Vertical Regionalism: A Pilgrimage in Canada's Western Mountains

Page 1

Vertical Regionalism: A Pilgrimage in Canada’s Western Mountains

by

Mark Erickson

6XbPiWWHG in SarWiaO IXOÂżOPHnW oI WKH rHTXirHPHnWs Ior WKH GHJrHH oI MasWHr oI $rcKiWHcWXrH at 'aOKoXsiH 8niYHrsity +aOiIa[ 1oYa 6cotia July 2011

‹ &oSyriJKt by Mark Erickson 2011

DALHOUSIE UNIVERSITY SCHOOL OF ARCHITECTURE

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DALHOUSIE UNIVERSITY

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CONTENTS $bstract Y $cknoZlHGJHPHnts Yi &KaStHr 1 ,ntroGuction 1 7KHsis 4uHstion 4 :ilGHrnHss anG Mountains in 1ortK $PHrican &ulturH 5 6itH JuPbo &rHHk 9allHy 8 Man :itKin 1aturH 12 3ilJriPaJH 15 &asH 6tuGiHs $rcKitHcturH anG 1aturH 16 7KH 9aluH oI 9Hrticality 21 $scHnsion anG tKH 'HPatHriali]ation oI Mass 25 9Hrtical 5HJionalisP 26 9allHy 29 Mid Mountain 30 3Hak 30 Dualities 34 7Ke 5eIuJe 3 &KaSter 2 DesiJn 40 7Ke %ridJe 53 7Ke +ut 64 7Ke &KaPber 9 &KaSter 3 &onclusion 90 5eIerences 92

iY

Abstract :ilderness is de¿ned as beinJ ³$ Zild or uncultiYated reJion or tract oI land uninKabited or inKabited only by Zild aniPals´ 2[Iord EnJlisK Dictionary 1989 %ut Must KoZ natural is tKe conceSt oI Zilderness" 7Ke idea oI conserYinJ nature suJJests tKat Ze tKink oI ourselYes as soPetKinJ ¾otKerœ tKan nature but tKe trutK is tKat nature is our oriJin and altKouJK tKis is oIten IorJotten it is a connection tKat is deeSly rooted in our beinJ , aP interested in ¿ndinJ an arcKitecture tKat sSeaks to our Post SriPal PePories actinJ to locate KuPans within nature 7KrouJK tKe creation oI 3 Pountain reIuJes eacK a Soint in a larJer SatK oI SilJriPaJe , Zill e[Slore tKe connections tKat Ze as KuPans can sKare ZitK tKe &anadian Pountain Zilderness

Y

Acknowledgements , Zould like to ¿rst tKank botK &atKerine 9enart and 5icKard .roeker Ior tKeir Juidance and Ior JiYinJ Pe tKe con¿dence to see tKis tKrouJK to tKe end , aP tKankIul Ior 5icKardœs sincerity directness and ability to see Py intentions so clearly and Ior &atKerineœs unZaYerinJ dedication and suSSort , Zould also like to tKank %rian /illey Ior Kis KelSIul desk critiTues and Paterial knoZledJe 7o Jordan Ior Kis YiJilance suSSort and ability and ZillinJness to absorb and KelS syntKesi]e all oI tKe ideas ePbedded in Py tKesis +e is a PaMor source oI insSiration and it is tKrouJK KiP tKat , Zas able to clariIy Py tKouJKts 7o Py Sarents Ior tKeir loYe and suSSort and Ior alZays belieYinJ in Pe 7o 3Kil Ior all tKe Iun tiPes and leJendary talks about tKe cosPos and beyond and Ior alZays beinJ tKere to listen and KelS Pe deYeloS ideas , KaYe Iound an inYaluable Iriend in you 7o JacTueline Ior Ker selÀess dedication to KelSinJ Pe Pake Py tKesis ¾tKe best it could be œ $nd oI course to Matt and &layton $ltKouJK tKey Zere not Kere in Serson tKrouJK all oI tKis tKey Slayed a PaMor role in ZKere , aP today and Ior ZKat , striYe toZard in tKe Iuture 7Kis tKesis is dedicated to Py *randIatKer 3Kil *ates ZKo Sassed aZay in DecePber 2010 My loYe Ior tKe Pountains coPes IroP a liIelonJ collection oI Iond PePories at tKe cabin in :inderPere ,t is Kere tKat Py *randSa calPed Kis soul liYed siPSly and acceSted tKe ePbrace oI nature +e Zill liYe on tKrouJK tKe PePories tKat , Kold dearest to Py Keart

Yi

1

Chapter 1: Introduction $rcKitecture is essentially an e[tension oI nature into tKe Pan Pade realP SroYidinJ tKe Jround Ior SerceStion and tKe Kori]on oI e[SeriencinJ and understandinJ tKe Zorld 3allasPaa 2005 1

7Ke Zord nature is deriYed IroP tKe /atin Zord natura PeaninJ birtK and is also tKe root oI tKe Zords innate and natiYe Macy 2003 1 +uPanity sKares ZitK all liYinJ tKinJs an oriJin in nature tKereIore Ze KaYe an innate connection ZitK it 7Kis deeS rooted connection is best understood tKrouJK our senses

$rcKitecture is an interSretation oI

nature tKat reYeals to tKe senses an iPSression oI Slace sSace and tiPe ,n tKis Zay arcKitecture Kas tKe SoZer to sSeak to tKe body Pind and sSirit 7o acKieYe tKis it Pust be Iounded uSon a sense oI reYerence Ior nature as Zell as oIIer coPIort and resSite 7Kere is arcKitectural PeaninJ to be Iound in tKe ³arcKaic resSonses and reactions rePePbered by tKe body and tKe senses $rcKitecture Kas to resSond to traits oI SriPordial beKaYiour SreserYed and Sassed doZn by tKe Jenes´ 3allasPaa 2005 1

7Ke 7etons and 6nake 5iYer )roP $daPs 200

2

7Ke Pountains are best able to sSeak to tKese PePories because tKey occuSy a Yertical diPension tKat encoPSasses botK tKe eartK and tKe sky 7Kis Yerticality boasts a ranJe oI uniTue reJions eacK oI ZKicK Kas sSeciÂżc SKysical and atPosSKeric cKaracteristics tKat deÂżne tKeP 7Ke act oI ascension results in a transIorPation oI SerceStion ZKerein tKe landscaSe Jradually reYeals itselI in Jreater diPension , aP interested in searcKinJ Ior an arcKitecture tKat resSonds to tKese YaryinJ conditions tKrouJK tKe use oI tKe Paterials oI tKe site and an understandinJ oI its inKerent sensory and e[Seriential Tualities , Zant to Ioster a PeaninJIul dialoJue ZitK tKe landscaSe oI tKe Pountain tKat Zill sSeak to its SoZerIul Sresence , belieYe tKat eacK reJion Kas tKe Sotential to connect to sSeciÂżc asSects oI tKe KuPan SsycKe be tKey our SKysicality Porality or sSirituality and tKe act oI SilJriPaJe Slaces tKese asSects at tKe IoreIront oI our consciousness ,n Yarious cultures around tKe Zorld esSecially in tKe east Pountains are PeaninJIul and are reYered Ior tKeir sSiritual aura and tKeir SoZerIul SKysical Sresence 5eJardless oI sSeciÂżc reliJious belieIs all SilJriPs ascend Pountains ZitK Sersonal Poral and sSiritual Joals in KoSes tKat tKe SoZer oI tKe Pountain landscaSe Zill oSen tKe doors to reYelation and transcendence ,n resSonse to tKis act oI ascension and tKe resultinJ SatKs oI SilJriPaJe sKrines tePSles and Ponasteries KaYe been erected at KiJK eleYations ZitKin tKe Pountains in order to IulÂżll tKe SilJriPÂśs sSiritual asSirations ,n &anada tKe culture oI PountaineerinJ skiinJ KikinJ and bikinJ is stronJ PakinJ Âľoutdoor liYinJÂś a deÂżninJ cKaracteristic oI its identity $s a result tKere are a nuPber oI backcountry sKelters used by adYenturists Kikers

3

Pountaineers and tKe like Most oI tKese Kuts belonJ to tKe $lSine &lub oI &anada and SroYide Ior basic KuPan needs sucK as Keat sKelter a Slace to SreSare Iood and a Slace to sleeS 7Kese Kuts are sited eYeryZKere IroP tKe Yalleys to tKe Seaks 7Kese Kuts are not associated ZitK any SilJriPaJe SatKs but tKey do KaYe one tKinJ in coPPon ZitK tKe idea oI SilJriPaJe and tKat is an alPost ascetic ePSKasis uSon restraint and siPSle liYinJ 6Siritual asceticisP reTuires tKat Zorldly coPIorts and Sossessions be cast aside in order to prepare oneself for personal reÀection or ZKat is knoZn as ¾Pind bodyœ transforPation ,n a siPilar Zay back country Kikers and skiers pack liJKtly takinJ only tKe necessary tKinJs to ensure surYiYal $ny e[traYaJances in packinJ Zill only ZeiJK tKe traYeller doZn and Pake tKe Mourney Pore dif¿cult $ consideration of tKe essential elePents of life is an iPportant part of tKe e[perience $lpinisP is tKe art of cliPbinJ Pountains by confrontinJ tKe Jreatest danJers ZitK tKe Jreatest prudence $rt is used Kere to Pean tKe accoPplisKPent of knoZledJe in action <ou cannot alZays stay on tKe suPPits <ou KaYe to coPe doZn aJain 6o ZKatœs tKe point" 2nly tKis ZKat is aboYe knoZs ZKat is beloZ ZKat is beloZ does not knoZ ZKat is aboYe :Kile cliPbinJ take note of all tKe dif¿culties alonJ your patK DurinJ tKe descent you Zill no lonJer see tKeP but you Zill knoZ tKat tKey are tKere if you KaYe obserYed carefully 7Kere is an art to ¿ndinJ your Zay in tKe loZer reJions by tKe PePory of ZKat you KaYe seen ZKen you Zere KiJKer up :Ken you can no lonJer see you can at least still knoZ DauPal 2004 105 106

$ltKouJK tKese pre e[istinJ alpine Kuts serYe tKeir purpose , feel tKat tKe Pountains dePand an arcKitecture tKat Kas a deeper connection ZitK tKe landscape tKat enYelops it and ZKicK Kelps us understand our place ZitKin it 7Kese e[istinJ Kuts are enYironPentally conscious but tKey do not speak to tKe KuPan e[perience of ascension or tKe

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cKanJe in our perception as tKe landscape transforPs $s 3allasPaa states ³arcKitecture JiYes a conceptual and Paterial structure to societal institutions as Zell as to tKe conditions of daily life ,t concreti]es tKe cycle of tKe year tKe course of tKe sun and tKe passinJ of tKe Kours of tKe day´ 3allasPaa 2005 41 My proMect is sited appro[iPately 35 kiloPetres 19 Piles

beyond 3anoraPa Mountain 9illaJe on an e[istinJ road to an abandoned saZPill site located in tKe upper JuPbo &reek 9alley %ritisK &oluPbia ,t is accessed froP ,nYerPere in tKe &oluPbia 5iYer 9alley in % & œs East .ootenay reJion betZeen 5adiuP +ot 6prinJs and )airPont +ot 6prinJs 7Kis is a destination souJKt by backcountry skiers Kikers and cliPbers for its pristine untoucKed natural landscape and for its coPPandinJ YieZs 7Ke site is considered to sacred to tKe aboriJinal people ZKo KaYe been ¿JKtinJ aJainst a currently proposed ski resort deYelopPent for tKe last tZenty years 7Ke pilJriPaJe Zill act to acknoZledJe tKe sanctity of tKe site and Zill offer an alternate Zay of occupyinJ and reÀectinJ upon our relationsKip ZitK nature 7Ke Mourney to tKe peak of tKe Pountain froP tKe base Zill be a personal pilJriPaJe and tKe arcKitecture Zill assist in tKis pilJriPaJe by proYidinJ stoppinJ points tKat acknoZledJe tKe act of ascension by reactinJ to tKe cKanJinJ landscape and tKe resultinJ sKifts in perception

Thesis Question +oZ can arcKitectureÂśs role in connectinJ people ZitK nature be reYealed tKrouJK a response to tKe sKiftinJ conditions in landscape and perception ZitKin tKe &anadian Mountains"

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Wilderness and Mountains in North American Culture ,n 1ortK $Perica tKe concept of nature Kas eYolYed froP our colonial past 7Kis is tKe land of tKe plentiful tKe frontier tKat Kas yet to be coPpletely conTuered 3eople coPe Kere in Kopes tKat tKey can Âżnd a piece of tKe frontier to call tKeir oZn $s a result Ze KaYe a coPposite culture tKat is not founded on any sinJle systeP of beliefs or traditions tKat are tied to tKe landscape ,n 1ortK $Perica nature Kas been seJreJated into conserYations ZKat &anadians call national parks tKat stand alone as pockets of Zilderness 7Ke purpose of conserYations is to protect tKe nationÂśs natural resources froP e[ploitation 7Kese conserYations also contribute to our national identity attractinJ local Yisitors and international tourists alike )or tKis Yery reason tKe econoPic Yalue of keepinJ tKeP protected is Jreater tKan utili]inJ tKeP strictly for resources $ltKouJK Ze are conserYinJ tKese natural places tKey are still treated as coPPodity 7Key are sold as a place of retreat ZKere Pan can Yisit nature ,n &anada tKis Zas Âżrst done in tKe 5ockies by tKe &anadian 3aciÂżc 5ail &35 ZKen it built soPe of tKe Âżrst Kotels in tKe Pountains tKe Post notable of ZKicK is tKe %anff 6prinJs +otel )roP tKat point on Ze beJan sellinJ tKe PountainÂśs scenoJrapKy in earnest Architecture as Scenography 7oday Ze often treat tKe Pountains as spectacle 5esort deYelopPents in tKe 5ocky Mountains are tKe Post conYenient Zay ZKicK to e[perience tKis Jrand landscape and tKe success of tKese resorts is based on tKe strenJtK

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of tKe tourist industry ,n fact tKe Pountains KaYe been Parketed to Yacationers eYer since tKe &35 Âżrst Pade tKe Pountain landscape accessible to all

,n a culture

based on tKe concept of coPPodity tKe resort YillaJes tKat are created are deYeloped by biJ industry accordinJ to econoPic considerations sucK as proYidinJ inYestorÂśs a Ponetary return

7Ke resultinJ arcKitecture of tKese

resorts is priParily scenoJrapKic PeaninJ appearances are superÂżcial PucK like a staJe set or backdrop ,ts purpose is to sell an iPaJe ZKile proYidinJ all tKe coPforts of doPesticity 7Ke arcKitecture of tKese resorts reduces tKe landscape to a Yisual scene separatinJ Pan and tKe Zild 5esorts often use conYentional buildinJ standards tKat you Zould Âżnd in Kotels anyZKere 7oo often tKe structures Pake no inKerent attePpt to relate to site 7Ke connection tKat tKe arcKitecture Pakes is only on tKe surface suJJestinJ only tKe Post superÂżcial sense belonJinJ to tKe place ,n tKis Zay tKe arcKitecture folloZs ZKat seePs to be a uniYersal conYention its priorities are dictated by econoPic Yiability

%anff 6prinJs +otel built in 1914 )roP &anada 7ourisP

&anadian 3aci多c ad froP 1942 ,PaJe froP $ds by Dee

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/ike otKer resort deYelopPents in tKe &anadian 5ockies tKe %anff 6prinJs +otel Zas built in a style iPported froP a different culture ,n tKe case of tKe %anff 6prinJs it seePs to KaYe been built in tKe )rencK &Kateau style resePblinJ a baronial fortress DorZard 1990 319 7Kis style Zas not a reaction to tKe uniTue and speciÂżc reJional cKaracteristics

3anoraPa 5esort %& )roP 3anoraPa 5esort Zebsite

of tKe 5ocky Mountains but Zas ratKer a roPantici]ed aestKetic iPported froP Europe in tKe Kope of casKinJ in on nostalJia for tKe colonial PotKerland 7Kis arcKitectural aestKetic lineaJe continues to tKis day in Pany Pountain resorts Site: Jumbo Creek Valley 7Ke JuPbo &reek 9alley or 4atÂśPuk as tKe local .tuna[a 1ation call it is near tKe centre of a Jroup of Jlaciers at an eleYation of oYer 3 000 Petres 9 842 feet 7Kese Jlaciers are Zell knoZn and are already utili]ed for Kelicopter skiinJ 7Kere is one Zell used back country Kut alonJ ZitK a series of establisKed KikinJ and skiinJ patKs 7Ke proposed resortÂśs location is considered priPe botK because of cliPatic conditions and because it offers access to PaMor Jlaciers froP an e[istinJ infrastructure tKat is only a sKort distance aZay A Proposed Resort Development &urrently tKere is a controYersial deYelopPent proposal to

3Koto taken froP JuPbo 3ass 3Koto by *artK /en] froP JuPbo :ild Zebsite

create a neZ Pountain resort 7Ke resort Zould consist of 143 sinJle faPily cKalets 240 toZnKouse units 9 4 condo Kotel units and 369 Kotel rooPs as Zell as retail outlets and restaurants 7Ke Yision is of transplantinJ a European style resort into tKe Keart of &anadian Zilderness in order to appeal to tKose ZKo seek a paPpered Zeekend of skiinJ aZay froP urbanity 7Ke deYelopPentÂśs proponent is *lacier

JuPbo pass cabin )roP &oluPbia 9alley +ut 6ocietyÂśs Zebsite

9

9alley access to JuPbo &reek 9alley froP ,nYerPere %ase Pap froP *ooJle Maps

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5esorts /iPited and is backed by nuPerous undisclosed foreiJn inYestors 7Ke neZ resort Zould be a Pere 55kP aZay froP 3anoraPa 5esort in tKe saPe Pountain ranJe , belieYe tKere is a Jreater Yalue in keepinJ tKis PaJniÂżcent site Zild and perKaps Ze can learn froP and aYoid tKe Pistakes of tKe European continent in KoZ Ze Jo about relatinJ ZitK nature )or instance tKe $lps KaYe a Kistory of KeaYy deYelopPent and PucK of its Zilderness Kas already been pusKed froP its Pountains 7Ke Europeans tKePselYes YieZ tKe Zest as beinJ ÂľtKe PytKical frontierÂś tKat Kosts Zildness unlike any in tKe Zorld and tKey coPe to &anada not only to ski but to reconnect ZitK tKe Zild

7Ke proposed JuPbo *lacier 5esort scKePe )roP JuPbo *lacier 5esort Zebsite

$n illustration of tKe proposed style of arcKitecture for tKe resort )roP JuPbo *lacier 5esort Zebsite

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An Alternative System of Beliefs: Ktunaxa Nation, Qat’muk and the story of creation &onsiderinJ tKat tKe site is sacred to tKe local .tuna[a

7Ke road froP tKe nearest larJe city &alJary tKrouJK tKe Pountains to tKe rePote site of JuPbo &reek 9alley %ase Pap froP *ooJle Maps

1ation a people ZKo KaYe an establisKed culture in tKis land datinJ back 10 000 years perKaps tKere is soPetKinJ Jreater to be learned froP tKese Pountains 7KrouJK a story of creation tKe .tuna[a belieYe tKat tKe Pountains of JuPbo &reek are ZKere tKe spirit of tKe bear resides 7Ke .tuna[aÂśs systeP of belief is stronJly tied to tKe land 7Key belieYe tKePselYes to be keepers of tKe land and tKat tKe spirits of tKe aniPals ZKo KaYe ascended aboYe are tKeir spiritual Juides 7Ke bear is especially sacred because of its cyclical nature of ascendinJ and descendinJ tKe Pountain dependinJ on tKe season 7Ke bear Zill cliPb tKe Pountain durinJ tKe Zinter to Âżnd places for Kibernation tKen tKey Zill return to tKe loZlands durinJ tKe ZarPer PontKs to Âżnd sustenance 7o tKe aboriJinal people tKis act of ascent and descent is part of ZKy tKe bear Kas sucK a poZerful spiritual presence &lark 2009 np

MePbers of tKe .tuna[a nation in tKe .ootenay Pountains )roP .tuna[a 1ationÂśs Zebsite

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Man Within Nature Spirituality and Mountains 7oday Pountains around tKe Zorld are Postly YieZed ZitK adPiration and affection ,n &anada tKey represent a Zild untoucKed part of our country and are considered one of tKe countryÂśs natural JePs 7Ke KuPan attitude toZards Pountains tKrouJKout tiPe Kistory and different cultures Yary but tKe predoPinant feelinJ used to be one of fear suspicion and aZe ,n priPitiYe tiPes tKe Pountains Zere associated ZitK ZeatKer 7Key Zere seen as tKe birtKplace of storPs liJKtninJ Zind and clouds 3rice 1981 7Kese natural forces Zere YieZed as siJns of tKe JodsÂś pleasure or displeasure ZitK tKe people and so cultures Zould KaYe cerePonies and Pake sacriÂżces in

7Ke passaJe of Pount 6t *otKard as depicted by J M : 7urner 1 5 1851

reÀects tKe fear and and aZe ZitK ZKicK KiJK Pountains Zere reJarded in Kis tiPe )roP DorZard 1990

order to appease tKe *ods 7Ke peaks of Pountains are often sKrouded in clouds and out of YieZ PakinJ tKeP e[trePely Pysterious 7Key Zere seen as tKe PeetinJ point betZeen KeaYen and eartK a place of coPPunion 6Krouded in clouds draped in snoZ ZitK sKarp stone edJes tKese Pountain peaks Zere tKe Post uninKabitable and Kostile places on eartK PakinJ tKeP a natural abode for spirits and Jods Mountain ZorsKip Kas been a part of tKe belief systePs of Eastern reliJions like %uddKisP 7aoisP &onfucianisP 6KintoisP and +induisP for tKousands of years and persists today Mountains Kad a trePendous iPpact on early &Kinese culture 7KrouJK personiÂżcation tKe Pountain Zas YieZed as beinJ tKe body of Jod tKe rocks Kis bones tKe Zater Kis blood tKe YeJetation Kis Kair and tKe clouds and Pists Kis breatK 6ulliYan 1962 1 7Kis belief is said to KaYe oriJinated froP tKe Âľancient cult of tKe eartKÂś ZKere Pan Zas YieZed as an inteJral part of nature

Âľ6uPPer MountainsÂś by &KÂśu 7inJ $n ideali]ed depiction of tKe cKinese Pountain landscape )roP DorZard 1990

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7Ke attitude toZard tKe Pountains tKat deYeloped in tKese cultures larJely depended on tKe relationsKip sKared ZitK tKe land ,n Pountain areas ZKere tKe ZeatKer Zas KarsK and tKe landscape inKospitable tKe people Zere likely to associate tKose Tualities ZitK tKe spirits tKat liYed tKere 7Ke landscape becaPe a source of stories and leJends inspirinJ traditions and cerePonies tKat forPed a cultural backbone 7Kese Jods and spirits KaYe Paintained tKeir siJniÂżcance in cultures sucK as tKat of tKe ,ncas and 6Kerpas and tKe aboriJinal people of 1ortK $Perica 7Ke Pountains in Pany otKer cultures are iPbedded ZitK PeaninJ and tKe arcKitecture of tKe Pountains is a response to tKis PeaninJ ,t is easy to see tKat tKrouJKout cultures all oYer tKe Zorld tKe Pountains are not Perely a reliJious syPbol tKey are a landscape tKat Kas a uniYersal appeal to tKe KuPan spirit body and Pind

³7Ke &Kinese e[press tKe EnJlisK Zord landscape ZitK tZo cKaracters Pountain sKan top and Zater sKui ,n tKe 7aoist concept of natural KarPony tKe Pountain is tKe passiYe center yin and Zater is tKe actiYe counterbalance yanJ ´ )roP DorZard 1990

7Kree 7riJraPs froP tKe , &KinJ an ancient &Kinese te[t containinJ a systeP of diYination a PetKod of describinJ elePents and forces )roP :ilKelP 2010

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Korea’s San-Shin – Spirit of the Mountains ,n .orea respect Jratitude and adPiration for tKe Pountains Jenerated tKe aniPistic concept of tKe 6an sKin PeaninJ tKe Mountain *od or 6pirit of tKe Mountains 7Kis ancient concept ePbodies botK a uniYersal trutK of all .orean Pountains and tKe uniTueness of eacK Pountain and its indiYidual set of peaks ridJes slopes Yalleys forests and streaPs Mason 1999 16 7Ke 6an 6Kin is based on tKe belief tKat ÂłeYery Pountain Kas a spirit and tKose ZKo liYe on or cliPb tKe Pountain receiYe tKat spirit and e[perience a deepeninJ of tKeir KuPanity ´ Mason 1999 16 $scendinJ a Pountain Peant encounterinJ nature on a Jrand scale and to ÂľreceiYe tKe spiritÂś Peant e[periencinJ a return to an oriJinal KuPanistic ÂľnatureÂś Incas of South America 7Ke ,ncas Zere an indiJenous people ZKo beJan as a tribe in tKe &u]co 3eru reJion datinJ back to around 1200$D 7Ke ,ncas reYered tKe Pountains as *ods ZKo JoYerned all liYinJ tKinJs beloZ tKeP $ltKouJK tKeir indiJenous soYereiJnty Zas lost due to &oloni]ation by tKe 6panisK tKeir beliefs still e[ist today ZKen coPPunities address tKeir pleas to tKe Pountain Jods for Jood ZeatKer and abundant

MacKu 3iccKu 3eru e[istinJ on a KiJK Pountain ridJe )roP MarJolies 1980

crops and Àocks as Zell as for Jood KealtK and increased prosperity

7Ke 7ePple of tKe tKree ZindoZs sKoZinJ tKe intricate stoneZork of tKe ,nca people MacKu 3iccKu 3eru )roP MarJolies 1980

15

Pilgrimage )or in tKeir Kearts dotK nature stir tKeP so tKen people lonJ on pilJriPaJe to Jo and palPers to be seekinJ foreiJn strands to distant sKrines renoZned in sundry lands &Kaucer 2005 1

$ pilJriPaJe is tKe tellinJ of a story froP ZKicK Ze can deriYe indiYidual cultural and spiritual PeaninJ 7Kis story is told tKrouJK tKe act of PoYinJ tKrouJK nature and by ¿ndinJ points of intersection betZeen Pan and nature $ pilJriPaJe is a Mourney or searcK of Jreat Poral siJni¿cance and is not necessarily a Mourney speci¿c to any one reliJion 7Ke Pountains present a natural conte[t tKat is inKerently appropriate for a pilJriPaJe because of its ascendinJ and descendinJ Potion its spiritual aura and because Pountain Mourneys naturally eYoke an ePotional response 7Ke peak is easily tKe Post upliftinJ and strikinJ presentinJ an e[pansiYe panoraPic YieZ of tKe landscape beyond ,t is tKe placinJ of an indiYidual in a Yast untoucKed nature tKat eYokes deep reÀection

6Karda YillaJe pilJriPaJe Pap )roP Do]afar )likr

16

Case Studies: Architecture and Nature Shinto and Shirakawa: a system of beliefs and a way of living in the Mountains ,n Japan tKe practice of 6KintoisP ePpKasi]es KarPony ZitK nature and tKe balance betZeen tKe KuPan and natural Zorld 7Kis systeP of beliefs can be eYidenced in tKe arcKitecture of tKe YillaJe of 6KirakaZa located in tKe Pountainous nortKZest part of Ćżno District *ifu 3refecture Japan 7Ke buildinJs in tKis YillaJe KaYe a transforPatiYe nature reactinJ to tKe cKanJinJ seasonal conditions ,n tKe suPPer Pany of tKe Kouses KaYe an open air portico tKat alloZs for tKe suPPer bree]e to penetrate tKrouJK tKe Kouse ZKile durinJ tKe Zinter tKis portico is enclosed usinJ tKatcKinJ ZKicK effectiYely creates a dead air space betZeen tKe Kouse and tKe KarsK Zinter conditions outside 7Kis tKatcKinJ also Kelps keep tKe snoZ froP breacKinJ into tKe Kouse 7Kese are functional principles tKat are founded on tKe 6Kinto belief tKat KuPans Pust Âżnd KarPony ZitK nature 7Ke arcKitectureÂśs ability to transforP ZitK nature is an idea tKat is found in all tKree refuJe desiJns

+ouse in 6KirakaZa suPPer condition on left Zinter condition on tKe riJKt )roP 6aito 1996

1

,n tKe YillaJe tKe people of 6KirakaZa belonJ to a Putual Kelp orJani]ation called tKe kuPi ZKicK acts to forP a sense of coPPunity and to Zork in cooperation ZitK eacK otKer as Zell as ZitK tKe surroundinJ natural landscape 7Kis social systeP includes tKe sKarinJ of coPPunal responsibilities sucK as re tKatcKinJ roofs Kouse construction cleaninJ canals and KarYestinJ 7Kese actions are productiYe but

&oPPunal 6KirakaZa

tKatcKinJ 9illaJe )roP 6aito 1996

also act to reinforce a sense of coPPunity and strenJtKen tKe Porale of tKe people )roP tKe beJinninJ tKis type of social systeP Zas necessary for surYiYinJ in tKe rePote Pountainous area tKat is subMect to KarsK cliPatic conditions ,n support of tKeir systeP of beliefs tKe central KeartK in tKe Kouses and Yarious coPPunity buildinJs offer a place to JatKer eat speak and Âżnd ZarPtK $round tKe KeartK recollection tKe tellinJ of stories and reinforcinJ cultural traditions and rituals strenJtKen tKe core Poral beliefs

7Ke liYinJ rooP in a 6KirakaZa +ouse ZitK central +eartK )roP 6aito 1996

E. Fay Jones’ Thorncrown Chapel 7Kis cKapel resonates ZitK ideas about tKe forest Kut Jonesœ cKapel is sited in a forest oYerlookinJ tKe 2]ark Kills in $rkansas 7Ke Yision for tKis cKapel Zas to Pake a place for Yisitors to stop and take in tKe surroundinJ forest and landscape ,t stands as a patron to tKe forest 7Ke buildinJ is of liJKt Zood fraPe construction and Kas a Yery Jentle footprint on tKe land ,t is perfectly conte[tuali]ed ZitKin tKe forest acKieYinJ an intiPate connection ZitK it 7Ke cKapel is about reYealinJ and distillinJ Tualities of tKe forest and presentinJ tKeP in tKe transparency of structure and articulation of forP 7Kis cKapel reYeals tKe poZer tKat is Keld ZitKin tKe forest ,t truly is a PeetinJ point betZeen tKe forest and Pan

7KorncroZn &Kapel pKoto by *reJ +ursley )roP 6*$ $rt +istory

18

James Turrell: Sky Spaces and the Roden Crater. , cKose to inYestiJate tKe Zork of JaPes 7urrell ZitK relation to tKe peak refuJe 7urrell is a Yisual artist ZKo deals ZitK liJKt as Kis PediuP 7Kere is purity in Kis use of liJKt ZKere liJKt is not depicted tKrouJK paintinJ or sculpture but is siPply liJKt itself ,n tKis Zay 7urrell is able to create a poZerful perceptual e[perience by parinJ doZn tKe act of PakinJ and creatinJ a PiniPal space tKat reYeals liJKt in its Post elePental state /iJKt is distilled reYealinJ its poZer to be botK enliJKteninJ and transcendent /ike tKe air Ze breatKe Ze take liJKt for Jranted ,t is so fundaPental to our beinJ tKat Ze donÂśt tend to dZell on it $nd yet it is liJKtÂśs elePental nature tKat JiYes it tKe potential to be so poZerfully enliJKteninJ 7urrell 1998 11

7urrell enJaJes perception as a PediuP :itK no obMect no subMect or syPbol YieZinJ becoPes a priPal e[perience 6cience reliJion and art Kistory are forced to take a backseat to priPitiYe Yisual intelliJence $n e[cerpt froP an essay on 7urrell by /ynn M +erbert titled 6pirit and /iJKt and tKe ,PPensity :itKin )or Pany YieZinJ 7urrellÂśs Zork leads to tKouJKts about tKe spirit and reliJion 5eliJion Kas becoPe an unZelcoPe Zord in critical discourse about contePporary art and unfairly so ,t Kas fallen YictiP to tKose ZKo Zould narroZly deÂżne it as beinJ part of tKis or tKat speciÂżc ideoloJical Jroup or institution ZKen in fact reliJion is deÂżned as an indiYidualÂśs recoJnition of soPe KiJKer unseen poZer 7urrell 1998 96

/iJKt Kas alZays been a subMect of spiritual discourse ÂżndinJ its Zay in to tKe arcKitectural lanJuaJe of places of ZorsKip all oYer tKe Zorld

3erPanent installation in tKe ,srael MuseuP JerusaleP part of tKe 6kyspace 6eries 7Ke saPe space at different tiPes of tKe day )roP %irnbauP 2001

19 )or centuries ÂľdiYine liJKtÂś Kas streaPed tKrouJK stained Jlass into tKe interiors of cKurcKes $ person ZKo coPes froP tKe outside into tKe relatiYe darkness of a catKedral sucK as &Kartres is struck by tKe liJKt pourinJ tKrouJK tKe colored Jlass 6ucK an e[perience intentionally underlines tKe difference betZeen tKe inside and tKe outside 7urrell 1998 14 15

DescribinJ tKe idea beKind Kis sky spaces 7urrell Kas said 7Ke sky Zould no lonJer be out tKere aZay froP us but in close contact 7Kis pluPbinJ of Yisual space tKrouJK tKe conscious act of PoYinJ feelinJ out tKrouJK tKe eyes becaPe analoJous to a pKysical Mourney of self as a ÀiJKt of tKe soul tKrouJK tKe planes 7urrell 1998 16

7Ke 5oden &rater is a land art proMect by JaPes 7urrell tKat is still under construction 7Ke proMect Zas Âżrst conceiYed in 19 9 a lifeÂśs Zork for JaPes 7urrell 7Ke proMect is Peant to be a naked eye obserYatory tKat captures liJKt solar and celestial pKenoPena and its cyclical nature MoPents sucK as tKe Zinter and suPPer solstice Zill be captured as Zell as eYents tKat Kappen Yery infreTuently sucK as ZKen tKe Poon reacKes its soutKernPost declination eYery 18 6 years 7Ke 5oden &rater Zill take into account Pany PoPents in space and tiPe actinJ to locate EartK in tKe *rand scale of tKe uniYerse

$erial YieZ of tKe 5oden &rater proMect )roP 7urrell 1998

20

Hanle Observatory and Monastery, Ladakh India 2bserYatories occupy soPe of tKe Post rePote and isolated sites in tKe Zorld due to tKeir need to escape air noise and liJKt pollution caused by KuPan inKabitation ,t is for tKis reason tKat tKey Âżnd tKePselYes in places like deserts and Pountain peaks 7Kese solitary conditions offer tKe perfect conte[t for e[plorinJ tKe outer reacKes of space and science Monasteries are often located in similar circumstances in order to Âżnd solitude in isolation $ monastery e[ists in order to facilitate meditation ZKicK is an act of e[plorinJ tKe inner self ,n /adakK ,ndia tKere is an interestinJ Mu[taposition betZeen an obserYatory and a monastery beinJ located across from eacK otKer on a mountain peak ,n a sense tKey are botK in Jreat contrast one is e[plorinJ tKe outer reacKes of our uniYerse and tKe otKer is lookinJ deep ZitKin to connect ZitK tKe spiritual self %ut at tKe same time tKey are botK intent on acKieYinJ tKe same tKinJ to understand tKe meaninJ of our e[istence ZitKin a Jreater conte[t of space and time

7Ke +anle 2bserYatory one of tKe KiJKest obserYatories in tKe Zorld at 15300 ft )rom 1aik )likr

7Ke +anle Monastery tKe obserYatory stands on a peak across from tKe monestary )rom 6kyscraper &ity :ebsite

21

The Value of Verticality ,n 1ortK $merica mountains proYide conte[t for tKe e[ploration of our primal relationsKip ZitK nature not Must ZitK relation to arcKitecture but also Kuman e[perience 7oday Kumans Jo to tKe mountains in searcK of a place aZay from tKe urban condition 7Ke mountain e[erts a call to tKe Zild a Yertical landscape tKat appeals to tKe body spirit and mind ,t sKould folloZ tKat tKe arcKitecture tKat e[ists ZitKin tKis conte[t sKould capture a sense of intimacy ZitK tKe speciÂżc landscape tKat surrounds it speakinJ to tKe timeless e[perience of ascendinJ and descendinJ a mountain :itKin tKis act of ascension and descension are embedded deeper meaninJs tKat resonate ZitK our sensual faculties relatinJ to tKe build up and release of enerJy as one rises and descends 7Kis potential is stored in tKe mountainÂśs Yerticality becominJ a means to e[perience tKe poZer of JraYity ,t is tKis same poZer tKat inspires Zater to turn into rapids and to form riYers 7Ke mountains inspire us to moYe Many mountain resorts offer an e[perience of tKe mountains by proYidinJ facilities for doZnKill skiinJ 7Ke buildinJs are tKere to proYide for tKe act of descendinJ a mountain $ skier does not KaYe to e[pel any pKysical enerJy durinJ tKe moments of ascension as tKe cKairlifts do all tKe Zork $ll tKe enerJy is used durinJ tKe doZnKill trek and in tKe mitiJation of JraYityÂśs pull 7Ke act of ascension Kas been deYalued and tKe intimate Yalue of Yerticality is lost 7Ke spectacular moment at tKe peak Kas lost its siJniÂżcance because tKat moment Zas not Yiscerally earned tKrouJK tKe act of e[cKanJinJ enerJy for KeiJKt ,t is similar to tKe act of

$ pKoto montaJe describinJ tKe narratiYe of climbinJ a mountain

22

DiaJram of tKe transforminJ tKresKold condition betZeen tKe eartK mountain and sky Yalley

23

24

climbinJ stairs JoinJ from tKe basement to tKe upper Àoors 7Kat act or tKe ascent anytKinJ for tKat matter e[presses tKe Yerticality of tKe Kuman body %acKelard 1994 32 7o describe tKe e[periential seTuence of spaces e[perienced in a typical Kouse tKrouJK tKe Yertical moYement up a stair it Zould beJin in tKe cold dark eartKly deptKs of tKe basement or cellar ascendinJ to tKe KiJKer liJKter more KeaYenly KeiJKts of tKe attic 7Ke act of ascension links tKese tZo polar opposite spaces 7Kis same e[perience can be related to tKe more macroscopic conte[t of ascendinJ and descendinJ a mountain Differing Scales of Time embedded in Nature’s elements 7Ke Jlaciers stone riYers forests snoZ sun and otKer aspects of tKe Zorld of mountains all KaYe a Zay of reYealinJ a sense of time eacK functioninJ on a different scale 6ome are seasonal reYealinJ tKe cyclical nature of time some speak to tKe epKemeral aspects of time and otKers reYeal time as beinJ eternal *laciers recede and JroZ oYer tKousands of years a moYement tKat Kas been Zitnessed by man tKrouJK tKe aJes 6tone is tKe most ancient of tKe elements oriJinatinJ in tKe deptKs of tKe eartK and is usually millions of years old predatinJ Kumanity 7rees JroZ taller ZitK time and are sKaped by atmospKeric forces sucK as Zind and sun ,f you obserYe a Zind sZept tree for instance a story is imbedded in tKe marks left by tKe forces it Kas endured oYer its lifetime <ou can read a trees aJe by countinJ tKe rinJs in a cross section of tKe trunk $nd similarly a stone tells tKe story of its life tKrouJK its layers and form 3erKaps you come across a smootK polisKed pebble near a riYer and tKis pebble Zill tell tKe story of its relationsKip ZitK tKe rusKinJ Zater and tKe Mourney it

25

Kas endured 7Ke sun tells a story of perseYerance an eYerlastinJ story tKat beJins and ends all time EacK material or element Kas a story a memory of time :e as Kumans are Zitnesses and tellers of tKese stories buildinJ upon tKem oYer aJes 7ime is a continuous tKread tKat Kas inscribed tKese stories in our memories since tKe beJinninJ )or tKe .tuna[a 1ation and many otKer cultures botK current and old tKese stories are tKe foundation of tKeir spiritual beliefs ,t is KoZ tKey KaYe ensured a KealtKy symbiotic relationsKip ZitK tKe land and KoZ tKey found tKeir place ZitKin it ,n tKinkinJ of materials and tKe makinJ of arcKitecture tKese stories are inteJral in KelpinJ to embed meaninJ in botK tKe site and tKe built form

Ascension and the Dematerialization of Mass Mountains are tKe bones of tKe eartK 7Kis is most eYident at tKe peaks ZKere tKe liYinJ netZork of trees and YeJetation Jradually recedes $t tKe upper reacKes all tKat is left is tKe stronJest and most resilient tKinJ stone $s you moYe closer to tKe Yalley tKe ¾meatœ and ¾skinœ of tKe eartK beJins to reappear <ou see trees sKrubs and soil $t tKe loZest point are tKe Yeins ÀoZinJ ZitK Zater 7Kese tKinJs are all built upon tKe stone $rcKitecture can be seen in tKe same liJKt 7Ke concrete stone or brick foundations of a buildinJ KaYe a solid rock like nature 7Kis is tKe KeaYy rooted element or tKe stereotomic element as )rampton Zould describe it /ike tKe stone of tKe mountains tKe foundations are most resilient %uilt upon tKis foundation is tKe frameZork ZKicK creates tKe Zalls and roof 7Kis is akin to tKe trunks and brancKes of tKe trees and YeJetation in tKe forests and Yalleys of

26

tKe mountains 7Kis frame element e[presses tKe Yertical nature of tKe buildinJ 2nto tKis frameZork is tKe skin of tKe buildinJ sucK as sKinJle sidinJ straZ tKatcKinJ or tKe like 7Kis is like tKe leaYes on a tree or tKe bark of a trunk 7Kis ÂľskinÂś or claddinJ is secondary to tKe structure )oundations and frameZork are tKe primary arcKitectural elements )rampton discusses tKe ontoloJical conseTuences of tKese tZo contrastinJ structural elements )rameZork tends toZards tKe aerial and demateriali]ation of mass ZKereas tKe mass form is telluric embeddinJ itself deeper in tKe eartK 2ne tends toZard tKe liJKt and tKe otKer toZard dark 7Kese JraYitational opposites may be said to symboli]e tKe tZo cosmoloJical opposites to ZKicK tKey aspire tKe sky and tKe eartK )rampton 1995 45

,n creatinJ arcKitecture on a mountain a Yertical landscape tKat Âżnds itself betZeen tKese tZo JraYitational opposites it is important to understand tKe cKaracteristics tKat deÂżne eacK reJion in tKe Yertical dimension

Vertical Regionalism 7Ke mountain is tKe bond betZeen eartK and sky ,ts solitary summit reacKes tKe spKere of eternity and its base spreads out in manifold footKills into tKe Zorld of mortals DorZard 1990 43

$s a mountain rises into tKe air it beJins to transform 7Kere is a multitude of different micro climates tKat meld one into anotKer creatinJ a Jradient of reJions tKat are all stitcKed toJetKer one reliant on tKe ne[t see pJ 23 7Ke differences betZeen tKe alpine reJion of tKe mountain and tKe Yalley reJion are Yast )or one to e[perience tKese Yastly different reJions it is only a matter of traYelinJ a sKort distance from tKe base to tKe peak :Ken tKinkinJ of reJionalism in tKe Kori]ontal plane tKe distance tKat must be traYeled to e[perience tKe same sKift in reJions is mucK

3recipitation and temperature an altitudinal study 2

+eiJKt in Metres

MappinJ $ltitudinal 6Kifts relatinJ back to preYious diaJram

28

29

furtKer )or instance in terms of temperature tKe difference Zould be like JoinJ from /os $nJeles to +alifa[ tKe former representinJ tKe Yalley and tKe latter tKe peak EacK reJion Kas its oZn set of conditions tKat must be considered arcKitecturally

, KaYe pinpointed 3 distinct

reJions ZitKin tKe mountain landscape to focus on as sites for tKe mountain refuJes 7Kese reJions are tKe Yalley mid mountain forest and tKe alpine reJion

Valley 7Ke Yalley is tKe most Kabitable reJion for Kumans and many otKer liYinJ orJanisms ,n tKe Yalley tKe surroundinJ risinJ mountains proYide a sense of containment and protection tKey are a place of refuJe 7Ke mountain masses are like Jiant Zalls tKat create a Zell deÂżned sense of space 7Ke mass of tKe mountains proYides protection from KarsK Zinds and limits tKe amount of dayliJKt tKat penetrates tKrouJK to tKe Yalley 7Kerefore ZKile in tKe Yalley tKe days are sKorter and tKe area is often cast in sKadoZ especially durinJ tKe Zinter

7Ke Yalley e[periences tKe most Àuctuation

in seasonal cKanJes out of all tKe reJions e[periencinJ botK tKe Keat of tKe summer and cool of tKe Zinter 6prinJ comes earliest in tKe Yalley ZKile it may take montKs before it is e[perienced at KiJKer eleYations 7Ke Yalley proYes to be tKe most transformational tKrouJK tKe seasons ZitK tKe Za[ and Zane of tKe riYer tKe fallinJ of leaYes from tKe deciduous trees in tKe fall and tKe bloominJ of sKrubs in tKe sprinJ 7Ke most preYalent element in tKe Yalley is Zater and you Zill alZays be able to Âżnd a riYer or a creek tKere ,n terms of its JeoloJical Kistory tKe Yalley Kas been carYed deeper

&ouJar $lberta

&reek &anmore 3Koto taken in tKe sprinJ

30

and deeper oYer millennia by constantly moYinJ Zater %e it a riYer or a Jlacier Zater Kas tKe poZer to carYe and sKape tKe landscape %ecause tKere is bountiful moisture and abundant ricK soil tKe YeJetation tKat JroZs in tKe Yalley is uniTue and plentiful )or tKis reason traditional cultures Zould reserYe tKe loZest reJions of tKe Yalley to JroZ crops and orcKards 7Ke Yalley offers tKe sustenance of life

Mid Mountain 7Kis reJionÂśs dominant element is YeJetation larJely inKabited by &oniferous trees tKat ranJe in density as tKey rise in eleYation 7Kis forested reJion is tKe most Kabitable because tKe trees proYide an insulated climate and protection from tKe elements 7Ke forest is a safe KaYen $t tKis eleYation tKe YantaJe beJins to e[tend and tKe Kori]on line beJins to become more compreKensible 4uite often

)orest close to tKe Yalley bottom 3Koto taken at 3anorama 5esort

loZ clouds Zill sit in tKis reJion $s you moYe up tKe mountain tKe trees become less dense as tKey become more and more e[posed to KarsK abrasiYe atmospKeric forces sucK as Zind 7Kis Kappens because for one tKe o[yJen leYels start to tKin and tKe landform becomes more riJid and rocky 7Kere are more stone cliffs KarsK slopes and uneYen topoJrapKy as you Jet closer to tKe alpine reJion 7Ke tree line usually marks tKe transition ]one from mid mountain to alpine )orest at tree line 3Koto taken at 3anorama 5esort

Peak )or centuries reliJions KaYe recoJni]ed tKe spirituality of mountain summits by makinJ KiJK peaks into symbols of ascension abodes of Jods and obMects of sacred Mourneys $ltitude is a uniYersal symbol of an uplifted spirit and tKe mountain itself is a symbol of enliJKtenment DorZard 1990 41

31

Maps of Jumbo &reek 9alley 7op :atersKed system relatinJ to tKe Yalley Middle )orested ]one relatinJ to mid mountain %ottom 5idJe lines relatinJ to tKe peak MappinJ Data from *eo%&

32

Map of Jumbo &reek 9alley illustrationJ tKe tKree systems toJetKer MappinJ Data from *eo%&

33

7oZards tKe top of tKe mountain one Zill e[perience climatic e[tremes ZitK tKe only reprieYe beinJ in tKe lee of rock outcroppinJs 7Kere are KarsK Zinds bloZinJ snoZ and e[treme solar e[posure ,n terms of perception tKe peak is ZKere one can Jrasp tKe panoramic Kori]on 7Kere is a sense of e[panse tKat e[tends from tKe inKabited peak to tKe peaks of distant mountains ranJes 3erception can cKanJe from beinJ able to see for Kundreds of miles on a clear day to beinJ able to see only a couple feet in front of you ZKen tKe peak is Yeiled in a cloud 7Ke alpine enYironment is at sucK a KiJK altitude tKat ³tKe enYironments become more compressed and life processes more deliberate 2rJanisms become more directly tied to tKe enYironment less complicated and more e[posed to YieZ ´ DorZard 1990 23

9ieZ from summit buildinJ at 3anorama 5esort

34

Dualities Many dualities can be draZn usinJ tKe mountain as a subMect 7Ke prime duality and tKe most eYident is tKat of tKe eartK and tKe sky EYery otKer duality is a result of tKis Dark and liJKt KeaYy and liJKt Kot and cold epKemeral and timeless solid and Yoid sinJular and multiple compressiYe and e[pansiYe pKysical and atmospKeric material and immaterial force and ¿eld DependinJ on ZKere you are located on a mountain tKese dualities Zill sKift aspects recedinJ or adYancinJ respectiYely 7Ke mountain represents tKe solidity of matter and tKe Zater like tKe sky is transparent and alZays in motion 7Ke mountain beinJ a Yertical entity actiYates tKe moYement of tKe Zater Yia tKe forces of JraYity 6noZ is an e[tremely fascinatinJ tKinJ because it is an instance of tKe atmospKere articulatinJ itself as a material ,t describes tKe dynamism of tKe atmospKere tKat surrounds us in a tanJible Zay and unites tKe disparate elements of nature into a sinJular plane of ZKite :ater belonJs to tKe sky Must as tKe sky belonJs to tKe Zater 7Kis relationsKip is described in tKe reÀection of sky in tKe Zaters of riYers lakes and oceans )rom space tKe oceans appear as blue because tKe colour is a reÀection of tKe sky 7Ke sky and tKe riYers lakes and oceans are in constant e[cKanJe 7Ke Zater is alZays ascendinJ and descendinJ JoinJ from material to immaterial in a constant cycle tKat ensures tKe perpetual motion and eYolution of life :ater is necessary for all liYinJ tKinJs

35

,deoJram illustratinJ tKe dualistic nature of tKe mountain landscape

<anJ

<in

7riJrams from tKe , &KinJ describinJ tKe EartK and 6ky )rom :ilKelm 2010

36

,deoJrams illustratinJ tKe relationsKips betZeen tKe mountain and Yalley

3

*laciers ZitK tKeir layered strata describe time mucK like stone does 7Kis relationsKip betZeen stone and ice can be found at tKe KiJKest eleYations of tKe mountains *laciers are tKe atmospKereÂśs Zay of describinJ its Kistory Must as tKe stone describes tKe Kistory of tKe eartK ,t is a &Kinese belief tKat mountains and Zater are interdependent ,n tKe 7aoist concept of natural Karmony tKe mountain is tKe passiYe center and Zater is tKe actiYe counter balance DorZard 1990 19

The Refuge 7Ke 3rimitiYe Kut is often seen as tKe oriJinal arcKitectural form from ZKicK tKe purest and most fundamental arcKitectural elements Zere born representinJ sometKinJ primordial sometKinJ tKat speaks to our speciesœ beJinninJs %ut before tKere Zas a Kut ³man placed a stone on tKe Jround to recoJni]e a site in tKe midst of an unknoZn uniYerse in order to take account of it and modify it ´ ,t is tKe act of placinJ a marker tKat siJni¿es our place amidst tKe immensity tKat surrounds us 7Kis mark can be a ¿re pit for instance ZKere a Jroup JatKers and occupies a site before tKe built form takes sKape around it 7Kis simple act of markinJ a site siJni¿es Kuman inKabitancy and reYeals tKe nature of our necessities for dZellinJ sucK as tKe Tuality of liJKt tKe Jround conditions pro[imity to resources sucK as Zater and food and our relation to tKe otKer species tKat inKabit and sKare tKe same site 7Kis act of surYeyinJ is ¿rst and of tKe foremost importance cominJ before tKe refuJe is constructed *ottfried 6emper speaks of tKe 4 key elements tKat tKe primitiYe Kut is comprised of 7Kese elements include tKe

38

eartKZork tKe KeartK frameZork and tKe ZeatKerproof coYerinJ 7Kese elements ¿nd balance ZitK tKe determined site and so eacK element does not necessarily KaYe tKe same leYel of prominence Marc $ntoine /auJier speaks of tKe primitiYe timber Kut oriJinatinJ in tKe forest applyinJ similar loJic 4uatremere De 4uincyœs conceiYes of tKe caYe beinJ tKe oriJin of EJyptian arcKitecture and of tKe tent beinJ tKe oriJin of &Kinese arcKitecture EacK of tKese arcKetypal primitiYe refuJes are larJely determined by site and tKe materials tKat tKe site Kas to offer /auJier Zrites ³6ucK is tKe course of simple nature by imitatinJ tKe natural process art Zas born $ll tKe splendours of arcKitecture eYer conceiYed KaYe been modeled on tKe little rustic Kut >primitiYe Kut@ /auJier 19 12 7Ke timber Kut tKat Marc $ntoine /auJier speaks of resulted from tKe surroundinJ trees ZKicK acted as pre e[istinJ Yertical structure rooted to tKe Jround $ tree is naturally balanced and ancKored in botK tKe eartK and tKe sky and so it Zas tKe simple act of addinJ tKe roof tKat constituted tKe makinJ of a Kut )or tKe EJyptians tKe stone cliff faces Zere a pre e[istinJ mass tKat resulted in a subtractiYe metKod of creatinJ refuJes tKe diJJinJ of caYes and tombs 7Kis Zas naturally a Yery stereotomic refuJe beinJ KeaYily ancKored in tKe Jround ,n relation to 6emperœs four elements it is tKe eartKZork tKat is prominent ZKile tKe otKer elements tend to recede 7Ke opposite is true for tKe &Kinese oriJin beinJ tKe tent +ere Ze see tKe frameZork ¿ndinJ prominence ZKile tKe foundation is diminisKed $Jain tKe tent is a reaction to tKe site beinJ Àat lands ZitK little YeJetation 7Ke foundations are reduced to sinJle points ZKere tKe frameZork can be ancKored

Entrance to tKe tomb of .inJ 7utankKamun at /u[or EJypt May 1950 )rom %eaumont Enterprise

39

Mountain Refuge %uildinJ ZitK tKese basic principles in mind tKe mountain presents an incredible ranJe of circumstances ZitK reJard to site 7Ke 4 buildinJ elements named by 6emper relate back to tKe natural elements present on tKe mountain as described earlier stone YeJetation Zater Just as tKe natural elements Jain prominence and recede dependinJ on tKe mountain reJion so Zill tKe buildinJ elements present in eacK of tKe tKree refuJes 7o be speciÂżc tKere Zill be a balance betZeen foundation eartKZork and frameZork in tKe mid mountain refuJe mucK like a tree

,n tKe

alpine refuJe tKe prominent element Zill be tKe eartKZork stone $nd in tKe Yalley tKe prominent element Zill be tKe frameZork EacK refuJe Zill capture tKe tectonic Tualities of site tKrouJK use of structure and materials and in turn Zill reYeal tKe sensual and perceptual Tualities of tKe site to tKe occupant 7Kese elemental conditions in botK site and built structure Zill inKerently relate to tKe proJrammatic aspects of tKe site and tKe idea of pilJrimaJe as beinJ about ÂżndinJ oneÂśs oriJins and personal place in tKe Jrand scKeme of tKinJs

7Ke primitiYe Kut /auJier 19 [[iY

40

Chapter 2: Design EacK refuJe is an inYitation for tKe imaJination to Zander and for tKe recollection of primal deep seated memories ,ts interaction ZitK nature Joes beyond tKe Yisual appealinJ to all of tKe senses 7Kere are no ZindoZs in tKese refuJes at least not in tKe prosaic sense but ratKer points of e[cKanJe betZeen inside and outside ZKere one bleeds into tKe otKer

7Kese points reYeal tKe dynamic eYer cKanJinJ

Tualities of nature ZKicK in turn sKape and describe tKe inner space of eacK refuJe 7Ke structure is an e[pression of tKis e[cKanJe 1o refuJe is completely inside or completely outside $ny deÂżnition of inside and outside depends on tKe season tKe material used and tKe proJrammatic needs of eacK space 7Kere Zill be 3 places of refuJe alonJ a patK of pilJrimaJe and eacK refuJe acts as an ancKor alonJ tKe patK stitcKinJ tKe eartK and sky toJetKer at eacK speciÂżc moment in place and time 7Ke refuJes Zill be part of tKe patK offerinJ a means to Jet from one point to anotKer Site Studies 6tudyinJ

tKe

site

at

a

larJer

scale

reYeals

tKe

interconnectedness of tKe larJer mountain ranJe as Zell as tKe conditions tKat e[ist across different Kori]ontal and Yertical planes

,n order to Jain a compreKensiYe

understandinJ of tKe mountains as a landscape , KaYe taken botK Kori]ontal and Yertical sections tKrouJK tKe site identifyinJ and describinJ tKe tKree cKosen reJions of study 7Ke Yalley mid mountain and peak

3Koto taken at <osomite 1ational 3ark )rom %laylock

,deoJram of tKe mountain Yalley and tKree sites conditions

41

42

3eak

Mid mountain

EartK Stone Sky Water

9alley DiaJram of tKe tKree sites

$ 3d 3rinted model of tKe Mumbo creek Yalley and surroundinJ mountain ranJes

43

$ model of Jumbo &reek 9alley and tKe surroundinJ mountains locatinJ tKe tKree sites of eacK refuJe in relation to botK tKe topoJrapKy of tKe eartK and tKe sky

44

45

3eak

Mid Mountain

9alley

+ori]ontal sections tKrouJK tKe mountain describinJ tKe relationsKip betZeen tKe solidity of tKe mountain mass in relation to tKe Yoid space of tKe sky and KoZ tKis relationsKip transforms as you ascend

46

7Ke patK of pilJrimaJe from tKe Yalley to tKe peak ZitK tKe tKree refuJes located alonJ tKis patK MappinJ Data from *eo%&

4

Maps of Jumbo &reek 9alley 7op /ocatinJ tKe bridJe ZitKin tKe ZatersKed system Middle /ocatinJ tKe Kut ZitKin tKe forested ]one %ottom /ocatinJ tKe cKamber on a ridJe line MappinJ Data from *eo%&

48

7opoJrapKical model sKoZinJ tKe proJression from inYermere to tKe site of Jumbo 9alley

$ close up YieZ of tKe tKree siJni多cant settlements alonJ tKe Yalley 7op Jumbo 9alley Middle 3anorama 9illaJe %ottom ,nYermere

49

Scalability of the Pilgrimage $ pilJrimaJe is a departure from ciYili]ation to confront nature as an indiYidual a sinJular entity amid tKe immensity and diYersity of nature 7Kis relationsKip can be understood at different scales and tKe distance of tKe traYeled patK can be scaled accordinJly 7Ke pilJrim must traYel by foot meaninJ to say tKat if tKe patK is taken by car for e[ample tKe connection betZeen tKe indiYidual and nature Zould be lost

&alJary

Jumbo &reek 9alley ,nYermere

34 km

,nYermere 3anorama 5esort

J&9

55km

%ridJe Yalley

&Kamber peak

+ut mid mountain

15km

,solation /eYel

Maps of differently scaled patKs to Jumbo &reek 9alley %ase maps from *ooJle Maps

50

9isual &onnection

Jumbo &reek 9alley

3ilJrimaJe cKapters %ridJe Hut &Kamber

,nYermere

Map illustratinJ tKe KypotKetical patK of pilJrimaJe broken in to cKapters alloZinJ for different leYels of endurance

51

&Kapters III

II

I

EleYation

I9

3anorama InYermere

11

21

23 Distance km

9isual &onnection 3ilJrimaJe cKapters %ridJe Hut &Kamber

$ diaJram illustratinJ tKe KypotKetical patK of pilJrimaJe and tKe different leYels of ascension

52

Experience

In order to create a sense of e[perience ZitKin tKe 3 refuJes I created tKree dioramas tKat captured tKree moments in eacK 7Ke YieZinJ ZindoZs or apertures framed tKe landscape and created a narratiYe as one moYed tKeir eye from one ZindoZ to tKe ne[t 7Ke dioramas Zere meant to create a sense of space and to illustrate tKe transformatiYe nature of tKe landscape

7Kree dioramas /eft %ridJe Middle Hut 5iJKt &Kamber $ll YieZs illustrated are tKrouJK tKe middle ZindoZ

53

The Bridge 7Ke bridJe speaks to tKe body and tKe immediacy of tKe act of moYement %efore tKere Zere man made structures Kumans relied on naturally occurrinJ bridJes to cross ZaterZays like a fallen tree WitKin tKis act e[ists a narratiYe of bodily e[perience of ZalkinJ across a fallen loJ oYer a rusKinJ creek describinJ tKe bodily kinetic and mecKanical moYements neJotiatinJ tKose inKerent in tKe trunk of tKe fallen tree 7Ke bridJe marks tKe entrance of tKe pilJrimaJe

Water ÀoZinJ in tKe riYer markinJ a loZ point in tKe Yalley 7Ke ¿rst tKresKold of tKe Mourney

DiaJram of bridJe see pJ 42

54

3rimal E[perience .noZinJ I Zant to cross I ¿rst look for a fallen tree tKat can support my ZeiJKt and is adeTuately Jrounded on eitKer side I step cautiously onto tKe loJ testinJ it ZitK my foot before I continue )eelinJ tKe riYerbank beKind me I noZ knoZ tKat I am committed Iœm aZare of my body beJinninJ to tune itself to tKe loJ tensinJ to brinJ us to a precise balance WKen I reacK tKe loJœs Kalf Zay point tKe danJer ÀasKes tKe briJKtest I am too far to turn back but tKere is still so far to Jo Iœm focusinJ more and more on tKe Zater rusKinJ beneatK me and less and less on tKe safety ZaitinJ at eitKer end 7Ken at a critical moment my aZareness rusKes from tKe bark tKrouJK my soles and up tKrouJK my ZKole body I am fully synced to tKe loJ

$ personal Mournal entry $pril 2011

55

Bridge Design 7Kis pKysical e[perience is e[pressed and reYealed in tKe tectonics of tKe bridJe and tKe Jradual unYeilinJ of tKe riYer openinJ at its centermost point ZKere tKe Zater is ÀoZinJ and rusKinJ most intensely 7Ke riYer e[presses tKe Jround or Àoor of tKe bridJe tKe built form tells tKe story of tKe roof 7Kere are no ZindoZs only JateZays or connection points betZeen tKe senses and tKe natural conte[t tKat de¿nes tKat speci¿c moment or place 7Ke dynamism of tKe riYer is reÀected in tKe bridJe 7Ke Zater reÀects liJKt from tKe sun up and in to tKe bridJe 7Ke bridJe acts to catcK tKe sound and liJKt from tKe riYer and also frames tKe YieZ doZn to tKe riYer On Transformation 7Ke riYer cKanJes ZitK tKe seasons and as a result so does tKe e[perience of tKe bridJe 7Ke riYer breatKes life into tKe bridJe animatinJ it and JiYinJ it cKaracter tKat describes moments in place 7Ke sprinJ summer 7Ke snoZ is meltinJ in tKe mountains JaininJ momentum as it descends 7Ke riYers are sZellinJ and moYinJ fast

7Ke bridJe captures tKis turmoil and

presents its sound and brilliant sKimmerinJ liJKt reÀectinJ off of tKe Zater

7op model of tKe bridJe in sprinJ %ottom %ridJe in tKe summer

56

7Ke fall 7Ke Zater is noZ tricklinJ as tKe melt off of snoZ from tKe KiJKer eleYations is decreasinJ and snoZ is beJinninJ to accumulate once aJain 7Ke Zater leYel is loZ and tKe riYerbed is more e[posed 7Ke reÀections of liJKt and sound cauJKt by tKe bridJe reÀect tKese conditions 7Ke Zinter

Model of tKe bridJe in fall

SnoZ and ice beJin to form on tKe riYer

especially alonJ its edJes ZKile tKe Zater continues to ÀoZ in tKe centre most part 7Ke snoZ reÀects liJKt into tKe bridJe but doesnœt KaYe tKe same sKimmer and moYement as tKat of ÀoZinJ dynamic Zater 7Ke snoZ absorbs sound ratKer tKan reÀectinJ it so tKe acoustic Tualities Zill cKanJe drastically 7Ke bridJe Zill feel more enclosed because tKe snoZ leYel is risinJ and closinJ tKe bridJe in /ayered on top of tKese seasonal cyclical conditions are tKe daily conditions tKat Yary dependinJ on tKe ZeatKer )or instance on a sunny day in tKe summer tKe bridJe Zill feel mucK different tKan a cloudy day in tKe sprinJ 7Ke Yariations are seeminJly endless 7Ke bridJe reYeals tKe intersection and relationsKip betZeen tKe pKysical tKe mountain Kumans and tKe atmospKeric tKe sun ZeatKer 7Kis relationsKip is eYer cKanJinJ 7Ke central moment of tKe bridJe is a restinJ place ZKere tKe Yisitor can step doZn off of tKe patK to sit on a KunJ bencK alloZinJ for ones feet to KanJ aboYe tKe rusKinJ Zater beloZ ZKile YieZinJ doZn tKe lenJtK of tKe riYer 7Ke foundation is de empKasi]ed beinJ reduced to 2 sinJle point loads on eitKer side of tKe riYer ZKere a compression member spans across tKe riYer to form tKe central spine of tKe bridJe 7o balance tKis moment of compression are 2 tension cables tKat run beloZ

Model of tKe bridJe in Zinter

5

Bridge Structural Studies

$ compressiYe member Zooden doZel ZitK tZo tension cables strinJs Moined at eitKer end

7Ke model put in to tension and compression usinJ Zooden cross members betZeen tKe tZo tension cables

$ model describinJ tKe structural idea for tKe bridJe

%ridJe plan

58

7Ke structure and claddinJ are a framinJ deYice actinJ to reYeal tKe sensual Tualities of tKe riYer

59

%ridJe section

60

%ridJe model

61

62

9ieZ of model from riYer lookinJ up sKoZinJ tKe reÀection of liJKt off of tKe Zater and in to tKe bridJe

&laddinJ detail

63

%ridJe entrance

%ridJe structure

64

The Hut 7Ke Kut speaks to tKe mind

2ur mind represents our

capacity for tKouJKt reÀection identity and control We seek a place of dZellinJ for rest comfort sustenance and to JatKer as a people We reinforce our moral Yalues tKrouJK speecK amonJst kindred

DiaJram of Kut 5ed represents Âżre see pJ 42

7Ke forest reJion ZKere tKe Kut Âżnds its site

65

Primal Experience: I am contained by tKe forest 7KouJK my patK and my ultimate destination are botK obscured by tKe trees before me ZitK eYery step tKey reYeal a little more /ittle Jlimmers fall from tKe tKick canopy to liJKt up tKe sKadoZy Àoor ZKile tKe sliJKt rustlinJ aboYe punctuates tKe still air beloZ I feel protected Still Iœd like to see beyond tKe endless Jreen and recoJni]e tKe opportunity to re enact a Yital actiYity of my cKildKood I look for tKe tallest sturdiest tree and beJin my ascent My feet neJotiate ZitK eYery brancK and as tKe liJKt Jets briJKter and tKe Zind stronJer a YieZ out of tKe forest beJins to open and I can catcK Jlimpses of tKe mountains and Yalleys beyond tKe canopy I start to feel more and more e[posed and ZKen I reacK tKe top tKe tree starts to sZay ZitK my ZeiJKt and tKe Zind I appreciate tKe roots 1oZ I can spy tKe Yalley I took to reacK tKe base and can also see tKat I KaYe a lonJ Zays to Jo $t tKis moment I can compreKend my presence ZitKin tKe mass of tKis mountain 2nce I climb back doZn tKe tree and continue my ascent up tKe mountain I notice tKat tKe trees are becominJ sKorter sparser and more Jnarled 7Ke forest is recedinJ JiYinJ Zay to ridJed rock and a perspectiYe interrupted only by tKe monolitKic stone mass of tKe mountain Here tKe trees can neitKer take root nor ZitKstand tKe elements $nd Kere I Zalk to reacK a sky tKat tKey can no lonJer toucK 3ersonal Journal Entry

$ personal Mournal entry $pril 2011

66

$t tKe core of tKe Kut is tKe KeartK tKat facilitates tKe Âżre MucK like Semper describes tKe Âżre is tKe moral element ZKicK all otKer elements reYolYe around and protect It is around tKe Âżre tKat Ze JatKer to speak our tKouJKts and minds to form bonds to tell stories We speak of tKe past present and future It is Kere tKat Ze as a people formulate our moral beliefs 7Ke Âżre is also ZKere Ze prepare our meals in order to replenisK our bodies It proYides us ZitK ZarmtK a place tKat Ze can Âżnd enouJK comfort for sleep 2n a mountain a Âżre is essential for sustaininJ and deYelopinJ our beinJ /ike a tree tKe Kut is balanced betZeen tKe eartK and tKe sky 7Ke moral implications of tKis are tKat a dZellinJ must foster tKe deYelopment of tKe body mind and spirit eTually

$ sketcK of a JatKerinJ space located at tKe base of tKe Kut centerinJ around tKe Âżre

Initial sketcK of tKe central core of tKe Kut

6

Hut Structure and Cladding Studies

$ claddinJ study model

&laddinJ model in tKe Zinter

Central core study model

/ouYre connection detail

CladdinJ

and structure ZorkinJ in unison

)acade study

68

69

Hut communal area Jround Àoor plan

0

Hut sleepinJ Tuarters mid leYel plan

1

Hut obserYation deck top leYel plan

2

Hut section

3

Hut model

4

3lan YieZ of Kut model

5

$pproacK from beloZ

$pproacK from aboYe

6

2bserYation deck

/iYinJ and sleepinJ Tuarters

1 50 scale model sKoZinJ interior spaces

On Transformation 7Ke roots of a tree JroZ to ancKor itself aJainst tKe forces sucK as Zind and snoZ 7Kese are its foundations $ Kut in tKe forest must ¿nd its ancKor in tKe same Zay $ tree tKat is at tKe bottom of a mountain is sKaped mucK differently tKan a tree tKat borders on tKe upper alpine reJion 7Ke trees tKat form tKe timberline are usually stunted and its sKape indicates tKe preYailinJ Zinds Its roots take mucK lonJer to ¿nd tKeir Zay tKrouJK tKe stone to Jrab Kold $ltKouJK it is not obYious tKe roots are reÀected in tKe sKape of tKe tree aboYe it 7Ke Kut uses tKese same principles in dealinJ ZitK atmospKeric forces 7Ke sKape and penetrability of tKe Kut depends on its sitinJ on tKe mountain If tKe Kut is in tKe tKick forest closer to tKe mountain Yalley ZKere tKe soil is tKicker and tKe surroundinJ forest proYides protection from tKe elements tKe Kut Zalls Zill be more porous and open and tKe structure Zill be taller If tKe Kut is sited in tKe upper reacKes of tKe mountain its sitinJ Zill be more deliberate and tKe Zalls Zill be less penetrable see pJ 60 7Ke Kut is a neJotiation betZeen tKe eartK and tKe sky 7Ke Jround condition transforms as tKe mountain rises into tKe air JoinJ from primarily soil to primarily stone 7Kis Zill ineYitably effect tKe nature of tKe foundations 7Ke faoade articulates tKe seasonal cKanJes of nature and reYeals tKe nature of its site /ike a tree tKe faoade collects snoZ in tKe Zinter ¿llinJ in tKe open spaces and makinJ tKe Kut more contained and imperYious 7Kis snoZ acts as a blanket tKat creates an insulatiYe layer tKat counters tKe forces of nature In tKe summer ZKen tKe snoZ melts aZay tKe faoade acts as a sKade tKat Kelps keep tKe Kut cool and alloZs for Zind to pass tKrouJK see pJ 61

8

7Ke faoade can be calibrated to react to tKe nature of its site In an e[posed enYironment a tree miJKt only JroZ brancKes on tKe leeZard side of its trunk in order to counteract tKe forces of Zind and tKe ZeiJKt of snoZ leaYinJ tKe Kard surface of tKe trunk to deÀect tKe Zind aZay from its body 7Ke snoZ miJKt collect only on tKe side ZKere tKe Zind Kas been broken 7Ke Kut Zill occupy a Yertical dimension mucK like tKe trees surroundinJ it $t tKe base or ¾rootœ of tKe Kut Zill be tKe KeartK ZKere tKere Zill be a place of JatKerinJ 7Kis is ZKere tKose ZKo are occupyinJ tKe Kut Zill ¿nd ZarmtK sustenance and comfort It is also in tKe most insulated ]one of tKe forest ZKere tKe canopy of tKe surroundinJ trees is at its tKickest $s you moYe Yertically tKere Zill be places to sleep moYinJ radially upZards alonJ tKe central cKimney stack $t tKe Yery top of tKe Kut tKe ¾atticœ Zill be a place of YieZinJ tKe surroundinJ landscape a place to surYey understand tKe state of tKe ZeatKer before takinJ tKe ne[t cKapter of tKe Mourney up tKe mountain

9ieZ of model

9

The Chamber 7Ke peak refuJe speaks to tKe spirit /ike tKe temples sKrines cKapels mosTues and monasteries tKat are placed on mountains and otKer KiJK places around tKe Zorld tKere is a fundamental connection betZeen tKe peak of tKe mountain and tKe Kuman spirit It speaks to tKe mystery of our e[istence $t tKe peak of tKe mountain tKrouJK tKe stone tKat eleYates you can sense tKe Yast JeoloJic aJe of our eartK day in relation to tKe eternal e[panse of tKe cosmos niJKt

7Ke peak tKe KiJKest eleYated reJion ZitKin tKe mountains

DiaJram of cKamber see pJ 42

80

Primal Experience: I reali]e tKat I am at tKe mercy of tKe full force of tKe natural elements Kere in tKe upper reacKes of tKe mountain stripped of tKe protection of tKe forest 7Kis is an austere un eartKly land ZKere most liYinJ tKinJs Zould not be e[pected to preYail a feZ stoic and opportunistic sKrubs Kunker in tKe stoneÂśs lee 7Ke snoZ is sKarp and sparklinJ in tKe briJKt sun pulled by tKe Zind oYer tKe bones of tKe mountain WincinJ at tKe Jlare I close my eyes and listen ZKere once tKe air ZKispered tKrouJK brancKes and leaYes Kere tKe Jale Âżnds its Kard unrelentinJ Yoice in stone My Zords are torn from my moutK and Kurled unKeard into tKe e[panse 2peninJ my eyes aJain I reali]e tKat I am immersed in tKe sky 7Ke KarsK sun aboYe tells me e[actly ZKat time it is I need to seek sKelter

I enter a caYe and my sun blasted eyes stumble into tKe neZ dark My ears buffeted mercilessly a moment before rinJ ZitK silence HoZeYer I can sense tKe sKape and pro[imity of tKe space eYen ZitK my senses in sKock 1oZ my Zords ecKo ZitK tKe Kardness of tKe Zalls indeed eYery sound seems to reYerberate ampli¿ed WKen my ¿nJertips brusK tKe cool damp rouJKness of tKe stone I can tKink of notKinJ else $t some point I turn back and liJKt starts to bleed back into my irises Colour and detail creep back into my Yision I folloZ tKe source of liJKt steppinJ out of tKe aperture 7Ke Zind Àies from tKe sky and makes eYerytKinJ real from tKe endurinJ stone to tKe snoZ tKat collects sKifts and dances at its toucK

$ personal Mournal entry $pril 2011

81

)irstly tKe site of tKe ÂľYieZinJÂś and ÂľsensinJÂś cKambers must be cKosen Yery carefully takinJ in to consideration all tKe Yarious factors sucK as Zind and sun e[posure snoZ accumulation aYalancKe risk and YieZs /ike tKe stunted sKrubs tKat Kunker doZn beKind stones to Âżnd reprieYe from tKe bloZinJ Zind and snoZ tKis refuJe must be opportunistic in ÂżndinJ its place $t tKe peak of a mountain tKe sky is Kard to iJnore 7Ke primary material is stone and tKe space created Zill offer an e[perience tKat speaks to tKe sensual cKaracteristics of stone and ZKat it means to inKabit stone 7Ke secondary material Zill be steel and Zood in tKe articulation of connections and Kapticity Mountains are formed tKrouJK tKe pusKinJ and pullinJ of continental plates and tKe stone of tKe mountain Kas been tKrust upZard tKrouJK immense force 7Ke manipulation and use of stone must take tKis JeoloJic process into consideration 7Ke strata of tKe stone its position relatiYe to tKe larJer body of tKe mountain and its form must be carefully considered Stone is a material tKat can be manipulated to take on a Yariety of sKapes and te[tures In its unaltered state it is rouJK because of its Jradual deJradation due to atmospKeric forces If it is cut and polisKed it can take on an e[tremely soft smootK te[ture and mirror like ÂżnisK

Cut and polisKed limestone from a Tuarry in tKe 5ocky Mountains

$ sKrub JroZs in tKe leaZard side of a stone liYinJ orJanisms must be opportunistic in a Kostile enYironment sucK as tKat of tKe alpine reJion of tKe mountains )rom DorZard 1990

82

Cutting Process

Model of stone saZ in action

$ narratiYe describinJ tKe creation process

83

Initial ideas for spatial and e[periential Tualities of tKe peak refuJe

84

Modeled CKamber ZitK inner room

Modeled CKamber ZitK outer room

Modeled CKamber ZitK roof

7Kree plan section Yariations of tKe cKamber

85

Modeled cKamber ZitK roof sKoZinJ tKe cut patK tKrouJK tKe stone

86

Model of tKe cKamber cut from a plaster mass cast from stone

$ YieZ sKoZinJ scale

HypotKetical sitinJ of tKe cKambers %ase map from *ooJle Maps 8

88

Stone is Kard and reÀectiYe and emits a sense of permanence It tells a story of time tKat dates back before tKe e[istence of man /ocated ZitKin tKe rock tKe e[perience is of tKe sky tKe incorporeal DurinJ tKe day tKe sky is alZays different tKe clouds takinJ on different sKapes ¿lterinJ tKe sun in different Zays $t niJKt tKe sky reYeals to us a uniYerse of e[pansiYe maJnitude

8nlike tKe daytime sky tKe niJKttime sky

reYeals distant stars tKat are uncKanJinJ We can depend on seeinJ tKe Milky Way and all tKe constellations 7Kese tKinJs are as dependable as tKe risinJ and settinJ of tKe sun We can look to tKe stars to locate ourselYes ZitKin tKe Jreater conte[t of tKe uniYerse 7Ke peak speaks to tKe e[istential and metapKysical draZinJ from its close contact ZitK tKe cosmos tKe e[panse beyond eartK On Transformation 7Ke sun Kas a cyclical pattern tKat effects tKe seasons tKe course of tKe day and determines tKe cycles of all liYinJ orJanisms

7Ke Tuality of space ZitKin tKe cKamber is

larJely dependant on liJKt and sKadoZ so it is important tKat it is oriented and calibrated to tKe sun In tKis Zay tKe cKamber Zill deÂżne itself differently tKrouJKout tKe seasons 2utside of tKe cKamber tKe snoZ is in constant motion at tKe peak because of tKe unrelentinJ Zind and tKe absence of trees and YeJetation SnoZ is botK deposited and sZept aZay by tKe Zind $ small interYention sucK as a tKicket fence can KaYe an enormous effect on KoZ tKe snoZ takes sKape 7Kis principle can be used to deÂżne tKe patK leadinJ to eacK cKamber

89

7Ke mountain is tKe meetinJ point betZeen tKe sky and tKe eartK $ltKouJK tKe sky is not as pKysically perceiYable as tKe eartK it is an eTually comple[ and diYerse landscape Its deÂżnition is larJely left up to your imaJination

90

Chapter 3: Conclusion In dif¿cult moments youœll often surprise yourself talkinJ to tKe mountain sometimes ÀatterinJ it sometimes insultinJ it sometimes promisinJ sometimes tKreateninJ $nd youœll imaJine tKat tKe mountain ansZers as if you Kad said tKe riJKt Zords by speakinJ Jently by KumblinJ yourself Donœt despise yourself for tKis donœt feel asKamed of beKaYinJ like tKose men our social scientists call primitiYes and animals Just keep in mind ZKen you recall tKese moments later tKat your dialoJue ZitK nature Zas only tKe outZard imaJe of a dialoJue ZitK yourself Daumal 2004 10

7Ke mountain is a landscape tKat is as Yaried and comple[ as tKe Kuman psycKe It alloZs us to see KoZ tKe elements tKat deÂżne tKe pKysical Zorld are also tied to our consciousness ZKicK in turn is reYealed to us tKrouJK our sensual faculties I KaYe discoYered tKat tKe act of ascendinJ a mountain is as mucK an inZard mental Mourney as it is an outZard pKysical one WitKin it are moments of e[treme isolation but also moments of deep connection ZitK tKe life tKat surrounds us 7Kere are moments of clarity but also moments of confusion )or me tKis tKesis Zas a Jreat Mourney an act of searcKinJ for a deeper sense of connection ZitK a landscape tKat Kas alZays resonated ZitK me It beJan ZitK a Yery analytical metKodoloJy ZKicK offered insiJKts tKat alloZed me to delYe into tKe deeper meaninJs embedded in nature as it transforms up tKe Yertical plane of tKe mountain WKat I KaYe emerJed ZitK are tKe beJinninJs of an arcKitectural lanJuaJe tKat attempts to address tKe comple[ relationsKip sKared betZeen nature and us as Kumans 7Ke bridJe alloZed me to e[plore KoZ tKe Kuman body and tKe riYer mirror eacK otKers dynamism WitK tKe desiJn of tKe Kut I e[plored ZKat it means to dZell ZitKin nature to

91

understand it as a proYider 7Ke cKamber alloZed me to e[plore KoZ tKe Kuman spirit can be botK ampliÂżed and Kumbled by a space I must empKasi]e tKe Zord Âłe[plore´ because I feel tKat I may spend my entire life seekinJ tKe trutK of tKese mattersÂŤ HaYinJ Mourneyed all tKe Zay to tKe peak tKe descent noZ offers a cKance to reĂ€ect *raYity tuJs me and reYelations found up KiJK beJin to fade as tKe Jreen creeps up to surround me once more I Âżnd my Zay doZn like tKe Zater of tKe sprinJ tKaZ In tKe Yalley tKe bridJe Zaits for me a JateZay back to ciYili]ation to tKe realm of mortals I pause for a moment tryinJ to call to mind sometKinJ stored in my Yery bones Âą tKen I cross beJinninJ tKe Mourney tKat ends ZKen I return aJain 7Kere is an art to ÂżndinJ your Zay in tKe loZer reJions by tKe memory of ZKat you KaYe seen ZKen you Zere KiJKer up WKen you can no lonJer see you can at least still knoZ Daumal 1992 105 106

Mount .idd .ananaskis Country $lberta

92

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