panels. The roof-scape allows the students to exercise, cultivate food, and recreate in an urban setting.
Atrium / Light Well
Hydroponic Garden
Dorms
Lounge
Vertical Circulation
Eastern Entrance 1/2 Bedroom Apts.
Structure
Congregation Hall Ent.
Dinning Area Ent.
Roof-scape
Lounge Area
Reception / Store Ent.
Southern Entrance
4
H I G H P E R F O R M A N C E FA Ç A D E UH Manoa, Honolulu, Hawaii Critic: Susan Ubbelohde
1
2
3
4
5
Classroom Roof 52' - 0"
Level 4 39' - 0"
1
2
3
Classroom Roof 52' - 0" Level 3 26' - 0"
Level 4 39' - 0"
The Kuykendall Hall located at the University of Hawaii Manoa campus is in need of a retrofit using design strategies that would make it stand out from the dated 1960’s structures and serve as a new model for the campus. With Hawaii electricity cost being amongst the highest in the nation, our team’s (Ben R., Michael S., and David D.) strategy was to design for a zero-net building and optimal occupant comfort.
Level 2 13' - 0"
Level 3 26' - 0" T.O. PLANTER GRADE -1' - 6"
Local architecture as precedent Level 2 13' - 0"
8
Many of the design ideas were taken from local architecture and the original design of the Hall, which incorporate natural ventilation and shading as a means to keeping the building cool. The south facade was chosen to house the buildings main circulation in order to block the harsh souther sun. Horizontal wooden slats blocks the souther light while vertical fins were used in the north facade to protect the classrooms during the summer’s sun. A
B
C
D
E
F
G
H
J
K
M
N
L
C
Level 1 0' - 0"
T.O. PLANTER GRADE -1' - 6"
Level 1 0' - 0"
7
ROOF 91' - 0"
ROOF 91' - 0"
8
Level 7 78' - 0"
ROOF 91' - 0" Level 6 65' - 0"
A
B
C
D
E
F
G
H
J
K
M
N
7
Level 7 78' - 0"
L
ROOF 91' - 0" Level 6 65' - 0"
Level 7 78' - 0"
6
5
4 Level 7
78' - 0"
Level 5 52' - 0"
Level 6 65' - 0"
Level 6 65' - 0"
Level 4 39' - 0"
6
Level 2 13' - 0" Level 5 52' - 0" Level 3 26' - 0" Level 1 0' - 0"
GRADE -1' - 6"
Level 4 39' - 0" Level 2 13' - 0"
Level 1 0' - 0"
Level 2 13' - 0"
Level 3 26' - 0" OPEN COURT
CONNECTING COURT
GRADE -1' - 6" Level 2 13' - 0"
Original structures
C
OPEN COURT
Performance Goals: 1. Materials Local materials: The build will use local materials for more than 50% of materials in the façade not including glazing. Reusable materials: Atleast 10% of the façade should be design to accommodate reclaimed materials.
2. Design Strategies Durability: A façade that can last over 30 years through modularity and easy replacement of parts. Avoid corroding metals.
3. Energy and CO2 Energy generated on site from renewable sources will meet or exceed building energy consumption. Net zero carbon emissions: Will generate on site as much carbon emissions free energy as is produced from source energy consumption.
Process Diagram
South Façade
Section diagram cutting through the classrooms, circulation and atrium
5
Interior Walkway
Southern faรงade housing the buildings main circulation and blocking the harsh, direct sunlight
4. Occupant satisfaction Occupant control: All moveable or adaptable part of the faรงade will be designed to allow for adjustments by occupants. Connection to outdoors: Atleast 50% of rooms should be adaptable to allow for some aspect of direct connection to the outdoors such as a balcony. Thermal comfort: Maintain a dry bulb comfort temperature of between 70 and 75 degrees for 90% of daytime hours.
North Faรงade
5. Heating, cooling, ventilation Air: 100% natural ventilation. Cooling: No air conditioning. Meet comfortable temperatures with passive strategies such as evaporative cooling and with thermal mass.
Diagram of classroom circulation
6. Solar conditions No direct solar gain on warmer days: 100% of glazing will be shaded from direct solar gain when air temperature is greater than 70 degrees. Daylighting: The building will be 100% daylighted during classroom hours.
6
MISSION: SWIM Mission District, San Francisco, CA Critic: Roddy Creedon The Mission Pool project began with an analysis of the site conditions from a larger, urban scale. The analysis was of public spaces, in particular open parks, within a one to two miles radius of the current Mission pool. The conclusion to this was that, with the exception of Delores Park, there are very few public parks for the locals of the Mission area. Coupled with a series of interviews with visitor of the pool, who expressed that having a public space outside the pool area would be a desirable thing, the goal of the project became clear. The primary goal of the project is to expand the public space that is lost to programmatic activities.
View along Linda Street
Sitting + Light wells
SITTING + LIGHT WELL
Operable system OPERABLE SYSTEM
PROGRAMMATIC SPACES
Programmatic spaces Swimming pool SWIMMING POOL
Structural system STRUCTURAL SYSTEM
Transparent facade
TRANPARENT FACADE
Yoga on top
Light Wells + Seating
Seating for 3 +
Seating for 3+ Seating for 2
Seating for 2 Seating for 1
Seating for 1
Glass siding Glass siding
Locker Rooms below
Looker Rooms
Physical model
Longitudinal Section
7
Approach from 19th street
In and out
Physical model
0
1’
2’
Govinda Fall 201 Studio 2
4’
Cross Section
8
URBAN STITCH Dewitt Clinton Park, 10th Ave and 53rd St., NYC Critic: Bradley Walters New York City is an eclectic place that has many important urban conditions but no clear relationship amongst them. After analyzing the area surrounding the site, 10th Ave and 53rd St., we marked important elements such as schools, public parks, historical building and churches, but noticed a lack of connectivity. The openness of the parks, the verticality of the structures, the historical feel of the buildings, and the subterranean feel of the subway were the experiences we used to connect the various programmatic pieces we incorporated into our project. The connection we created amongst different spaces we called the urban stitch.
10th Ave and 53rd St.
2
1
Superimposition of 3 scales
Personal scale
Intermediate scale
Distant scale
1
2
3
4
9
Collage of Vertov’s film “Man with a Movie Camera”
Mechanics of stitching which shaped the project’s form
The film “Man with a Movie Camera,” by Dziga Vertov was also part of the analytical study. In the movie, Vertov captures various perspectives and realities by filming different sequences of the filmmaking process. In the movie, the perception of space shifts from viewing Vertov filming the movie, then viewing the movie, and finally watching the audience view the movie. From the film the idea of superimposing multiple realities, or scales, became part of the scheme. The site was then to function at multiple scales: an intimate, an intermediate, and a distant scale. From the movie, programmatic components were also chosen to reflect its impact on the project developing into a film school, a digital theater, and a film visual arts museum. The main idea then became a sequential movement through the site that threaded multiple experiences into a unified gesture.
Walkway to New Jersey
Residential towers
Walkway from bookstore to retail
Envelope
3
Lobby to New Jersey Retail
Reading area
Bookstore and Library Film and Modern Art Museum Vertov film school and theater
Circulation pods
Bazaar
Groundscape
4
The split between the Film School and Theater frames the tower’s circulation
10
N E G AT I V E T R A N S L U C E N C Y Wurster Lobby Installation, Berkeley, CA Critic: Ron Rael Upon studying Ernst Haeckel illustration of Euchitonia and Karakusa Japanese patterns (images 1 and 2), the primary goal of the tile design was to investigate the negative space and outline that is created once the tiles are configured consecutively. The tiles can be arranged in various fashions producing different qualities of negative space from symmetrical and uniform to more sculpted were the space moves from a state of compression to expansion.
1
2
3
4
Digital Fabrication Process 3 Tile CNC milled out of a plaster mold 4 Slip-cast process using ball clay, and eventually porcelain
5
5 Renderings illustration how the tiles aggregate in large quantities
11
MONASTIC ARCHITECTURE SCHOOL Berkeley, California Critic: Dan Wood The Monastic Architecture School (M.A.S.) is a place where students retreat to learn to live a life of self-sufficiency and self-awareness through architecture. Students and faculty alike practice meditation as part of the architectural curriculum in a way that enhances their focus and conscious awareness in how the art and science of architecture can be better harmonized with the local environment. Although the school is somewhat isolated from the fast pace of society, it is at the same time physically connected to the local environment through self-sustaining architecture. M.A.S. becomes a bridge that connects architecture with society through local design. The type of architecture taught at M.A.S. could even be called “lochitecture,” a combination of local resources and architecture, with the conscious intent of the architect to create plans and structures that are complimentary to the local environment.
Mass model investigating negative space in a monolithic form
3
Process model considering placement of the meditation spaces in relation to core
South and west facing meditation spaces
Congregational Mediation
12 ’06
’06
’03
’51
’0
Congregational Mediation Space
Design Studio
Design Studio
Meditation Space
North facing meditation spaces Dorms
Organization of studios, dorms, & meditation spaces
Facade
7
Dormitories
5
6
Central Core with Meditation Spaces Brancing for it.
4 3 1
1 2
1
Library
3
Faculty Offices
5
Studio
7
2
Auditorium
4
Cafe
6
Dorm
Longitudinal Section
Contemplation Space
13
STRETCH HOUSE Gainesville, FL Critic: Robert MacLeod Site Located in the heart of Gainesville, Florida, the Hogtown Creek winds its way through the city, creating pockets of lush, native North Florida vegetation. The Stretch House sits in such a location, which blends itself into the natural environment, creating a blurred reality between interior and exterior. The house stretches itself cantilevering into the landscape on its western side, while on the eastern side. The main space flows out via an observation deck that hovers over the creek. These two main gestures become the icon of the house: an interior-reach out onto the exterior. Due the pleasant climate of northern Florida, the Stretch House takes advantage and opens itself to the natural environment visually, tectonically and spatially.
Approach
View from across the river
Western Facade
14
E U C A LY P T U S L A N D S C A P E U R B A N I S M Public Space, City of Berkeley, CA Critic: Rene Davids The term “landscape urbanism” was the seed from which the class and this group project (with Jon K., Michael B., Oriana C., and Gabriela A.) began. In the beginning, term was vaguely defined, but by the completion of the project it became clearer. We saw this concept being rooted to the idea of a continuous surface that can be made of earth, concrete or some other material. The Occupy Wall Street Movement lends itself to this form of architecture, an approach that could be characterized as “guerilla style.” Placing a temporary installation in a public space was the perfect match for the people who were occupying public space. This concept of “space hacking” lends itself for the freedom to experiment with form, material investigation, and examination on how such a space adapts to its cultural context.
Digitally fabricated pieces
Reflected ceiling plan
Assembly
woven Woven eucalyptus bark skin
glue-laminated plywood Glue-laminated plywoodatat1/4” 1/4”each each
plan & reflected ceiling plan
In Context
Spacehacking
15
Simpson Strongtie
4"
SD1 typ.
SD1 typ.
3/4” Maple Plywood
3" 8
Simpson Strongtie Machine Screw w/ nut
3/4” Maple Plywood
1" 34
4"
3" 8
1" 34
1/4” drilled hole
Plan Details
3" 8
Section Detail
3" 8
Axon Details
As the occupy movement began to expand throughout the country, the pavilion took the 10x10 dimensions of a popuptent that the occupants could use for shelter.
niks krab sutpylacue nevow
hcae ”4/1 ta doowylp detanimal-eulg
nalp gniliec detcefler & nalp
Elevations
EVORG SUTPYLACUE
ERRIUG A ALLEIRBA
G.
The digital fabrication process allowed us to distort the grid, moving up-and-down in the z-direction. The rib members were cut from glue-laminated 3/4” pieces of maple plywood that were held together with Simpson Strongties. The skin was made of woven eucalyptus bark skin.
NIGRE B LEAHCI M
.
ELO C ANAIR
O.
ORTSA C E D ADNIVO
G .
tun /w wercS enihcaM ”4/1-1 x 23-8# 2AG eitgnortS nospmiS doowylP elpaM ”4/3
RENHSRE K NHO J
.pyt 1DS
.pyt 1DS
”0-’1=”3_ 4 liateD nalP
”0-’1=”3_ 3 liateD nalP
FREE SPEECH
"4
doowylP elpaM ”4/3 2AG eitgnortS nospmiS tun /w wercS enihcaM ”4/1-1 x 23-8# eloh dellird ”4/1
"3 8
"1 43
"3 8
The Eucalyptus ”0-’1=”3 _ 2 liateD noitceS Landscape Urbanism Project ”0-’1=began ”3_ 1 liateDas noita ceSterrain pavilion that could serve as a stage for the Sather Gate acapella group to perform their daily improv concert. Although that was never realized, a performance by a local jazz musician was still able to take place.
STN_ 2 liateD noxA
STN_ 1 liateD noxA
EVORG SUTPYLACUE
ERRIUG A ALLEIRBA
G.
Jazz Performance
NIGRE B LEAHCI M
.
ELO C ANAIR
O.
ORTSA C E D ADNIVO
G .
tun /w wercS enihcaM ”4/1-1 x 23-8# 2AG eitgnortS nospmiS doowylP elpaM ”4/3
RENHSRE K NHO J
.pyt 1DS
”0-’1=”3_ 4 liateD nalP
Occupy Movement
.pyt 1DS
”0-’1=”3_ 3 liateD nalP
16
"4
"3 8
doowylP elpaM ”4/3 2AG eitgnortS nospmiS
M . A R C H T H E S I S S A C R E D M AT T E R S : A P L A C E F O R C O N T E M P L AT I O N U.C. Berkeley Campus, Berkeley, CA Critics: Susan Ubbelohde, Chris Benton Site: The site chosen for the design of the contemplation space is the UC Berkeley campus in California. Located at the heart of the campus, the site was chosen to give the campus a sacred space, where students could inquire, reflect and retreat. Student life at a top-level university like Berkeley can be very stressful and demanding physically and emotionally, and the space provides a non-sectarian sacred space to the campus fabric. Program: The Contemplation Center will be part of the campus community and will serve as a place where students, faculty and the general public may come and reflect on sacred matters. The center will be open to the public and will be used for meditation, performances, memorial services, etc. The center will be open to private contemplation during weekdays and public events during the weekend.
Moment of entry, triggering memory
Sensory connection with nature
0
Longitudinal Section
8
24
56
17
Model: 24W x 40L x 14H inches; Materials: Chip board, basswood, tracing paper, particle board, wire mesh, black acrilic paint, copper wire, and white museum board. 1. The Contemplation Center in campus context. 2. The last contemplation space releasing back into the outside. 3. North facade
1
2
3
18
6
4 8
0’
8’
24’
5
4
3
2
1
7
7
56’
Floor Plan
1
Entry
3
Restrooom
5
Dark Room
7
Focal Point Room
2
Office
4
Group Meditation Room
6
Sound Meditation
8
Engagement of the Senses
0’
0’
8’
24’
8’
24’
Cross Section
19
T H E S I S R E S E A R C H : N I N E E L E M E N T S O F S A C R E D S PA C E Critics: Susan Ubbelohde, Chris Benton APPROACH
COLOR
7KH DSSURDFK WR D VDFUHG VSDFH FDQ EH FRPSDUHG WR WKH FUHVFHQGR ZLWKLQ D PXVLFDO FRPSRVLWLRQ XOWLPDWHO\ OHDGLQJ XS WR D FOLPDFWLF Âżnale. The journey there in fact begins with the approach, the action of coming near or nearer to someone or something in distance or time $UFKLWHFWXUDOO\ VSHDNLQJ WKH DSSURDFK LV LQWHJUDOO\ UHODWHG WR WKH QRWLRQ RI WLPH DQG VSDFH LQ WKDW LWÂśV D WKH SK\VLFDO GLVWDQFH EHWZHHQ WKH VWDUWLQJ SRLQW RI WKH MRXUQH\ DQG LWV ÂżQDO GHVWLQDWLRQ DQG E WKH WLPH LW WDNHV WR FRPH WR WKH MRXUQH\ÂśV HQG :RYHQ LQWR WKH IDEULF RI WKH approach is anticipation, fear, joy, a sense of accomplishment, the unknown etc. which are all integrated into a spatial sequence within a timeframe. These emotions are present because the approach uses time and space as a foundation to insert different ideas into the mind of what is to come and what has passed.
Color is by no means the most important element of a sacred space, for a person who is color blind could indeed have a powerful experience in a sacred space and not see a hue of color. But what color does is it accentuates the atmosphere in a memorable way. Admiring a URVH D SHUVRQ ZKR LV FRORU EOLQG ZRXOG PRVW GHÂżQLWHO\ EH DPD]HG E\ WKH Ă€RZHUV SXUH VKDSH GHOLFDWH VWUXFWXUH DQG LWV LQÂżQLWH FRPSOH[LWLHV %XW WKH URVHÂśV FRORU LV WKH LFLQJ RQ WKH FDNH 7R PDQ\ WKLV LV WKH PRVW PHPRUDEOH DVSHFW RI WKH Ă€RZHU DQG ZLWKRXW LW WKH URVH VLPSO\ wouldn’t be the same. In the same, a sacred space could impact individuals with the absence of color but, by incorporates a splash of color it adds another layer of experience to the occupant. One may ask, how does color work in relation to sacredness? As Humphrey describes, “as vehicle for spiritual expression, stained glass
The basic research materials that I used in this thesis was: aZLQGRZV FRPELQHG SLFWRULDO VWRU\ WHOOLQJ ZLWK D VRSKLVWLFDWHG XVH RI FRORXU DQG OLJKW WR LQÀXHQFH IHHOLQJV LQ WKH YLHZHU ´ &RORU WKHRULVW physical visit and analysis of various spaces I consider to be sacred, couple with a series of interKDYH DVFULEHG VSHFL¿F SV\FKRORJLFDO DQG SHUFHSWXDO HIIHFWV WR ZDUP FRORUV WKDW FRQWUDVW WKRVH RI FRRO FRORUV :DUP FRORUV RIWHQ VDLG WR EH KXHV IURP UHG WKURXJK \HOORZ DQG LQFOXGHV EURZQV DQG WDQV DUH WKRXJKW WR DURXVH RU VWLPXODWH WKH YLHZHU &RRO FRORUV RIWHQ VDLG WR views asking people of different faiths, cultures, and professions what makes a space sacred to them. Based on the body of information gathered from these EH KXHV IURP EOXH JUHHQ WKURXJK EOXH YLROHW DQG LQFOXGHV PRVW JUD\V DUH VDLG WR FDOP DQG UHOD[ WKH YLHZHU $OWKRXJK WKHUH DUH PLOOLRQV RI RWKHU YDULDEOHV WKDW FRPH LQWR SOD\ LQ LQÀXHQFH D SHUVRQœV ³PRRG´ WKLV EDVLF GHVFULSWLRQ RI KRZ GLIIHUHQW FRORUV DIIHFW SHRSOH LV DQRWKHU two procedures, the goal is to understand and define what makes up a sacred important aspect of creating a sacred space.space. The approach can also take on a mysterious side when it is coupled with the notion of unexpected surprises. What this means is that the In relation to sacred spaces, color theory could provide designers a framework for understanding the possible effects and behavior of approach is always present even if it is not acknowledged. For instance, a person is walking along, steeped in endless thought’s that are particular colors on the occupant. A sacred space in a remote, somber village might use warm colors like reds and yellows to stimulate consuming them from within. They then stumble upon a space, where the air is still and the atmosphere is suitable for contemplation. the inhabitants, triggering an opposite experience from their everyday life. A sacred space in a bustling city might use cooler colors like Based on the body of information gathered from these two procedures, I have catalogued nine characteristics that make up a sacred space, namely approach, The mysterious sacred space came onto their path at exactly the right time when they were needing to get away. Now in this case, even blues to relax and calm the lives of the fast paced urbanites. In either case, the key element is to create a contrasting experience to the WKRXJK WKH DSSURDFK LV QRW LQKHUHQWO\ GH¿QHG LW LV VWLOO WKHUH ,I WKDW SHUVRQ ZKHUH WR UHPHPEHU DOO WKHLU VWHSV ZKLFK OHDG WKHP WR WKLV contextual norm for people to immediately understand that the space not mundane. threshold, sound vibration, light and shadow, memory, connection with nature, and the full engagement of the senses. sacred place they wouldscale, see that each turn taken, every step forward was perfectly choreographed by chance for themcolor, to arrive at the Operationally speaking, the approach functions as a spatial sequence, with a starting point and the destination being the sacred space, SXWWLQJ D SHUVRQ LQWR DQ DQWLFLSDWLQJ PLQGVHW 2XU H[SHULHQFH RI DQ DUFKLWHFWXUDO VSDFH LV VWURQJO\ LQÀXHQFHG E\ KRZ ZH DUULYH LQ LW )RU H[DPSOH D VDFUHG VSDFH ZLOO IHHO PRUH VLJQL¿FDQW ZKHQ SODFHG DW WKH HQG RI D VHTXHQFH RI OHVVHU VSDFHV 6SDWLDOO\ WKH DSSURDFK LV WKH space and time that separates the beginning of the journey to its end. The materially of the approach various with the context and can take on different properties from a wooded path where the materials are the tree’s bark that lines the spatial path or huge stones that line a dark, elevator shaft deep into a mountain side. The materiality of the approach morphs and shift to adjust to its contextual nature.
sacred space. This unexpected arrival onto a sacred space can be seen as the mysteries approach.
2Q WKH RWKHU KDQG WKH DSSURDFK FDQ DOVR EH VRPHWKLQJ YHU\ GHÂżQHG LQ LWV VSDWLDO RUJDQL]DWLRQ ,Q WKLV FDVH OLNH D VHW RI UXOHV WKH DSSURDFK WDNHV RQ VSHFLÂżF UHTXLUHPHQWV DQG PRYHV LQ RUGHU DUULYH DW WKH GHVWLQDWLRQ 7KLV WLPH D SHUVRQ QHHGV WR IROORZ UXOHV OLNH WXUQ DW the fourth intersection, go 108 miles north, etc. to successfully arrive to the sacred space. Even though this side of the approach also has an unexpected side to it, its rules of engagement are much more rigid and clear.
In my interview with Mike B, I asked what role color plays in a sacred space and this was his answer: “Well, there is Corbusier’s chapel at Ronchamp, where the thickness of the wall plays with the color of the light and the particulates that are in the air inside of that chapel. There is this volumetric light that is colored and like I said before, its something that is out of the ordinary, serene, but its true, not like a THRESHOLD
disco going around shooting coloredin light.a It’s given a realistic affect that can have great potency.� Similarly, when Plummer the With this body of research, the design explores how to create aballsacred space context, accentuating the describes characteristics of sacredness already present Chapel he says, “as we look up, we see changing collages of light – sharp parches of sun, bleary washes of skylight, and intersecting sprays and penumbras. Since the tall wells are painted blue and red, light is pun into a gentle rain of pink or pale blue.� This description on the site and introducing new spatial experiences. does not imply an everyday space. It speaks of an atmospheric condition that transcends everyday architecture.
The threshold of a sacred space is important because it separates the outer world from the inner space. In an urban context, a fastSDFHG WXPXOWXRXV DQG FKDRWLF DWPRVSKHUH FDQ FKDUDFWHUL]H WKH RXWHU ZRUOG -X[WDSRVHG DJDLQVW WKLV LV WKH LQQHU VDFUHG VSDFH ZKRVH characteristics are a peaceful, calm, and quite environment. The importance of the threshold lies in that it must mediate between these two contrasting spaces. Thresholds can vary in its design but its role remains the same; to place a person into a mindset that they are transitioning from a fast paced atmosphere into one where time seems to stands still.
The approach not only has an external manifestation, but also can be the beginning of an inward journey into the internal sacred space. Though not manifested in a conventional architectural manner, in this case the material elements of the sacred space is the body. The inward sacred space also is a function of time and space being that the inward journey may take a lifetime for the person to achieve its destination. This inward approach is best illustrated both externally and internally by the Temple of Borobudur in Java. Here, the approach at the base of the of the stepped temple represent lowest plane of existence and one climbs to the temple’s summit, the highest level of VSLULWXDO SHUIHFWLRQ ([WHUQDOO\ WKH DSSURDFK WR WKH VXPPLW QRW RQO\ LQYROYHV PRYLQJ YHUWLFDOO\ XS WKH VWHSV EXW DOVR KRUL]RQWDOO\ DORQJ FHUWDLQ OHYHOV )RU D VXFK SHUVRQ H[SHULHQFLQJ WKLV XQLTXH DSSURDFK ³WKH PDQ\ ZRQGHUV DORQJ WKH ZD\ PD\ EH XOWLPDWHO\ DV VLJQL¿FDQW as the destination itself�. The approach thus links separate places by creating a corridor of sacredness .
Color
Mont Saint-Michel, France
Chapel of St. Ignatius, USA
Approach
MEMORY
Borobudur, Indonesia
The qualities of a threshold may vary from a simple series of doorways to a long and complex, dimly lit corridor. The procession between the outer and inner space can also vary in the length of time needed to go from its beginning to it end. In either case, the threshold’s design and length should have an affect that changes a person’s mindset from one state to another. A threshold into a sacred space also varies according to context. For example, in a quite, peaceful village in the foothill of the Swiss Alps, D VDFUHG VSDFH PD\ FRQWUDVW LWV FRQWH[W DQG EH ¿OOHG ZLWK QRLVH 7KH WKUHVKROG WKHQ LV D WUDQVLWLRQDO VSDFH IURP RQH WKDW LV TXLWH WR RQH IXOO of noise. In a chaotic city a sacred space is a place that is calm, free of noise. The threshold then becomes another type of transition that moves from noise to silence. In other places, the threshold separates private from public, human from the wild, or pure from the unclean. The marking off of an enclosed space thus becomes important creating a distinction between the outer and inner world.
Threshold 3ODFH RI &RQWHPSODWLRQ 6ZW]HUODQG
Ranakpur Temple, India
Notre-Dame-duHaut, France
http://magictravels.blogspot.com/2011/10/rajasthan-rolling-4haldighati.html
KWWS ZZZ ÀLFNU FRP SKRWRV iqbalaalam/2652314046/in/ photostream/
A person’s memory of their childhood experiences in relation to sacred spaces largely correlates to their present notion of what makes something sacred. Based on their upbringing, they develop different concepts of what is sacred and what isn’t, and their memory thus becomes fundamental for future experiences of sacred spaces.
Chapel of the Chimes, USA
Govindaji Temple, India
For example, a person experiences a space whose characteristics are similar to a memorable sacred space they were once in. As they experience this new space, they begin to recollect feelings and emotions of the previous sacred space they were in and now, they begin to associate the new spatial experience as sacred. In this way, memory, sacredness, and architecture are all linked in terms of how you felt inside a space in the past and in the present.
http://4.bp.blogspot.com/_LAJXBh3IYU8/TQqd7anPh_I/AAAAAAAABFM/1O9IlqmT_YE/s1600/Mont_SaintMichel_004.jpg http://www.brodyaga.com/pages/photos/France/Mont%20Saint%20Michel%20 France%201210729749.jpg
Taktsang Palphug Monastery, Tibet.
PROPORTIONS
Memory not only pertains to an individual but also bring up the notion of communal memories. Individuals receive a sacred memories from their communities rather than directly experiencing the events recalled, and these memories shape not only the individual but also DV WKH PHPEHUV RI WKH FRPPXQLWLHV WKH\ DUH SDUW RI 9ROI http://www.abbeville.com/images-catalog/fullKWWS UHVRXUFHV PHWDSUHVV FRP SGI SUHYLHZ D[G"FRGH Y W Q S VL]H ODUJHVW http://twotourism.com/wp-content/uploads/2011/03/Borobudur-Temple-The-Historical-Tour-
$V VWDWHG E\ 1RUEHUJ VFKXO] ÂłWKLV LV WKH UHDVRQ ZK\ FHQWHU DQG HPERGLHG H[SODQDWLRQ PRVWO\ FRLQFLGH DQG ZK\ WKH YHUWLFDO LV FRQVLGered the sacred dimension of space. It represents a “pathâ€? towards a reality that may be “higherâ€? or “lowerâ€? than daily life, a reality that conquers the gravity of the earth, or succumbs it .â€? Historically, proportions have always played a role in sacred architecture. From the Greek temple complex at Delphi to the Dogon of Mali, the building’s proportions were always in relation to the human scale. In the 1st century BC, the theorist Vitruvius expounded on this exploring architectural geometries based on the human body . In my opinion, the proportions of a contemporary sacred space should not be proportionate to the human body. As Chris M. describes, “the surreal, the vastness of the space, the length as well as the width, are sacred because they’re so beyond the human scale. I think that this is an important characteristic for the term sacred, beyond the individual, about this unreachable space or being, something beyond the person. The [sacred] space should make you feel out-of-body, a different mindset experience, an un-human experience that is special .â€?
Memory was a central part of past cultures that didn’t have a developed system of writing. In ancient Greece, for example, Mnemosyne Notre-Dame-du-Haut, France Saint-Pierre, France ZDV D JRGGHVV ZKR ZDV ZRUVKLS DQG FRQVLGHUHG WKH PRWKHU RI 0XVHV 0DQQ $VLGH IURP SDLQWLQJV DQG VFXOSWRUV WKH SULPDU\ ZD\ one would gain information and knowledge was by word of mouth. Having heard information be told through a play or a story, the only way to store it was in ones memory. This memory was then graphically associated with a piece of architecture or sculptor that could be remembered to reintroduce that memory.
Our senses are the primary tool we have to gather information from our external environment. We use our eyes to read books, signs, and text in order to acquire knowledge on particular subjects or to perform simple daily tasks. Our ears are used to listen to individuals or our HQYLURQPHQW :H WRXFK WKLQJV WR OHDUQ KRZ WKH\ IHHO WR LQTXLULQJ ZKHWKHU WKH WHPSHUDWXUH RI DQ REMHFW LV KRW RU FROG IX]]\ RU VPRRWK The tongue tastes and learns if the food we are eating is sweet, salty, or savory and our smell is used to discover how a particular spe-
http://home.manhattan.edu/arts/gallery/galleries/Architecture/ARCH-20c/ARCH-20c-FRANCE-Ronchamp-LeCorbusier-Notre-Dame-du-Haut-1950-54.JPG
FLHV RI ÀRZHU VPHOOV http://www.pushpullbar.com/forums/atFirminy Le Corbusier en heritage. France: KWWS IDUP VWDWLF ÀLFNU FRP B H I FBR MSJ tachment.php?attachmentid=23414&stc=1 I’Universite de Saint-Etienne, 2008. 203. Print. ,Q WKLV ZD\ WKH ¿YH VHQVHœV SULPDU\ IXQFWLRQ LV WR ZRUN DV LQVWUXPHQWV IRU XV WR XVH LQ RUGHU WR DFTXLUH NQRZOHGJH 7KLV IDFW DSSOLHV WR DQ\&d=1165059994
RQH IURP D PHGLFDO VWXGHQW WR D SUDFWLFLQJ DUFKLWHFW 6R ZLWKLQ D VDFUHG VSDFH WKH WDFWIXO HQJDJHPHQW RI WKH ÂżYH VHQVH RI DQ LQGLYLGXDO is a simple and effective way to place them into a mindset that is conducive to deeper thoughts or mediation. $W WKH %KDNWL &HQWHU LQ 1HZ <RUN &LW\ IRU H[DPSOH WKH PDLQ FRQFHSW EHKLQG WKH VSDFH LV WKH IXOO HQJDJHPHQW RI WKH ÂżYH VHQVHV 7KH center creates an atmosphere where upon entering, peopleâ&#x20AC;&#x2122;s senses are immediately engaged and their mindâ&#x20AC;&#x2122;s are thus brought to a higher level of thought. Once entering the space, you immediately notice how the walls have a different texture, color, and feel to them. 8SRQ FORVHU LQYHVWLJDWLRQ \RX UHDOL]H WKDW WKH\ DUH SODVWHUHG ZLWK FRZ GXQJ D VDFUHG VXEVWDQFH WR GHYRWHHV RI ,QGLD WKH ELUWKSODFH RI the Bhakti movement. The smell of burning incenses also takes your mind away from the city scene, where most often the smells that prevail are that of garbage, exhaust fumes, and the stench of the underground subway. In contrast, the fragrant of incense is that of Ă&#x20AC;RZHUV DQG H[RWLF VSLFHV 7KH H\HV DUH DOVR HQJDJHG LQ VHHLQJ WKH FHQWUDO IRFDO SLHFH RI WKH URRP DQ LQWHUUDFLDOO\ FDUYHG ZRRGHQ DOWDU Finally, the ears are also engaged in hearing the sounds of sacred hymns and mantras (a sound repeated to aid concentration in meditaWLRQ EHLQJ FKDQWHG
By coming into such space whose proportions are un-human, the visitor has a chance to enter a mindset of transcendent. This brings up a paradox, because a person is experiencing a space and possibly transcending the mundane plane using the material world as the catalyst for such a change of mindset. When well executed, these extreme proportions are so pure that there is little that can impact its sacredness.
7KH ÂżYH VHQVHV KDYH D GLUHFW FRUUHODWLRQ ZLWK WKH WKRXJKWV RI WKH PLQG EHFDXVH WKH\ VHQG WKH LQIRUPDWLRQ WKH\ JDWKHU WR LW 7KXV LI WKH senses are controlled and geared to a particular object, the mind follows. A simple metaphor to better illustrate the connection between WKH VHQVHV DQG WKH PLQG LV WKH ÂżYH VHQVHV FRXOG EH VHHQ DV ÂżYH KRUVHV SXOOLQJ D FKDULRW DQG WKH PLQG LV WKH FKDULRWHHU ZKR KROG WKH reins, guiding the direction the horses take him/her.
Memory Antelope Canyon, USA
Bruder Klaus Chapel, Germany
Saint-Pierre, France Jamia Masjid, India
ENGAGEMENT OF THE SENSES
In recent times, the Spanish sculpture Eduardo Chillida proposed a project of similar un-human proportions in the island of Fuerteventura. In his project, he desined a tunnel approximately 80 meters long leading up to a 50 meter long cavern inside Mount Tindaya. The project requires the removal of 64,000 cubic meters of rock to and the main idea is for visitors an experience the immensity of the space. Chillida DOVR LQWHQGHG WR VKHG ERWK GLUHFW DQG GLIIXVH OLJKW LQWR WKH UXVW EURZQ FDYHUQ LQWHQVLÂżHG E\ LWV HPSWLQHVV DQG VLOHQFH
Mount Tindaya, Fuerteventura
http://www.volkerbanken.de/galerien/Landscape/ Antelope-Canyon-USA.jpg
Sacred architecture then becomes a site or framework for sacred memories. As such, it helps people transpose memories of past experiences into new, contemporary ones keeping sacred memories alive.
7KH SURSRUWLRQV ZH H[SHULHQFH GXULQJ RXU HYHU\GD\ FDQ EH VHHQ DV QRUPDO RU UHJXODU 7KH\ PD\ GHVLJQHG LQ VXFK D ZD\ WR EH HIÂżFLHQW PDQDJHDEOH DQG WR KXPDQ SURSRUWLRQV $V 0LNH % GHVFULEHV ÂłH[WUHPLWLHV OLNH H[WUHPH KRUL]RQWDOV RU H[WUHPH YHUWLFDOV RU FRPSUHVVLRQ and expansion, those are the kind of things that make an experience more memorable, they make it more removed from the everyday. During the everyday the proportions of our spaces are regular. They may be one to two times our height, probable between 10 to 80 feet wide. Once you start to get our side these boundaries, even a space that is 2-3 feet by 20 feet that is a space I will remember being inside http://3.bp.blogspot.com/__3ZPPKgU5RU/TOaged_cQ0I/AAAAAAAAAJI/v75qxV00rIc/s400/220px-First_ KWWS ZZZ Ă&#x20AC;LFNU FRP SKRWRV #1 of because I never experience a space like that .â&#x20AC;? Sacred spaces that occur in nature have these extreme proportions like Antelope Canglimpse_of_Taktshang.jpg http://www.himalayantours.com/images/bhutan_tiger_nest_2.jpg \RQ LQ $UL]RQD KDYLQJ ZDOOV ULVH IHHW DERYH D IRRW ZLGH VWUHDPEHG RU $QJHO )DOOV LQ 9HQH]XHOD ZKRVH KHLJKW LV IHHW 7KHVH un-human proportions are bewildering, unreal even because they are so distant from spaces we traditionally experience.
Scale
KWWS ZZZ Ă&#x20AC;LFNU FRP SKRWRV KDQVSHcans/2424234676/
Antelope Canyon, USA
VL]H LQWHULRU MSJ
ism-in-Yogyakarta-Indonesia-Exotic-Tourism-Place.jpg
Notre-Dame-du-Haut, France
Bruder Klaus Chapel, Germany
Engagement of the Senses
Vietnam Veterans Memorial, USA
Chapel of the Chimes, USA
Bhakti Center, USA
Bruder Klaus Chapel, Germany
CONNECTION WITH NATURE LIGHT AND SHADOW
â&#x20AC;ŚLight is the key to well-beingâ&#x20AC;Ś Le Corbusier
Light and shadow are an essential part of sacred architectural spaces. Depending on the design, light and shadow are used to illuminated things for individual to see and understand or kept things in the dark just beyond the imagination. Understanding light and shadow as a design tool allows for the architect of a sacred space the ability to hide or reveal what he/she chooses the occupant to see. This unveils a http://www.volkerbanken.de/galerien/Landscape/ quiver of possible experiences, ranging from directing individuals to have a focal point or bewilderment of ones surrounding. Light within Antelope-Canyon-USA.jpg a sacred space is also integrally connected to memory because a lot of times, the most memorable things from a sacred space is the Saint-Pierre, France quality of the light or an enlightened epiphany inside of the space. Jamia Masjid, India Designing an experiential contrast, such as making a person move from a dark space to a brightly lit one can help create a sacred spaceâ&#x20AC;&#x2122;s atmosphere. The experiential effect of such a contrast becomes distinction from the everyday atmosphere. This is the goal. Sacred spaceâ&#x20AC;&#x2122;s main characteristic is that it is different from everyday spaces, so it is largely dependent on the context. For example, if one were to design a sacred space that would be used during the summer months in Alaska, where days are long, the sacred space may be extremely dark to contrast the prolonged brightness of each day. On the other hand, if the sacred space is for a location that is always GDUN WKH VSDFH PLJKW EH FKDUDFWHUL]HG DV DOZD\V EHLQJ OLW DQG EXUVWLQJ ZLWK OLJKW $V PHQWLRQHG DERYH WKH VSDWLDO RUJDQL]DWLRQ GHSHQGV ODUJHO\ RQ WKH FRQWH[W 7KH VSDWLDO VHTXHQFH RI JRLQJ IURP GDUN WR OLJKW RU OLJKW WR dark can be either elongated or abrupt, but it must create a strong sense of contrast. The world exists in these ultimate extremes, having a lit day and a dark night. But inside a sacred space, this new world could emerge, where light and dark are battling for competition. In each way, it needs to create a dynamic contrast to affect and impacting the individualâ&#x20AC;&#x2122;s common mindset. Stegers, Rudolf. Sacred Buildings. Germany: Die Deutsche Nationalbibliothek, 2008. 8. Print.
Firminy Le Corbusier en heritage. France: Iâ&#x20AC;&#x2122;Universite de Saint-Etienne, 2008. 203. Print.
KWWS ZZZ Ă&#x20AC;LFNU FRP SKRWRV VHLHU
The physical manifestation of architecture comes from organic nature. Materials used for construction like stone or wood all began as part of a complete ecosystem. These material are then recomposed into a matrix and takes on a new life. When a person occupies an architectural space that is connected to the natural world, he experiences being part of a logical and harmonious place. The natural world is a place that is logical and rational as are we human beings who are part of it. When we are connected to the landscape, we can begin to understand the natural orders that govern that place we live in. The more we become aware of natural cycles and systems in this world, the more we become more aware of our own selves and our close connection to these systems. When we become disconnected from the organic natural world, we lose a valuable opportunity for a healthy and harmonious part of life. In general, a personâ&#x20AC;&#x2122;s mind is generally calmer and quieter when they are connection to nature, whether walking, sitting, etc. Their senses are more acute and in this way they are more attuned with their thoughts and actions. Research has shown that being outside in sunlight actually keeps our state of mind cheerful and happy. 7KH KDUPRQL]DWLRQ RI DQ DUFKLWHFWXUDO VSDFH ZLWK QDWXUH FDQ RFFXUV LV PDQ\ GLIIHUHQW ZD\V 3HWHU =XPSWKRUÂśV 6DLQW %HQHGLFW &KDSHO IRU H[DPSOH LV KDUPRQLRXV ZLWK QDWXUH E\ LWV ELRPRUSKLF OHDI VKDSH 2WKHU DUFKLWHFWV KDUPRQ\ WKH VSDFH RU VWUXFWXUH E\ XWLOL]LQJ ORFDO natural materials. The use of local materials shows that the architect has made a conscientious decision to integrate the architecture with WKH ODQGVFDSH $ JUHDW H[DPSOH RI WKLV LV WKH &KDSHO LQ 6HGRQH ZKHUH DUFKLWHFW $XJXVW . 6WURW] VHDPOHVVO\ GHVLJQ D FKDSHO DPRQJVW existing boulder. Nature also has a mystical, underlying logic to its design, and many architects, past and present, have attempted to reproduce this harmonious logic in their built work. Finally, looking at naturally isolated sacred spaces has always been an important starting point for many architect who design sacred spaces. http://archdoc.mr926.me/pics2/1220/2011070112203318405.png
Light is an architectural tool that can have a powerful effect with the proper design. Le Corbusierâ&#x20AC;&#x2122;s, for example, carvedKWWS ZZZ Ă&#x20AC;LFNU FRP SKRWRV ORVGDOSHV LQ SKRWRVWUHDP apertures into Notre Dameâ&#x20AC;&#x2122;s mass, which â&#x20AC;&#x153;turn black under sunshine, only to lightenâ&#x20AC;Śas the sun swings past and leaves behind a surface tinged in pale For the sake of this thesis, the investigation is geared at understanding the connection between people and nature in sacred spaces. YLROHW ´ ,Q WKLV ZD\ WKH VXQÂśV PRYHPHQW LV XWLOL]HG LQ WKH GHVLJQ OLJKWLQJ XS D VSDFH IRU ZKHQ LW LV WR EH XVHG $ VSDFH IDFLQJ HDVW FRXOG How does this connection affect a personâ&#x20AC;&#x2122;s experience of the space? With the goal of creating a serene, transcendental experience, the sensorial linkage to nature can have a powerful affect on a person state of mind. For example, hearing the sound of running water also be designed for a morning hour of contemplation. or having a physical contact with a plant in a choreographed way can triggers in the brain a mindset that is different from the ordinary, Lisa Heschong writes how in different â&#x20AC;&#x153;societies sacredness is a way to communicate the extreme importance of a symbol to society. everyday experience. When a symbol represents something considered essential to human experience, its preservation is of paramount importance.â&#x20AC;&#x153; The sacredness of light varies with cultures and individual with some worshiping the sun, others associating light with good and darkness with evil, and others who simply see light as a means to see the world. Each case differs based on the cultural level of consciousness. 1DWXUDO OLJKW DQG DUWLÂżFLDO OLJKW ERWK KDYH D SRZHUIXO HIIHFW RQ WKH DWPRVSKHUH RI D VDFUHG VSDFH ,I OLJKW DQG VKDGRZ GHWHUPLQH WKH TXDOLWLHV RI D VSDFH ZKDW DUH WKH OLJKW TXDOLWLHV RI D VDFUHG VSDFH" $V VWDWHG E\ .UHX] ÂłZKHQ XVH LQ WKH ULJKW DPRXQW DW WKH ULJKW WLPH DQG in the right place, light can accentuate, direct attention, create an atmosphere of contemplation and composition and composure, foster togetherness in prayer, or underline the solemnity or festiveness of an occasion.â&#x20AC;?
Light and Shadow Bruder Klaus Chapel, Germany
Chapel of the Chimes, USA
Connection with Nature Chapel of the Holy Cross, USA
Notre-Dame-du-Haut, France
SOUND VIBRATION
$ VDFUHG VSDFH LV DIIHFWHG E\ VRXQG YLEUDWLRQV LQ WZR ZD\V LW LV DIIHFWHG E\ WKH W\SH RI VRXQGV WKDW DUH EHLQJ HPLWWHG DV PHQWLRQHG DERYH DQG WKH V\QFKURQLFLW\ RI LWV HPLVVLRQ )RU H[DPSOH LI ODUJH TXDQWLWLHV RI SHRSOH ZHUH JRLQJ DERXW GLIIHUHQW WKLQJV WKHQ WKH RSSRUWXQLW\ WR IRU RQH WR KDYH D WUDQVFHQGHQW W\SH RI H[SHULHQFH ZRXOG EH PRUH GLIÂżFXOW %XW LI SHRSOH DOO FRDOHVFH LQWR RQH WKLQJ WKHQ that seems to contribute to the experience. . If there are so many different kinds of experiences going on it kind of breaks the harmony of thing[i]. Complete silence can also be very spiritual. By removing all the sound of a space, a mysterious quality could emerge, one that differentiates from normative human interactions. Most sound we hear throughout the day in some way are connected or a result of human beings. Thus, by removing all of the sounds from a space, one can transcend the human plane. As Malcolm mentions, â&#x20AC;&#x153;something that is very loud, very public and urban is the opposite, itâ&#x20AC;&#x2122;s very human, so as far as you can get away from that the better.â&#x20AC;? So, reaching sacredness can be done by both ways, by having complete silence or introducing sounds that are in synchronism with a sense on purpose.
Sound Vibration
Thorncrown Chapel, USA
Chapel of the Chimes, USA
KWWS ZZZ DUL]RQDIRUYLVLWRUV FRP LPDJHV FKDSHO KRO\ FURVV EVS [ MSJ
http://c1038.r38.cf3.rackcdn.com/group1/building2610/media/media_61925.jpg
KWWS ZULWHVWLWFKXS ÂżOHV ZRUGSUHVV FRP FKDSHO LQVLGH MSJ
Antelope Canyon, USA Jamia Masjid, India
Jamia Masjid, India
KWWS IDUP VWDWLFĂ&#x20AC;LFNU FRP B H FFIH B] MSJ
http://picasaweb.google.com/lh/photo/Pf48WKwfhhwECiNr2HjUAg
Âł$ UHWXUQ WR WKH VLOHQFH ZLWKLQ RQHVHOI WR ÂżQG WKH VHFUHG WKDW LV LQ HYHU\ EHLQJ WKH JUHDW void, unlimited, which our notion of sacredness does or does not live.â&#x20AC;? Le Corbusier
The sound vibrations emitted in a space have a profound effect in the atmosphere. Words spoken by an individual could have a lasting affect a personâ&#x20AC;&#x2122;s entire life positively or negatively. The sounds that are emitted in a space consequently create a particular atmosphere that is conducive to particular activities. In the end, the sounds that reverberate inside a space indeed impart the places sacredness.
Water Temple, Japan
Nuns at Prayer, Myanmar
http-//www.novonucleo.com.br/blog/externos/ post/01112011202840.jpg
KWWS WUDYHO QDWLRQDOJHRJUDSKLF FRP WUDYHO WUDYHOHU PDJD]LQH SKRWR FRQWHVW HQtries/67957/view/
http://www.pksb.com/blog/wp-content/uploads/2009/10/gte.01.jpg
Chruch on the Water, Japan
http://fc05.deviantart.net/fs71/i/2012/010/3/9/church_on_the_water___tadao_ando_by_phonginterior-d4lwc0k.jpg
http://ad009cdnb.archdaily.net/wp-content/uploads/2010/12/1292880027-cow5-528x373.jpg
20
THA N K Y O U F O R Y OU R T IME , G O VI N D A
EM AIL: GOVINDADECASTRO@GM AIL.C OM W EB: GOVINDADECAS T R O.C OM PHONE: 352- 262- 0563
21