Stage 3 Architecture Portfolio, Kotryna Navickaite, Newcastle University

Academic Portfolio BA (Hons) Architecture Stage 3

Bhavana Buddhist Centre and Monastery Kotryna Navickaite Newcastle University 2017/2018

“ARCHITECTURE MUST TRAVEL FROM A SPIRITUAL DIMENSION OVER TO THE CONCRETE WORLD 1 “ 1

Per Olaf Fjeld and Sverre Fehn, Sverre Fehn (New York: Monacelli Press, 2009), p. 18.

NEW WORK

IMPROVED WORK

APOLOGIA Buddhism is something I have been interested in for almost 8 years now. Hence, when I became familiar with the studio Enclosed Order, I already knew that this was something I wanted to explore further.

What originally attracted me to Buddhism was that it is an honest religion, especially in the Theravada tradition. There are no fantasies and no liberators, you have full responsibility for your own path to enlightenment following specific steps and attaining certain realizations. One has to become increasingly more aware and knowledgeable, in this way liberating yourself and helping others.

I started thinking about how this could be translated into architecture. An architecture of truth, awareness and spiritual development. The search led me to phenomenologists like J. Pallasmaa who states that “the gradually growing hegemony of the eyes seems to be parallel with the development of western ego – consciousness and gradual separation from the self and the world.” 1 He advocates for architecture for all senses and that which creates awareness of the body.

Furthermore, I found great inspiration in the work of Sverre Fehn. I learned many things from his Nordic minimalism and incredible understanding of climate, light and most importantly when to look inwards and when to look outwards.

The theories and designs of these architects very much connect to the Buddhist concepts of mindfulness, awareness and simplicity. They talk about an architecture that stimulates the senses, creates bodily experiences which in turn brings the person back to the present moment.

Another aspect of designing a Buddhist monastery in the western world which intrigued me, was how one could possibly fit all the symbolism found explicitly stated in, for example, Thai Buddhist temples, without directly copying the style and typology of that architecture.

This question led me to Kenneth Frampton. His critical regionalism aims to ”…mediate the impact of universal civilization with element derived indirectly from the peculiarities of a particular place. It is clear.. That Critical Regionalism depends upon maintaining a high level of critical self-consciousness. It may find its governing inspiration in such things as the range and quality of the local light, or in a tectonic derived from a peculiar structural mode, or in the topography if a given site.” 2 One of the ways he suggests that one could respond to the site and cater for a style while still keeping modern elements in the architecture is by the interplay of the tectonic and stereotomic elements with all the symbolism that implies. The development of this symbolism will be shown further on in this portfolio.

Finally, it is important to remember that as Enric Miralles said; architecture is never finished. So although I’m submitting this portfolio, what I present is just a glimpse of the project where it is now, a snapshot of something in motion. It could still go in endless directions. Maybe Miralles was even a Buddhist, he seemed to understand the ever changing nature of everything. The most important thing with a snapshot, however, is not to catch everything about a moment, rather only the essential parts. I hope I have managed to achieve that in this portfolio.

1 Juhani Pallasmaa, The Eyes Of The Skin (Chichester: Wiley, 2014) 2 Frampton, Kenneth, ”Towards A Critical Regionalism: Six Points For An Architecture Of Resistance”, in The Anti-Aesthetic: Essays On Postmodern Culture Author(S) Foster, Hal (New York: New Press, 1998), 21.

1.0

Primer

09

2.0

Staging

32

3.0

Responding/ Translating/ Realization

40

4.0

Refinement

60

5.0

Charette

94

6.0

Thinking Through Making

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APPX. 1

Field trip: Athens and Meteora

102

FIGURES

114

REF.

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Bottom: Chapel by Breathnach Donnellan O’Brien and MEDS students.

The photo was used as inspiration for the atmospheric studies to the right.

The use of timber and screen walls in this design created a tactilely warm and uplifting atmosphere which could be potentially inspiring in spiritual practice. Furthermore, the scale of the chapel is unclear in the photo without inhabitation, so different scales were explored and what effect this has for the atmosphere. A sacred space of a bigger scale would seem more grand and inspiring.

1.0

PRIMER The aim for primer was to explore the atmospheres of the individual cells as well as deciding what kind of community will use them which in turn affected the exploration.

It was important to consider the tectonics, construction, structures and environment.

Firstly, an atmosphere in a specific photograph was chosen as initial inspiration and explored both two- and three dimensionally in the form of a congregational and a personal space. Then, the protagonist was defined and the narrative for the

complex was created. In this task the individual cell, its content and atmosphere was explored and defined. For the third task, a precedent was chosen, in this case, the Roman Museum in Merida, and a tectonic model was created in groups to show our ambition for the next phase of the project tectonically and conceptually. The Primer stage was finalized by designing a conceptual conglomeration of cells and a congregational space, and presenting the work in a box during the Primer exhibition.

Primer: Atmospheres

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Primer: Atmospheres

SYMBOLISM

SOLID. GROUNDING. BLOCKING OUT. COLD.

SOFT. UPLIFTING. WARM TO TOUCH.

Primer: Atmospheres

The interplay between heavy and light and the symbolism they might carry was explored to create sacred personal and communal spaces. The light and warm timber would be the place where practitioners would touch the building and light would be let through, while the solid elements would have a grounding effect while blocking out the noise of the outside world.

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12

Primer: Atmospheres

Primer: Atmospheres

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14

Primer: Protagonist

PROTAGONIST

1.Do no harm to living creatures

moment. Happens regularly. Part

ordination lineage.

Physical spaces for Buddhists and

concepts of a Buddhist experience

2.Do not steal

of the ritual. Eventually, always in

The first monastery to ordain four

their importance:

of a painting as a work of art” 6 So

3.No sexual activity

the present moment.

Theravada nuns in recent times was

4.No lying 5.Not

taking

drugs

or

other

Coexistence with monks/ bikkhu’s

the object of art does not have a

Bodhinyana from Perth, Australia

The

Buddhist

value but the act of making it and

which was later then expelled by

architecture has been relatively

development

of

the state of mind produced by

its temple community in Thailand 3 .

open ended where it has absorbed

observing it does. If the physical

The protagonist for this project is

intoxicants

a Buddhist nun or bikkhuni. She

6.Not eating after noon

“Although a woman can achieve

So the views and traditions are

a great deal of foreign elements

monastery can be regarded as

is born in western Europe in a

7.Not listening to music, dancing or

the state of awakening known as

changing, however there is still

along the way. The forms have

something of aesthetic value at

Christian family, however after not

seeking entertainment

arhatship,

Buddhist

a long way to equality. There are

changed

climate,

the same time as it is supposed

finding answers to her questions

8.Not dressing up, wear perfume or

tradition

woman

discussions about the social and

local conditions as well as being an

to bring the inhabitants closer to

in the Christian faith, she is now

make up

cannot achieve full and complete

soteriological inequalities of women

extension of the specific school of

enlightenment, its production will

trying

9.Not sleeping in a luxurious bed

Buddhahood.”

Buddha is said to

in Buddhism especially in the west

thought in Buddhism.

be an act of worship on behalf of

10. Not owning money

have declared that women cannot

specially because it is illegal to

The monastery has to be not too

the monks and nuns. Lastly the

achieve full awakening and become

discriminate against women

far away from people and not too

text emphasizes that true beauty

a Buddha, but Theravada tradition

Buddhist monks and nuns can live

close. Almost all monasteries have

is beauty of the mind 7 but also

to

seek

them

through

Buddhist practice as a monastic in a relatively new monastery in

Personal

Newcastle Upon Tyne.

self

practice,

realizations

states 2

that

a

according

to

4

and

also states that they cannot be a

in the same monastery but have to

an inward orientation enclosed by

in terms of physical beauty it is

enlightenment are encouraged in

bodhisatta – a being on the path to

have separate quarters and should

a high wall. Different buildings

“not the beauty in itself but the

Theravada before being able to help

Buddhahood.

not spend time together alone.

either single or multi storied with

misunderstanding of the nature

The monastery is of the Theravada

others as opposed to Mahayana

The mainstream Theravada goal is

walls and roofs determined by the

of the objects of beauty” that can

school of Buddhism. According to

where others have to helped before

arhatship which is a person who

function and with a continuous

“lead to disappointment and grief.

their beliefs, Buddha a teacher

oneself.

requires the teachings of Buddha

gallery - often oriented around a

It is greed and desire that cause

Tradition

discipline,

meditation,

Theravada

and not a God and every being has to make their own way to

Rituals:

Coexistence with lay people

which can lead to awakening which

The nun has withdrawn from the

central courtyard. 5 The cell should

sorrow, not the beautiful things in

women can achieve, however they

society forming a community with

be

themselves.” 8

incredibly

simple

according

are denied the right to lead the

fellow nuns and monks devoted to

to the ninth precept. In terms of

moksha

“Rituals are form of a language

Buddhist community and pursue

religious practice. The goal for her

Theravada views on beauty and

1. Gil Fronsdal, ”Rituals In Buddhism : Insight Meditation

means freedom from attachment

that expresses many dimensions

the highest spiritual goal. This

practice is moksha- freedom from

aesthetic

Center”,

to ego, the material world and

of our human condition including

sends a message to women that

attachment to ego, the material

quite different from the ones in the

insightmeditationcenter.org/books-articles/articles/

cycle or rebirth and all monastic

our relationships to others and to

their birth is a result of acquired

world and cycle or rebirth. She will

west. There are conflicting views on

rituals-in-buddhism/> [Accessed 24 January 2018].

activities are in essence different

our spiritual life.” “When repeated

bad karma and that they should

practice the Dharma which is the

the subject of beauty in Theravada.

2. Naomi Appleton, ”In The Footsteps Of The Buddha?

types of meditation aimed to reach

frequently they can shape our

aspire to be born male in the next

Buddha’s teachings and seen as

However, it is stated that the aim of

Women

that. Path is an important concept

dispositions”

lives. Appleton argues that the

tools to help achieve awakening.

any representation in Theravada is

Buddhism”, Journal Of Feminist Studies In Religion, 27.1

in Buddhism. There is the figurative

make us to better people/ closer to

historical

some

To withdraw from society does not

not an aesthetic experience in and

(2011), 33.

path

enlightenment and vice versa.

texts about bodhisattas is partly to

mean to completely cut oneself

of itself but to teach people about

3. Angela Pownall, ”WA Buddhists Expelled Over Women”,

takes

Buddhists also believe in cyclic

blame for the exclusion of women

of from the world, COEXISTENCE

the Eightfold Path, hence the goal

The West Australian, 2009 <https://thewest.com.au/

every day in parallel, while doing

existence which means until one

from the path. She talks about that

WITH LAY PEOPLE is essential for

is a moral attitude. So for example

news/australia/wa-buddhists-

walking meditation, or chanting

is enlightened, one will continue

since it was observed that women

Buddhist monastics. Lay people

the representation of Buddha is

while walking around stupa’s. The

to

the

were socially disadvantaged, they

help

with

not a representation of Buddha,

differentpaths in the monastery

good rituals are perfected, one

must have been born like that then

the

like

but the power of Buddha. And

5. Le Hu Phuoc, BUDDHIST ARCHITECTURE (Grafikol,

could be literally looked at as

gets reborn in a better life until

due to bad karma. The exclusion

food or finances. The monastics

that “Buddhist work of art should

2010).

paths to enlightenment.

eventual

Prayer

of women she argues was not a

in turn give teachings on their

rather be considered as and act of

is ritualized speech. Rituals are

purposefully designed doctrine but

realizations to guide lay people

worship and not as an experience

Buddhist monks and nuns have to

prayers

with

the

a mixing up of the social inferiority

towards enlightenment. Hence a

an artistic “essence” hidden in the

follow certain rules. There are 227

have

daily

routine

is

of women and the actual physical

congregational space is used both

work. The moral content of the

for monks and around a hundred

mainly the same every single day,

and mental inferiority. These beliefs

by monastics and people from the

action of painting (production) or

more for nuns. The most important

repeated again and again.

Sound

have carried on to the present day

outside.

observing the painting (fruition)

ones are the 10 precepts:

is important in terms of bringing

and Theravada Buddhist countries

and the individual salvation from

the monastics back to the present

often still do not have a female

rebirth and suffering are the central

enlightenment (moksha) through meditation.

to

physical

In

practice,

enlightenment, daily

paths

or

one

the

be

1

. I.E good rituals

reborn.

a

However,

enlightenment. body.

if

They

which

composition

of

out

the

practical

monasteries parts

of

life

experience,

they

are

Insight

And

The

Meditation

Center

Bodhisatta

Path

<https://www.

In

Theravada

expelled-over-women-ng-

ya-226799> [accessed 26 December 2017].

4. Le Hu Phuoc, BUDDHIST ARCHITECTURE (Grafikol, 2010).

6. Paolo Euron, ”Beauty And Aesthetic Experience In Theravāda Buddhism”, Contemporary Buddhism, 2017, p.

9 <https://doi.org/10.1080/14639947.2017.1386415>.

7. Paolo Euron, ”Beauty And Aesthetic Experience In Theravāda Buddhism”, Contemporary Buddhism, 2017, p.

10 <https://doi.org/10.1080/14639947.2017.1386415>.

8. Paolo Euron, ”Beauty And Aesthetic Experience In Theravāda Buddhism”, Contemporary Buddhism, 2017, p.

11 <https://doi.org/10.1080/14639947.2017.1386415>.

Primer: Protagonist

OBJECTS IN THE CELL: SIMPLE BED. DESK, LAMP, BOOKS, MEDITATION CUSHION

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Primer: Protagonist

Ordained by the Buddha during his lifetime. Full potential to reach enlightenment according to him.

Men at that time were superior to the woman in all aspects of life, both practical and spiritual.

Buddha himself was also a man, so their ordination was a natural and accepted event.

227 rules in total for monks with the 10 main precepts in at the core of this.

The rules are not an end in themselves. Rather, they are regarded as a tool to lessen suffering and move closer to enlightenment. They are also aimed at avoiding misunderstandings and make the monastics totally dependent on lay people for material support.

This encourages appreciation for what they have and contemplation of what is really needed.

MONKS

Monks and nuns can live together in the same monastery, however they need to have separate quarters and not spend time together alone.

The lineage of Theravada male monastics span back uninterrupted to the times of the Buddha.

Because of the privileged position of men in society, there was never a lack of lay support for the monasteries, hence the lineage was able to survive all this time.

Primer: Protagonist

Ordained by Buddha during his lifetime. Full potential to reach enlightenment according to him.

Women were in turn, in all aspects of life, subordinate to men. Their whole life was spent obeying the men in their lives. They were also regarded spiritually inferior.

NUNS

1. ”Non-Historicity Of The Eight Garudhammas - Dhammadharini”, Dhammadharini.Net, 2009 <http://www.dhammadharini. n e t / d h a m m a / d h a m m a - t a l ks - f ro m - t h e - b h i k k h u n i - sa n g h a / a ra n y a - b o d h i - h e r m i t a g e / n o n - h i s to r i c i ty - o f - t h e - e i g h t - g a r u d h a m m a s > [Accessed 10 March 2018].

Monks and nuns can live together in the same monastery, however they need to have separate quarters and not spend time together alone.

Because females have not been able to ordain as equals in the Theravada tradition, alternative ways of renunciation have emerged, where the nuns take some of the precepts, but like for example the maechi order in Thailand 3 , they spend much of their time serving the monks. With equal ordination this will be avoided.

Female monastics have the same rules as the monks, however they have an additional set of rules called The Eight Garudhammas.

Although many claim that these rules were established

by Buddha himself to protect the female monastics, close reading of Buddhist texts suggests that their origin is much later. Hence the female order was made to fit better into the patriarchal society of the day.

The Eight Garudhammas talk about how to deal with things specific to women, like motherhood, but also put them in a subordinate position to male monastics demanding more respect from female to male than the opposite way. 1

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3.“Maechi”,

En.Wikipedia.Org

<https://en.wikipedia.org/wiki/

Maechi> [Accessed 24 May 2018].

The lineage of Theravada female monastics disappeared around 1000 years ago and only recently has the ordination started again in Sri Lanka and the western world. However it is meeting significant resistance from male monastics, especially in the Thai forest tradition.

It is stated in the Eight Garudhammas that a nun has be ordained by both a nun and a monk from the same tradition. If a female monastic order dies out, this prevents its resurgence. 2 2. HORAYANGURA NISSARA, “Issues | The Bhikkhuni Question”, Buddhistchannel.Tv, 2009 <http://www.buddhistchannel. tv/index.php?id=70,8074,0,0,1,0#.Wwaw-VPt61s> [Accessed 19 May 2018].

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Primer: Protagonist

INTERCONNECTEDNESS ”BUDDHISM, IN COMMON WITH SOME OTHER EASTERN TRADITIONS, DOES NOT MAKE THE BIG DISTINCTION FOUND IN THE WEST BETWEEN “NATURE” AND HUMAN BEINGS. IT IS STRESSED THAT WE ARE NOT SET APART FROM NATURE ... BUT THAT WE ARE PART OF IT.” 1 1

Robert Ellis, ”Attitudes To Nature And The Environment”, Clear-Vision.Org <https://www.clear-vision.org/Schools/Students/Ages-17-18/natural-

world/environment.aspx> [Accessed 11 February 2018].

Primer: Protagonist

BIG ANIMALS SMALL ANIMALS

UNFAMILIAR PEOPLE

HUNGRY GHOSTS FAMILIAR PEOPLE DEMONS SELF

TITANS UNIVERSE GODS BEINGS ON OTHER PLANETS BUDDHAS

MONASTIC COMMUNITY NATURE ON EARTH

IN BUDDHSIM, THE WHOLE PHYSICAL WORLD AND THE WHOLE SPIRITUAL WORLD IS LIKE ONE BIG ECOSYSTEM WHERE EVERYTHING IS CONNECTED TO EVERYTHING ELSE. 1 1. C. George Boeree, “Buddhist Cosmology”, Webspace.Ship.Edu <http://webspace.ship.edu/cgboer/buddhacosmo.html> [Accessed 13 January 2018].

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Primer: Protagonist

Important precedents in terms of layout and programme of use of a Buddhist monastery were Cave 1 in the caves of Ajanta in North India (below), and the Vajrasana Retreat Centre near London. The fist example is around 1400 - 2000 years old and shows how in historical monasteries the cells were incredibly simple and organized around a central space for prayer and practice. Similarly in Vajrasana (bottom right), the cells and the rest of the uses are organized around a series of central courtyards, with the intention of blocking out the world and creating a calm and peaceful environment in the retreat. It is also visible that even in modern times, the cells or halls in Buddhist retreats/ monasteries are very simple.

Primer: Protagonist

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Primer: Protagonist

From the previous atmospheric explorations and study of precedents, several attempts were made to create a cell for a Buddhist monastic.The focus was on the contrast between the solidity and permanence of the concrete and the warmth of the timber. Framed views of the outside when meditating.

Primer: Protagonist

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Primer: Tectonic studies

Tectonic studies inspired by the Roman Museum in Merida by Rafael Moneo.

The focus of the exploration was on the relationship and perceived lightness of the arches. Here the heavy is perceived as light and is the opposite effect of what my project wants to achieve, .

Primer: Tectonic studies

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Primer: Tectonic studies

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A

Plans and section of the conglomeration of eight cells with the adjoining congregational spaces.

Section C cuts through two cells and the baths.

Section D shows the complex on its long side with allocated space for dining and kitchens.

The main temple will be located on the big empty square overlooking the complex.

B

C B A

C

D

D

Primer: Exhibition

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Primer: Exhibition

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Left: Personal box from primer exhibition.

Top: Collective primer exhibition

2.0

STAGING As opposed to many other studios, we only learned where our sites were in the staging phase, and therefore during this stage analysis of the site was undertaken and effort was made to start exploring how the conceptual and atmospheric designs could fit onto the site as well as starting thinking about the tectonic intent in response to the site. The studio brief states that â&#x20AC;&#x153;situating a complex involves a dialogue between the

suggested complex of buildings and human actions and the existing ones.â&#x20AC;? Consequently a variety of aspects of the site were investigated to understand better how the ancient tradition of Theravada Buddhism could fit into the context of Ouseburn, in Newcastle.

Staging: Site analysis

The atmosphere of the built fabric in Ouseburn and more specifically around the site of the metal scrap yard is quite austere. The high wall on site almost makes it seem like there could be some kind of community enclosed inside. The aim was to keep this particular atmosphere on street level.

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Newcastle Upon Tyne has formerly been a major industrial city mainly known for coal and shipping. It was also the birthplace for the Industrial Revolution.

After the decline of the heavy industries the city redeveloped itself as a cultural and educational centre of North England 1 1. Ben Johnson, “The History Of Newcastle-Upon-Tyne”, Historic UK <https://www.historic-uk.com/ HistoryMagazine/DestinationsUK/NewcastleuponTyne/> [Accessed 6 May 2018].

NEWCASTLE UPON TYNE

OUSEBURN

METAL SCRAP YARD SITE

Staging: Site analysis

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Sun path.

Prevailing winds.

Noisy road.

Sloped site gives opportunities for views.

The form of the monastery will try to block the sound from the noisy road, sheltering from the prevailing winds as well as opening up to the sun.

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Staging: Site analysis

Collage of the urban fabric in Ouseburn.

Staging: Site analysis

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Staging: Site analysis

Residential

Cafèâ&#x20AC;&#x2122;s

Ouseburn Coffee

ouseburn. ouseburncoffee. co.uk/ co.uk/ dirctory/ ouseburn -cafe/ kiln. cafe/

Pub/bar thetyne.com/

Gym eltephysque. co.uk/ crossfit reebok tyneside .com/

Climbing center climbvalley.com/

Music/ theater facebook.com /Little-Buildin gs-Rehearsal-Roo ms-4142381553804 81/?fre

Printing printne. co.uk/

Computing service findit.newsgua rdian.co.uk/ company/4383091273 97376 nunetic.com/

Auto service

Timber works quaytimber. co.uk/

Scrap metal works wardbrossteel. co.uk/

Staging: Site analysis

SYMBOLISM

SOLID. GROUNDING. BLOCKING OUT. OF THE NEIGHBOURHOOD, LOCAL, FAMILIAR.

SOFT. UPLIFTING. WARM TO TOUCH.

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3.0

RESPONDING/ TRANSLATING/ REALIZATION In this phase my aim was to tie the Buddhist monastic complex and Ouseburn. I wanted to do that both in terms of form and program. The form in terms of materiality and constructions has symbolic value for the monastic community as well as being familiar to the local people. The program is that of a fairly traditional Buddhist monastery with the printing workshop to fit into the social context of

Ouseburn as well as the CHP for environmental purposes.

Looking at these goals, I started the process of translating this into a design that would accommodate them in the best possible way. During this time, precedents both in terms of program and design were very important.

CONNECTING TO THE CREATIVE SCENE IN OUSEBURN

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There is a high density of artist studios and galleries in the area. Having a printing workshop in the monastery makes it fit into the narrative of the site while at the same giving the monastics a chance to tell their own narrative through the art.

Galleries and artist studios in Ouseburn

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RESPONDING/TRANSLATING/REALIZATION: PROGRAM

BLOCK/ LINO PRINTING: As a way of practicing and gently spreading the word about Buddhism, the monastics will be producing their own lino/block prints and giving them to visitors against donations. This is a repetitive work, however in this case, the production of the art is another way of practice and meditation. It will be beneficial for the monastics while at the same time speaking a similar language as the creative people of Ouseburn, perhaps creating less reservations against the community.

RESPONDING/TRANSLATING/REALIZATION: PROGRAMME

NATURAL PAINT - MAKING: As a way of better understanding the nature of cyclic existence and impermanence as well as the value of nature, the paint/ink for printing will be produced on site from plants grown on site.

GROW PLANT

MIX IT WITH OIL

Daemonorops Rose madder Hanburyâ&#x20AC;&#x2122;s Garcinia.

Beech Isatis Timctoria

DRY IT

CRUSH IT TO A POWDER

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RESPONDING/TRANSLATING/REALIZATION: PROGRAM

CHP

Nun residences

CONNECTING TO THE CONCEPT OF INTERCONNECTEDNESS. ENVIRONMENTAL STRATEGY: CHP

Top: Operation of a CHP power plant.

Right: The CHP power plant will provide all the buildings in the complex with water and electricity.

Monk residences

Laundrettes

Workshop

Kitchens

Lay residences

Temple

Library

Water Electricity

RESPONDING/TRANSLATING/REALIZATION: ENVIRONMENTAL STRATEGY

Very little heating required. hence considerable amount of energy is saved,

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Benefits of passivhaus To achieve the passive house name, a very higt standard of house must be achieved, hence ensuring durability.

Works in many climates.

In line with Buddhist envirnonmental aims.

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RESPONDING/TRANSLATING/REALIZATION: PRECEDENTS

Below: Amaravati Buddhist Monastery near Hempstead in England. This is the closest precedent to coexistence of Theravada monks and nuns in UK. However, the way they are ordained is still not at the same level as the monks 1 and they take a subordinate role in the community.

On the photo below it is visible that they for example wear different robes and sit to the side of the altar rather than equally in front like the monks. .

In terms of practical coexistence - they live in separate conglomerations of cells, but use the same temple and refectory.

1 ”Female Monastic Community » Amaravati Buddhist Monastery”, Amaravati Buddhist Monastery <https://www.amaravati.org/about/female-monastic-community/> [Accessed 8 February 2018].

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Another precedent is Plum Village monastery in France near Bordeaux. It is of the Zen tradition of Thich Nhat Hanh and there, the nuns keep exactly the same precepts as the monks. One of the nuns stated: “In Plum Village, the Eight Observations of Respect that nuns have to observe towards Buddhist monks are not observed, as Nhat Hanh claims they were invented only to help the stepmother of the Buddha, and that one need only keep Nhat Hanh’s 14 precepts properly. That’s all.“ 1 Even though it is not the same tradition, the nun’s case was almost exactly the same not long ago in that tradition as well and was challenged by Nhat Hanh.

In Bordeaux the nuns and monks are spread around 4 different smaller monasteries.

1. Alan Senauke and Susan Moon, “Khong.Html”, Sinc.Sunysb.Edu, 1994 <http://www.sinc.sunysb. edu/clubs/buddhism/dailylife/khong.html> [Accessed 16 May 2018].

48 Intended program of the monastery and the relationships between the different uses and people.

Kitchen

Monks

Biomass CHP/ public garden maintainance

Lay residents

Temple

Refectory

Library

Nuns

Printing workshop, private gardens maintainace

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“Why did the Buddha establish the bhikkhuni order if it wasn’t going to help further the Dharma or give more possibility for women to become enlightened?

We always say the Buddha knows better than us. If the Buddha thought it was a good idea, then why can’t we?” 1 1. NISSARA HORAYANGURA, “Issues | The Bhikkhuni Question”, Buddhistchannel.Tv, 2009 <http://www.buddhistchannel.tv/index. php?id=70,8074,0,0,1,0#.Wwaw-VPt61s> [Accessed 13 March 2018].

In this case the view is held that women have equal spiritual capabilities as men and since the Buddha ordained women, clearly that is the original view.

In Bhavana Buddhist monastery women will be ordained the same as men, like several other Theravada monastic communities have done already. 2 2. Ani Jutima, “Full Ordination For Nuns Restored In Sri Lanka”, Buddhistinquiry.Org, 2002 <https://www.buddhistinquiry.org/article/fullordination-for-nuns-restored-in-sri-lanka/> [Accessed 17 May 2018].

50

RESPONDING/TRANSLATING/REALIZATION: PRECEDENTS

The Walled Tsingpu Yangzhou Retreat: This development was an inspiration due to its enclosed nature, simple and honest materials and creating a series of courtyards with a contemplative atmosphere. Furthermore the careful bringing in of plants and water reminds the residents of changing weather conditions and seasons.

RESPONDING/TRANSLATING/REALIZATION: PRECEDENTS

51

The Saynatsalo Town hall was an inspiration in terms of expressing the spaces inside volumetrically on the exterior of th building. However most importantly, the typology is somewhat similar to a monastic complex and again, the materials are expressing themselves clearly and honestly.

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT 52

Trying to find inspiration from axis on site.

Initial idea of a complex on the hill.

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT

53

Applying the axis idea into a plan.

Eventually the decision was made to go along the natural shape of the site.

54

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT

Left: Initial ideas of conglomeration of the cells on a slope.

Opposite: Looking into how the solid and the soft elements would connect in the cell complex.

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT

55

56

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT

Atmospheric exploration connecting the cells.

of

the

corridors

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT

Soft materials used on the inside of the cell complex. Open to the sun.

Hard materials are used on the outside. Penetrated only by a few windows.

57

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT 58

Initial development of the temple.

RESPONDING/TRANSLATING/REALIZATION: DESIGN DEVELOPMENT

59

Initial idea of the screens in front of the temple both for atmospheric reasons and for shade,

4.0

REFINEMENT During the refinement stage I tried to refine the tie between the neighbourhood and the monastic complex, specifying each space in more detail.

“WE HAVE A MENTAL NEED TO GRASP THAT WE ARE ROOTED IN THE CONTINUITY OF TIME, AND IN THE MAN -MADE WORLD IT IS THE TASK OF ARCHITECTURE TO FACILITATE THIS EXPERIENCE.” 1 1

Juhani Pallasmaa, The Eyes Of The Skin (Chichester: Wiley, 2014), p. 32.

”ALL THE SENSES, INCLUDING VISION ARE EXTENSIONS OF THE TACTILE SENSE” 1 1

Juhani Pallasmaa, The Eyes Of The Skin (Chichester: Wiley, 2014), p. 10.

“ARCHITECTURE MUST TRAVEL FROM A SPIRITUAL DIMENSION OVER TO THE CONCRETE WORLD 1 “ 1

Per Olaf Fjeld and Sverre Fehn, Sverre Fehn (New York: Monacelli Press, 2009), p. 18.

61

62

REFINEMENT

REFINEMENT

Site

Traditional typology

Design

63

64

REFINEMENT

STEREOTOMIC: RECLAIMED BRICK

REMINDS OF SOLIDITY OF THERAVADA TRADITIONS. WASTE REDUCTION - REUSE OF THE BRICKS REMINDS OF CONCEPT OF REBIRTH. WASTE REDUCTION IN LINE WITH CONCEPT OF INTERCONNECTEDNESS. NO LONGER PERFECT HENCE REMINDS OF IMPERMANENCE.

REFINEMENT

TECTONIC: TIMBER

EPHEMERAL HENCE REMINDS OF PASSAGE OF TIME. ENVIRONMENTALLY FRIENDLY HENCE REMINDS OF INTERCONNECTEDNESS. NATURE OF TIMBER CYCLICAL HENCE REMINDS OF CYCLICAL EXISTENCE. WARM TO TOUCH FOR BODILY PRACTICE.

65

ALB

ROW

N

K

66

ION

R

BA

1.

BY

KE

2.

3.

6.

7.

1.

9.

10.

8.

4.

5.

ST

.

.

SS

ST

O

RD

CR

FO

2nd. floor: 1. Temple 2. Nun residences 3. Monk residences 4. Lay residences 5. Library 6. Refectory and kitchens 7. Printing workshop. 8. Private gardens. 9. Biomass CHP. 10. Public gardens.

REFINEMENT

1st. floor

Ground floor

67

68

Left: entrance to the monastery by the CHP. All the entrances to the monastery will be simple openings in the surrounding solid wall. This creates gentle curiosity of what is inside without extravagant expression of their presence.

Right: Monastery looking from Albion Row.

69

Temple: 2nd floor: 1:200

70

REFINEMENT

3.

2.

5.

6.

4.

1.

A.

REFINEMENT

Temple: ground floor: 1:500

Temple: 1st floor: 1:500

1. Main prayer hall 2. Foyer 3. Toilets 4.

Atrium 5. Storage/services 6. Lift 1st floor: 7. Balcony 8. Storage/services Ground floor: 9.Teaching room 10. Toilets

8.

10.

9.

7.

71

72

REFINEMENT

Atrium of the temple

73

A: Technical section.

1. Thermoblock 2. Hardcore 3. High density polystyrene (EPS) insulation.

4. Airtightness/ vapour barrier.

5. Concrete slab.

6.Insulation (to prevent heating of the whole concrete slab).

7. Screed and underfloor heating.

8. Timber floor 9. Reclaimed brick cladding.

10. Insulation 11. Lightweight concrete blocks.

12. Insulation.

13. Timber cladding.

14. Triple glazed window.

15. Suspended timber panel ceiling.

16. Concrete slab 17. Stone tiles 18. Acoustic timber wall panels.

74

18.

17.

16.

15.

14.

13.

12.

11.

10.

9.

1. 2. 3. 4. 5. 6. 7. 8.

A: Technical section 1:50

REFINEMENT

75

In line with Buddhist preoccupation with the environment, the temple as well as the other buildings in the complex aim to have a high efficiency, hence insulation, level.

Concrete is chosen for construction because of the large span of the main prayer hall. On ground floor almost all walls a load bearing to support the weight of the prayer hall above.

A: Technical section 1:50

76

Left: View of the temple approaching from direction of Cross st.

Right: Views inside of the prayer hall.

77

78

REFINEMENT

Private gardens

Public gardens

REFINEMENT

Cell complex courtyard

Perspective section of the complex

79

80

REFINEMENT

1st floor: 1:500

5.

4.

Ground floor: 1:500 Cell complex: 2nd floor: 1. Monastic cell 2. Communal area 3. Courtyard 1st floor: 4. Showers 5. Toilets

3.

2.

1.

Monastic cell complex 2nd floor 1:200

REFINEMENT

View of the courtyard of the monastic cells.

81

82

Left: view of the glazed corridors of the monastic cell complex.

Right: monastic cell.

The practitioner only needs very few essential elements, like a blanket, books, a lamp and perhaps a Buddha image.

83

84

REFINEMENT

1.

6.

1.

5.

2,

4

7.

3,

Workshop 2nd floor 1:500

Workshop 1st floor 1:500

Workshop ground floor 1:500

REFINEMENT

Left: view of the workshop from the library.

The workshop is where the female monastics will work several hours every day, They will also be keeping the gardens for paint production.

Workshop 2nd floor: 1. Room for mixing pigment and oil.

1st floor: 1. Room for mixing pigment and oil.

2. Lino - printing room. 3. Storage. 4. Toilets Ground floor: 5. Plant grinding room 6. Plant drying room. 7. Atrium

85

86

REFINEMENT

B

A

Section A through the library

REFINEMENT

Section B through the temple

87

88

1.

2.

Library: Ground floor: 1:200 1. Library 2. Personal study rooms

REFINEMENT

Right: View interior.

of

library

89

90

A usual day in the life of a monk

Monks.

5.am

A usual day in the life of a nun

Nuns Waking up. Collective morning chanting and

5.am

meditation in the temple.

Waking up. Collective morning chanting and meditation in the temple.

7.am

Breakfast in the refectory.

7.am

Breakfast in the refectory.

8.am

Work period. General cleaning/ washing robes in

8.am

Work period. General cleaning/ washing robes in

the laundrette.

the laundrette.

11.am

Lunch. Last meal of the day.

11.am

Lunch. Last meal of the day.

12.am

Work period in the printing workshop/ private

12.am

Work

gardens.

period

in

the

CHP/

public

garden

maintenance.

3.pm

Personal study time in the library/ cell or gardens.

3.pm

Personal study time in the library/ cell or gardens.

8.pm

Collective chanting/ meditation in the temple.

8.pm

Collective chanting/ meditation in the temple.

91

A usual day in the life of a lay resident

Lay practitioners 5.am

Waking up. Collective morning chanting and meditation in the temple.

7.am

Breakfast in the refectory.

8.am

Work period. Preparing lunch for the monastics.

11.am

Lunch. Last meal of the day.

12.am

Personal study time in the library/ cell or gardens.

8.pm

Collective chanting/ meditation in the temple.

9 pm.

Bed time

Rituals of all groups combined

Bottom: Seating in the prayer hall is separated by group while in the refectory everyone can sit together.

5.0

CHARETTE This year my Charette was about building a wall which would in some way make people engage with it, and experience certain emotions.

My group decided to build a wall what was going to make people on either side of it engage in conversation.

During this time we also went on a field trip to Ouseburn to look at some street art.

95

6.0

THINKING THROUGH MAKING I chose the Thinking Through Taking workshops according to the materials I would like to learn more about and possibly use in my project as well as by how I would like to express my ideas in the future. The first was casting and the second one was film.

During the casting workshop we learned how toc ast using jesmonite.

On the film making workshop we were quite unexpectedly taught how to cut and edit actual plastic film which we eventually closed in a loop and watched.

During the Thinking Through Making Week I wanted to zoom in on the detail of the cell design as it was at that moment.

THINKING THROUGH MAKING

These images are from a casting workshop using jesmonite. It was a great experience, I learned about a new material and good tricks how to use it.

97

98

THINKING THROUGH MAKING

These images are from a film making workshow where instead of using digital means, er actually cut and pasted actual film. This was also a totally new experience.

THINKING THROUGH MAKING

99

100

THINKING THROUGH MAKING

THINKING THROUGH MAKING

During the thinking through making week I made a sectional detail model of the cell design at the moment.

I wanted to explore how the interplay between heavy and light might look like in greater detail.

101

APPENDIX 1:

FIELD TRIP: ATHENS AND METEORA From the 26th to the 30th of November, we went on a field trip with our studio to Greece where we visited Athens and Meteora.

FIELD TRIP

103

104

On the first day we went to the Acropolis followed by the Acropolis museum by BernardTschumi.

The museum is built to honor and display the artefacts from the Acropolis site, hence it avoids monumentality itself. However it references ancient Greek architecture by using the same ancient mathematical ratios in the design as architects did in ancient Greece. Perhaps one of the most important converstations the museum initiates is about the missing Elgin marbles. By intentionally leaving space for them in the arrangement of the rest of the marbles, the museum shows that the wish is that they will one day return.

FIELD TRIP

On the second day we went to the old Fix Brewery which now serves as the National Museum of Contemporary Art in Athens. The existing structure speaks about the complex circumstances in which it was built, the disagreements on what to preserve or not in the old building as well as which values and ideas the new building should represent compared to the old one.

105

106

FIELD TRIP

FIELD TRIP

107

108

FIELD TRIP

On the third day we went to see several monasteries and one of them was Monastery of Saint John the Baptist. (below).

The nuns told us about their daily lives, their rituals and why they chose this life. The monastery itself was on top of a hill, quite secluded and inside it had a public part where visitors were allowed, which included the two churches.

However the private quarters and the workshops where the nuns produce various things like paintings and books were accesible for the nuns only.

FIELD TRIP

109

110

FIELD TRIP

FIELD TRIP

111

112

FIELD TRIP

On the last day we went for a walk in Athens with Professor Irene Fatsea and one of the places we visited was Bathhouse of the Winds which is the only still exisiting public bath in Athens.

The bathouse was interesting because what used to happen inside was almost like religious rituals. The visitors, closed off from the outside world by thick walls used to go from room to room where different acts of cleaning were performed, and it was the same again and again. There were different cleaning processes before important events in peopleâ&#x20AC;&#x2122;s lives.The baths were also used as a social space.

FIELD TRIP

This views is from the Athens University History Museum.

113

LIST OF FIGURES.

Page 8: https://www.dezeen.com/2011/09/20/chapel-by-breathnach-donnellanobrien-and-meds-students/ accessed 10.10.2017 Pages 9 - 19: Author Pages 20, 21:https://www.khanacademy.org/humanities/art-asia/south-asia/ buddhist-art2/a/the-caves-of-ajanta h t t p s : / / w w w . a r c h d a i l y . co m / 7 9 8 6 4 5 / v a j ra s a n a - b u d d h i s t - r e t r e a t - w a l t e r s - a n d cohen-architects accessed 15.10.2017 Pages 22, 23: Author Page 24: http://wineviews.info/museo-nacional-de-arte-romano-merida/ Page 25 - 43: Author.

Page 44: https://www.ruralenergy.co.uk/product/biomass-chp accessed 04.01.2018 Page 46: https://cd1.amaravati.org/wp-content/uploads/2017/12/02/NTT9593. jpg . accessed 20.05.2018 Page 47: https://plumvillage.org/galleries/

accessed 20.05.2018

Pages 48, 49: Author Page 50: https://www.archdaily.com/888969/the-walled-tsingpu-yangzhouretreat-neri-and-hu-design-and-research-office accessed 12.12.2017 Page 51: https://www.archdaily.com/783392/ad-classics-saynatsalo-town-hallalvar-aalto 05.03.2018 Pages 52 - 113: Author

115

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117

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