“ Z en - C hr i st i an i t y : A U sef u l D i al ogue?

“A m o d est st r ea m o f l i ght p en et r a t i n g a v er y sm a l l space may po ssess si mpli ci ty, but i t i s no t si mpli ci ty, and her e the ai m as n ot mer ely to pay homage to the pu r ity of n atu r e over the man made,
i t was to achi e ve a spi ri tual w o rld that transcends i t physi cal dimen sion s.”

Tadao Ando

“Hea ven is M y t hr o n e, a n d t he ea r t h i s a f o o t st o o l f or M y f eet. W hat ki nd o f h o use wi ll yo u bui ld fo r M e, says the L o r d, or what is the plac e of My r est? H as n ot My han d made all thin gs?”

Acts 7:49-50

pax er ora – peace and prayer

Michael Timothy Smith – 1367103

A Research Project submitted in partial fulfilment of the requirements for the degree Master of Architecture Professional.
Unitec Institute of Technology, 2011 
6
Abstr act

This is an investigation into the possibil- The (Christian) Cistercian monastic or- that is suited to the significant and particular envi-
ity of learning from different architectural cultures. der has been selected because of its closeness to ronmental factors of that city.
Specifically, this project investigates selected Japa- Japanese Buddhist architectural principles in their
nese architectural principles. Relevant principles minimalist refined approaches and meditative spir- The process of design exploration uses
are obtained and applied to a New Zealand con- it. The monastic typology acts as a precedent in different methods in order to create a cumulative
text. The project develops a design for a Cister- which the aforementioned Japanese architectural synthesis of research by, for and into design. This
cian monastery to be built within the Christchurch principles could be used within a typology with provides an architectural resonance with all re-
central business district (C.B.D.) area. which New Zealand is unfamiliar. The project in- quired encompassing ideas. The explanatory docu-
volves the design of a Cistercian monastery based ment describes the formal and theoretical process-
Japanese architectural principles include upon traditional functions and requirements. The es taken in response to the research question.
benefits of power and appeal with respect to aes- monastic ideal of seclusion is used in the design of
thetics and as solutions to architectural problems. a trauma centre to be established in Christchurch to
This project focuses on appropriate Japanese ar- facilitate the mental healing of victims traumatised
chitectural principles such as ma/oku/miegakure by the recent Christchurch earthquakes. This func-
(space, time and glimpse), light and shadow, con- tion adheres to past requirements of Cistercian
nection with nature, layering, refinement and the monastic orders to help create a revenue stream.
design of a city site. Additionally it analyses the
aspects of the work of Tadao Ando because of his Christchurch City has been selected due to
specific architectural position. The aim is to create the current lack of integration between the Avon
an unfamiliar piece of architecture in which new/ River and surrounding buildings; this project pres-
lost ways of designing can be portrayed and exem- ents ideas on ways to change this. Because the se-
plified. lected site is located in Christchurch, the building’s
resilience must be looked at to ensure an outcome

7
Preface / A ckn owled g em en ts

Thank you to my supervisors, Dr. Christoph Schnoor and Kerry Francis for your dedicated encouragement, guidance and patience. On many occasions you both
went well above and beyond what I could reasonably have expected.

I would like to thank Yvetti for her patience and encouragement while putting up with my intolerable ramblings. I also sincerely thank my friends and family for their
support.
Co n ten ts

1.0 Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4.0 Lodging the Foundation of the Design. . . . . . . . . . . . . . . 33

1.1 Research Question . . . . . . . . . . . . . . . . . . . . 1 5.0 Project Development. . . . . . . . . . . . . . . . . . . . . . . 53

1.2 Aims and Objectives. . . . . . . . . . . . . . . . . . . 1 5.1 Site Analysis . . . . . . . . . . . . . . . . . . . . . . 53

1.3 Outline of Project . . . . . . . . . . . . . . . . . . . . 1 5.1.1 Criteria. . . . . . . . . . . . . . . . . . . . . . . . 53

1.4 Scope and Limitations . . . . . . . . . . . . . . . . . . 2 5.1.2 Location. . . . . . . . . . . . . . . . . . . . . . . . 53

2.0 Methodology. . . . . . . . . . . . . . . . . . . . . . . . . . . 7 5.1.3 Analysis. . . . . . . . . . . . . . . . . . . . . . . . 62

2.1 Methodological approach to the project . . . . . . . . . . . 7 5.2 Program. . . . . . . . . . . . . . . . . . . . . . . . . 63

2.2 Content. . . . . . . . . . . . . . . . . . . . . . . . . 7 5.3 Layout of the Complex. . . . . . . . . . . . . . . . . . 63

2.3 Context. . . . . . . . . . . . . . . . . . . . . . . . . 7 5.4 Environment and Vistas. . . . . . . . . . . . . . . . . 66

2.4 Exploration. . . . . . . . . . . . . . . . . . . . . . . 9 6.0 Design Process and Design . . . . . . . . . . . . . . . . . . . . 71

3.0 Literature Review / Precedent Study. . . . . . . . . . . . . . . . 11 6.1 Guiding Principles / Form Driving Factors . . . . . . . . 71

3.1 Japanese Influence . . . . . . . . . . . . . . . . . . . . 11 6.2 Process of Design. . . . . . . . . . . . . . . . . . . . 82

3.2 Tadao Ando. . . . . . . . . . . . . . . . . . . . . . . 16 6.2.1 Exploration One. . . . . . . . . . . . . . . . . . . . 83

3.3 Definition and History of Monasteries. . . . . . . . . . . 17 6.2.1.1 Principles Experience of Exploration One. . . . . . . 88

3.4 Definition and History of Cistercian Monastic Order. . . . 19 6.2.1.2 Outcome of Exploration One. . . . . . . . . . . . . 90

3.5 ‘Recent’ Western Monastic Examples . . . . . . . . . . . 23 6.2.2 Exploration Two. . . . . . . . . . . . . . . . . . . . 91

6.2.2.1 Principles Experience of Exploration Two. . . . . . . 96 6.2.7.2 Material Palette. . . . . . . . . . . . . . . . . . 134

6.2.2.2 Outcome of Exploration Two. . . . . . . . . . . . . 98 6.2.7.3 Outcome of Exploration Seven . . . . . . . . . . . 137

6.2.3 Exploration Three. . . . . . . . . . . . . . . . . . . 99 7.0 Critical Appraisal of Final Design . . . . . . . . . . . . . . . 139

6.2.3.1 Principles Experience of Exploration Three . . . . . 104 7.1 Selected Principles. . . . . . . . . . . . . . . . . . . 139

6.2.3.2 Outcome of Exploration Three . . . . . . . . . . . 107 7.2 Massing. . . . . . . . . . . . . . . . . . . . . . . . 139

6.2.4 Exploration Four. . . . . . . . . . . . . . . . . . 108 7.3 Journey Through. . . . . . . . . . . . . . . . . . . . 139

6.2.4.1 Principles Experience of Exploration Four. . . . . . 110 7.4 Visual Outlook . . . . . . . . . . . . . . . . . . . . 141

6.2.4.2 Outcome of Exploration Four . . . . . . . . . . . 112 7.5 Functional Monastic Elements . . . . . . . . . . . . . 141

6.2.5 Exploration Five. . . . . . . . . . . . . . . . . . . 113 7.6 Future Directions. . . . . . . . . . . . . . . . . . . 141

6.2.5.1 Principles Experience of Exploration Five. . . . . . 116 8.0 Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . 143

6.2.5.2 Outcome of Exploration Five . . . . . . . . . . . 118 9.0 Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . 145

6.2.6 Exploration Six. . . . . . . . . . . . . . . . . . . 119 10.0 List of Figures . . . . . . . . . . . . . . . . . . . . . . . 149

6.2.6.1 Principles Experience of Exploration Six . . . . . . 123 11.0 Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . 157

6.2.6.2 Outcome of Exploration Six . . . . . . . . . . . . 124 11.1 Brief definition of Zen . . . . . . . . . . . . . . . . 157

6.2.7 Exploration Seven. . . . . . . . . . . . . . . . . . 125 11.2 Traditional Japanese . . . . . . . . . . . . . . . . . 157

6.2.7.1 Principles Experience of Exploration Seven. . . . . 130 11.3 Preliminary Designs . . . . . . . . . . . . . . . . . 160
11.4 Other Monastic / Cistercian Research. . . . . . . . . 174

11.5 Maki Fumihiko Account of the Single Storied Dwelling in

Japan. . . . . . . . . . . . . . . . . . . . . . . . . . . 174

11.6 Tadao Ando’s Komyoji temple . . . . . . . . . . . . . 175

11.7 Japanese Temples . . . . . . . . . . . . . . . . . . . 175

11.8 South Star Abbey’s Monks Initiation Steps. . . . . . . 175

11.9 Timber Construction . . . . . . . . . . . . . . . . . 176

11.10 Layering. . . . . . . . . . . . . . . . . . . . . . 176

1 . 0 In troductio n

1.1 Research Question aforementioned Japanese principles is to create an 1.3 Outline of Project
unfamiliar piece of architecture in which new/lost
The title of this research project is “Zen ways of designing can be portrayed and exempli- The purpose of a monastic complex is to
- Christianity: A Useful Dialogue?” The question fied. This will be achieved through demonstration provide an environment to assist the occupants to
put forward by this project is: can architectural and exemplification within the project’s design. come closer to God. The aforementioned princi-
principles from one culture be transplanted for the ples will be used to help create and experience this
betterment of another? Specifically a selection of The project aims at demonstrating ideas connection. The monastery will provide support
Japanese architectural principles applied to a Cis- of piety, contemplation, meditation and rehabili- to the people of Christchurch, but it also needs
tercian monastic order within the New Zealand tation. These ideas will be incorporated into the to create its own source of revenue to help daily
context. complex through nurturing, reassurance, support running costs. For reasons pertaining to traditional
and periodic respite specific to the trauma com- Cistercian monastery layout (section 3.3) the build-
plex. ing will have a distinct functional organization in
1.2 Aims and Objectives
which sections are interconnected via a cloister.
Monks will be kept separate from companions and
The purpose of this project is to use prin- “Healing is a process that can only take place
trauma patients unless within circulation of the
ciples from one architectural culture within a built from within ourselves, but this process can be triggered and
cloister or the church; although even in the church
form which could become a precedent; in this case, supported by things and actions outside us. We can, there-
they are in separate areas. This is to create desired
for the rebirth and revitalizing of the “national dis- fore, talk about healing environments and healing qualities
communities and is an outcome of conducted re-
tinctiveness” of Christchurch.1 The aspiration is of environment.”2
search.
to present a built form which connects built form
and the Avon River. The reason for selecting the
1
Gillian Chaplin, Mitchell David, The Elegant Shed (London: 2
C. Day, Places of the Soul: Architecture and Environmental Design
Oxford University Press, 1984), 7. as a Healing Art (London: Thorsons, 1993), 138.

1
 “The success of monastic architecture rests as 1.4 Scope and Limitations
much in the way it accommodates the everyday rituals of the
body as it does the rituals of religion: a monastery is both a
The project that develops the organisation
house of God and house for men.”3
(monks’/trauma/companions’ quarters, church,
linking walkways and other needed functions),
The complex will allow for the patients’ focuses primarily on experiences and the journey
time to be calm and peaceful by providing for all within, using selected principles. Research into
aspects of their stay. Views, spaces, timetable, ac- selected Japanese principles attempts to discover
tivities, food and cleaning will all be designed and possibilities of creating a more cohesive sensual
catered for. The design will aim at fostering a calm, and spiritual resolution.
solitary state. The complex will incorporate healing
through a meditative and spiritual process which
The traditional role of a monastery will
entails nurturing activities like reassurance, prayer
first need to be addressed; the facilities that are
and support. The meditative process is to reduce
necessary for daily monastic life. However, the in-
stress and anxiety while allowing for a focus on a
clusion of a spiritual journey will be the driving
calm mental, physical and emotional state.
factor in the design outcome with a sub focus on
the public component within the building and a
means of creating revenue. The development of
the project is based upon figure 1.1.

3
John Pawson, Monastery of Novy Dvur, http://www.
johnpawson.com/architecture/monastery/scheme/fulltext Figure 1.1: Development of
(accessed April 10, 2010). Project.

2
Japanese Architectural Culture: text.5 This is due to the development and differ- Monastery:
ence of technologies, resources, population den-
The Japanese architectural culture ex- sity issues and economic situations. There is a large As in traditional monasteries the need to
presses important concepts for New Zealand to range of diverse and complex Japanese principles, become as self-sufficient as possible is important
learn from, such as “standardisation, variety in but a selection has been made based on transfer- (this was often due to their isolated nature). This
unity, conformity to a mode of living, connection ability and significance. Appropriate principles are project looks at creating a self-sufficient source of
with nature, simplicity, and of course, usefulness to be used in the New Zealand context and have revenue for the monastery. “Monks of the Char-
to purpose.”4 Japan is similar to New Zealand in been selected in order to heighten sensual experi- terhouses inherited the Benedictine obligation to
its geography, seismicity and environmental con- ences within the complex. work, but the location of this was only in their in-
ditions, thereby facilitating the adoption of ideas. dividual cell and garden. It was therefore necessary
Refer to section 11.1 for ideas relating to Zen. New Zealand Context (Christchurch): to compose a group of ‘lay-brothers’ to which their
job was to supply the needs of the monastery” and
in this case to help run it.6 The way in which the
Selected Principles: Following a number of recent, devastat-
designed monastery will create its revenue not only
ing earthquakes many Christchurch citizens have
relates to their personal beliefs (service to others)
The aforementioned Japanese principles become traumatised due to loss of loved ones,
but also helps in the recovery of Christchurch City.
“cannot simply be transferred to other cultures homes, buildings and businesses. They are seeking
and climates” specifically, the New Zealand con- a direction in which to move forward. This proj-
ect is an attempt at creating a stepping stone to
what could possibly be achieved by studying and
developing from another successful architectural
4
Andrew Barrie, "Aesthetic Robin Hoods," in Group Architects,
culture, such as that of Japan.
ed. Julia Gatley (Auckland: Auckland University Press, 2010), 5
Christian Schittich, Japan: Architecture Constructions Ambiances. 6
W. Braunfels, Monasteries of Western Europe: The Architecture of
209. (Basel: Birkhauser, 2002), 13. the Orders (London: Thames and Hudson Ltd, 1972), 113.

3
4
Cistercian Order: Pawson describes his design as following the blue- A suitable site to construct a Cistercian
print drawn up in the twelfth century by St Bernard monastery has been selected within the Christ-
of Clairvaux which states aesthetic requirements church C.B.D. area. It is located in Armagh Street,
The reduction of sculpture and colour
as “placing emphasis on the quality of light and near the Christchurch Law Courts and is adjacent
in Cistercian architecture meant the handling of
proportion, on simple, pared down elevations, re- to the Avon River. Because it is currently located
stone reached new heights, resulting in simplicity
strained detailing and spatial clarity.”8 The Cister- within the Christchurch “No Go” Red Zone limita-
and geometric clarity becoming key ideas.
cian order was chosen due to its closeness with tions arose when trying to acquire site information
Japanese Buddhist ideals. and photographs due to the ‘lockdown’ currently
“Everything superfluous was forbidden, and what on the site and problems with the Christchurch
was built was to be plain, chaste and lasting. Attention was City Council not being able to access their files.
consequently paid to the stone, to its careful dressing and Revenue:
fitting, and to the proportions of the rooms that it defined.
Everything was built from the same pale, smooth-hewn After the recent earthquakes there is a
stones…Stone is always more suggestive of permanence need by some residents for mental rehabilitation
than wood or plaster, more rigid and solid.”7 from trauma brought about by the earthquakes and
continuing aftershocks. This project looks at in-
Materiality and overall architectural style corporating a trauma centre within the complex to
will be minimalist and reductive in nature. The create a sustainable source of income. The idea of
project will align itself with John Pawson’s design helping others adheres to the Cistercian principles
of Novy Dvur Monastery (refer to section 3.5). of devotion to God through service to others.

7
Wolfgang Braunfels, Monasteries of Western Europe: The
Architecture of the Orders (London: Thames and Hudson Ltd,
1972), 74. 8
John Pawson, Monastery of Novy Dvur.

5
6
2 . 0 M eth o dolo g y

2.1 Methodological approach to the project tectural principles into a New Zealand context. of trauma rooms, lay brothers and monks
cells).
A trip to Japan was undertaken to further These trips helped to understand how ar- • Provision for selected Japanese princi-
the understanding of Japanese culture, ways of chitecture can be associated with a specific culture. ples to be exemplified within the complex.
life and how these affect their architecture. Visits Questions became apparent such as ‘is there such a • Site selection to best display selected
of notable works of Japanese architecture such as thing as representational architecture?’ and ‘is there principles and ideas at the heart of the
Tadao Ando’s Church of Light, Church on Water a link between a certain group of people and the project (integration with the Avon River,
and the Ise Shrines were undertaken to gain greater shapes, volumes and materials that they use?’ (Re- view shafts and building within existing
insight into Japanese architectural principles (refer fer to section 4.0 for expanded ideas). voids).
to section 4.0). The aim was to gain a grounding • Theory to use as research into design,
firsthand knowledge of Japanese architecture, providing a basis to develop the project.
2.2 Content
knowledge of function, materials used and differ-
ing topological locations.
As established by literature and precedents, the 2.3 Context
success of a Cistercian monastic order is aimed at
A trip to Southern Star Abbey (in Hawkes
fostering an atmosphere for contemplation, prayer To establish guiding principles a study
Bay, New Zealand) was also undertaken to help
and, in this case, also healing. The project devel- of drawings and details regarding Japanese archi-
understand the life of a Cistercian Monk and the
oped into an appropriate Cistercian monastic com- tecture, Cistercian monastic architecture, Tadao
architecture of the monastery (refer to section 4.0).
plex through the following processes: Ando, Southern Star Abbey, La Tourette and Novy
This provided an insight into the life of Cistercian
Dvur, will be conducted. These have formed the
monks and their companions; in which their strict
• Identification of a list of appropriate design of requirements, occupant needs and the
daily schedules became clear. South Star Abbey is
spaces/functional requirements (including criteria for an appropriate site selection.
an example of the current state of knowledge in
regard to transferring traditional Cistercian archi- identification of the appropriate number

7
8
2.4 Exploration looked at ideas such as creativity / imagination,
technicalities of creative exploration and project
development by graphic means. The three process-
Selected research into the topic and stated
es were carried out in a structured manner, (as seen
objectives incorporated a balance of research for
in the various sections within the document) but
design, research by design and research into design.
were also incorporated throughout different stages
of the project to ensure the best possible result.
Research for design was the first step in
the research process which incorporated ideas such
Once a site had been sourced, exploration,
as: site elevations, general analysis (size, shape, no
planning and spatial organizations were conducted.
judgment) and the programme / brief for the proj-
This has been done by drawing plans and physi-
ect. Research for design included answers to ques-
cal model making. Critically analysing the design
tions and issues relating back to the main problems
explorations against the guiding principles will
of the selected topic.
provide insight to functional placement of facili-
ties and will determine the outcome of a building
Research by design included further site that encourages integration with the natural typol-
analysis alongside a synthesis of creative explora- ogy of Christchurch City.
tion (hand drawing, computer drawing, computer
design, computer visuals, and hand modeling).

During that time the incorporation of

research into design was also investigated. This

9
10
3 . 0 Liter ature Review / Preced en t
Study

3.1 Japanese Influence and natural order, which in addition to revealing

the character of the site also creates a sense that
Giving way to the land: the buildings and by extension their occupants –
somehow ‘belonged’ there.”11 By giving the land
(refer to figure 3.1) first rights the “structure would
In Place, Time and Being in Japanese Ar- literally be unable to stand in any other location,
chitecture the Isozaki states “many of the respon- and what would often otherwise have been an un-
sive building strategies that these structures dem- remarkable slope was dramatically revealed in the
onstrate appear equally applicable beyond Japan.”9 form of the building.”12
The idea of giving way to the land and creating
a building in response to its surroundings was an
idea that this project aligns itself with. “Until the
tenth century, for example, most Buddhist temples
in Japan had been built on flat sites in the midst of
cities, and were generally based on bilaterally sym-
metrical Chinese models …. As part of their great-
er respect for the uniqueness of the individual,
these new religious communities went to consid-
erable lengths to adopt both the layout and struc-
tures of their buildings to the particular terrain.”10
The result was a “unique marriage of geometric
9
Kevin Nute, Place, Time and Being in Japanese Architecture.
(London: New Fetter Lane, 2004), 7. 11
Ibid.,.
10
Ibid., 17. 12
Ibid., 18. Figure 3.1: Giving way to the land.

11
 The bounded domain: ing within the leftovers of ‘enveloped space’ (voids
of existing buildings) is incorporated within the
Maki Fumihiko describes the concept of project’s design. Fumihiko’s interest in existing
a house to be a “bounded domain within which spaces and how they once were used relates to the
to create and sustain a place of serenity against monks’ idea of piety within this project. Due to the
the unremitting turmoil of the megalopolis.”13 In sites location (refer to section 5.1.2) leftover voids
The Architecture of Fumihiko it is emphasized that created by existing buildings will need to be looked
“spatial design must become a fountainhead of at to ensure that the project does not take away
spontaneous, rich human events.”14 Maki wonders from these existing spaces.
“how to change the city to readily accommodate
the change brought by the technologies and the
volatile social structures of the new age.”15 He puts
forward the question of within “city growth, as
density increases, what was exterior space becomes
enveloped, resulting defining major exterior space
with several ancillary spaces” and how one should
design with this consideration.16 The idea of build-
13
Jennifer Taylor, James Conner, The Architecture of Fumihiko
Maki : space, city, order, and making, (Boston, MA : Birkhauser-
Publishers for Architecture, 2003), 26.
14
Ibid., 33.
15
Ibid., 37.
16
Ibid., 46.

12
 Ikidori, the captured view:

The indigenous Japanese term for ‘cap-

tured alive’, (ikidori) refers to the “active procur-
ing of a remote scene.”17 The idea of ikidori, is
achieved “by a carefully designed frame located
some distance from the viewer.”18 In being visually
connected to the landscape “the viewer not only
knows unmistakably where they are, but through
the apparent merging of the tectonic and the natu-
ral, is almost made to feel that, like the garden, they
too in a sense belong there.”19 This is part of the
process of honoring the spirit thought to inhabit
distinctive natural places. Therefore the building
“effectively marks the place, but at the same time
mirrors its unique topography in its own form.”20
The project looks at capturing and enhancing
views that would normally be lost in the develop-
ment of the site.
17
Ibid., 21.
18
Ibid., 21.
19
Ibid., 21.
20
Ibid., 18. Figure 3.2: Built space honouring the spirit of natural place.

13
 Figure 3.3: Sliding screens inside the Catley Figure 3.4: The Lowe house using patterned curtains rather than shoji screens. Figure 3.5: The Mallitte House showing a large sliding door.
House.

14
 Previous implementations/adaption: to successfully ‘kiwinise’ Japanese architectural prin- tion simplicity, humility, purity, lightness, and shibusa
ciples within a number of the Group’s houses, for (sophisticated austerity)” which relates back to the
example the Catley House included Japanese style shifting architectural trends within Japan.26 The
Group Architects provided details of how
sliding doors but “instead of rice paper these were aforementioned Japanese ideas of taste will be in-
past New Zealand architects have implemented
to be lined with translucent nylon sailcloth.”23 Group corporated within the projects development. The
such Japanese architectural principles as “standardi-
Architects gives a reference point from which to base idea of shibusa alligns itself with the monks ideals
sation, functional flexibility, simplicity and connec-
initial translations between the two cultures, even of refinement.
tion with the landscape.”21 Group Architects provided
though within the Group’s 1946 manifesto outside
an insight into the state of knowledge relevant to
influences were explicitly rejected (“overseas solu- Natural, phenomenal:
their period. Members of Group Architects believed
tions will not do).”24
that there “existed a set of universal principles of
functionalist architecture that went beyond histori- Sensitivity to natural, phenomenal change
cal and geographical particularities, Japan’s tradi- Japanese ideals: and relationship to natural surroundings in the
tions became an almost universally acceptable refer- early stages of Japanese culture were centered on
ence point for modernist architects.”22 The project distinctive features in the natural landscape where
Japan-ness in Architecture highlighted that
aligns itself with the idea of Japanese traditions be- they believed that “kami” (gods) would inhabit.
“events, personalities, and cultural influences each
coming accepted universally, allowing for a starting The presence of kami within the structures is still
building embodies” provide an approach to Japa-
point when using the selected principles. The idea an important idea within the Japanese culture, thus,
nese architectural analysis.25 Isozaki states that
of adopting/adapting Japanese principles was de- showing the moment in which a kami would inhabit
Japanese taste has “shifted from material objects
veloped as members of Group Architects attempted these spaces became important too. Therefore, the
to the concepts perceived to underlie their produc-
21
Andrew Barrie, "Aesthetic Robin Hoods," in Group 23
Ibid, 211.
significance of these sacred object-places “was a
Architects, ed. Julia Gatley (Auckland: Auckland University 24
Ibid, 214. large extent dependent on distinct events in time as
Press, 2010), 211. 25
Arata Isozaki, Japan-ness in Architecture. (London: The MIT
22
Ibid, 209. Press, 2006), VII. 26
Ibid., 4.

15
 well as space.”27 The arrival or departure of a kami examples of Ando’s work in which key aspects of in sections 4.0 and 6.1.
was linked to natural phenomena, such as abrupt his projects become apparent. A key aspect that
changes (a sudden gust of wind). This technique the author talks about is how Ando combines an
of displaying the arrival and departure of a kami is “intense interaction of structure, movement, space
present in Tadao Ando’s Church on Water in which he and light …. to become the entire substance of the
displays a large cross in the middle of a man made fabric; that is to say, each element is brought to a
pond in order to portray movement and presence level of autonomous intensity and yet, at the same
of a kami. time, combined into a whole.”28 Another aspect
of Ando’s work is the idea of wabi, which implies
3.2 Tadao Ando “adherence to the virtues of poverty, refinement,
and simplicity.”29 “Judging on Ando’s work alone,
it would seem that the sensibility of wabi is inimi-
Tadao Ando was selected as the primary cal to institutional form as it is to commerce. This
architect to study and learn from for this project. may well account for the sterile purity of Ando’s
Ando himself looked at translations of Western ecclesiastical work.”30 These ideas of Ando closely
and Eastern architectural ideas. Although Ando’s relate to those of the Cistercian order.
work could be seen as a somewhat ‘watered down’
version of traditional Japanese architecture, Ando
provides a starting point in which not only to Further aspects of Tadao Ando regarding
examine Japanese architecture but also ideas of built precedents have been analysed and researched
translations between two different and distinct 28
Futagava Yukio, Tadao Ando: Vol. 1 1972-1987, (Tokyo:
A.D.A. Edita, 1987), 15.
cultures. The book Tadao Ando 1972-1987 shows
29
Ibid., 28.
27
Nute, Place, Time and Being in Japanese Architecture, 61. 30
Ibid., 29.

16
3.3 Definition and History of Monasteries The plan for St Gall (ca 830) became a
prototype for future monasteries. The plan has a
“The monastery in its wider sense denotes a monk cloister at its heart which is surrounded by a single-
settlement which is a self-contained unit with its own ritual, aisle basilica, dormitory rooms, and service rooms
ecclesiastical and residential buildings, standing within clear- (refer to section 11.4 for further monastery read-
ly defined boundaries.”31 ing).

Monks’ daily life in the Middle Ages life
revolved around the cloister, dormitory, refectory
and church. St Benedict believed that idleness is
the enemy of the soul. Therefore the days of a
monk were kept in activity, whether worship, con-
templation, study, or manual labour. In the Caro-
lingian Empire, by the end of the ninth century,
there were over 1000 monasteries established. The
architecture of these Carolingian monasteries is
expressed in the plan of St Gall (figure 3.6).

Figure 3.6: Plan of St Gall showing key ideas of layout - cloister

31
SenakeBandaranayake, Sinhalese Monastic Architecture: The
Viháras of Anurádhapura adjacent to church and connects surrounding buildings (green –
  (Leiden: Brill Academic Publishers, 1997), 4. cloister, yellow – church, blue – monks).

17
 Monks within monasteries will not live an rounding the gardens help keep the monk in soli- 3.4 Definition and History of Cistercian Monastic
exclusively communal life as rules dictate that “Do- tude while allowing views into the garden from their Order
minicans shall at certain hours be solitary. A man cell. Time is introduced, as seasonal changes can be
desiring to compose his mind, to meditate and study experienced in these courtyards. The idea of time
At the time when Benedictines from the
must have a closed room to himself. This the monk and seasonal changes relates to Japanese ideas of
Order of Cluny worshipped God within sumptu-
finds in his cell.”32 Designs of the Church were to portraying the coming and going from spring to au-
ously designed churches, a monk called Robert de
rise up from the ground reaching for the heavens as tumn.
Molesme suggested that they revert to the strict rule
“the Christian sees the altar as the high place where
of St Benedict of Nursia (in prayer, seclusion and
the earth arches up towards heaven. Christ in the
The cloister within a monastery complex living by manual labour). The “New Monastery” in
sacrament descends on to the altar.”33 Traditionally
was a courtyard having garden within it. They were Citeaux became a model for the Cistercians monks
the idea of the monk reaching a level of poverty
places of contemplation and purity. They had roofs and lay brothers.
was in order to get closer to God as “sovereign
surrounding the perimeter to give shelter from the
independence of possessions as well as of want,
elements allowing the monks to stroll, pray and
which raises poverty to a spiritual level.”34 The Cistercian monastic order believes in
contemplate.
prayer while doing manual labor and service to oth-

ers. Within the Cistercian order there are monks and
The Charterhouse is a monastic system
Traditional monastic orders draw together lay brothers. Lay brothers are there as companions
that developed contemplative cells. Charterhouse
several ideas; that of solitude, the reduction of a and take care of the daily running the monastery.
architecture has a domesticated nature. Each monk
social agenda, prosaic architecture, and a sacred en- The lay brothers and monks are kept separate in all
is given a piece of land beside their cell. Walls sur-
vironment. parts of the monastery except for the circulation of
32
Anton Henze, La Tourette: The Le Corbusier Monastery the cloister, refectory and the church; although even
(London: Bedford Square. 1966), 12. in the church, they are in separate areas. Figure 3.7
33
Ibid., 13. shows the Cistercian Abbey according to Bernard
34
Ibid., 15.

18
of Clairvaux. In the diagram note the separation be-
tween monks and lay brothers – the church with the
cloister joining the surrounding functions becom-
ing a clustered organization is clear to see.

The Cistercian Monastic order according

to Bernard of Clairvaux reaffirmed the strict rule
of St Benedict. Bernard was critical of the wealth
and opulence that had crept in to churches and
monasteries. Devotion for him was not related to
extravagant paintings, sculptures or buildings, but
was according to an ascetic lifestyle.

Architecture of the Cistercian order “fol-

lowed more traditional lines with a straightforward
two-storey elevation.”35 In general the Cistercian
identity was “conveyed not by specific architectural
features, but by a tone of simplicity and restraint.”36
St Benedict himself saw much of the church deco-
rations as a distraction from piety.
35
Stalley Roger, Early Medieval Architecture (Oxford: Oxford
University Press. 1999), 175.
36
Ibid., 182.

19
 Figure 3.7: The Cistercian Abbey according to Bernard of Clairvaux (green – cloister, yellow
– church, blue – monks, red – lay brothers).

20
Figure 3.8: Plan of Sainte-Marie de la Thoronet (green – cloister, yellow – church, red – lay brothers).

21
 Figure 3.9: Exterior view of La Tourette. Figure 3.10: Comparison of La Tourette and La Thoronet.

22
3.5 ‘Recent’ Western Monastic Examples traditionally done. The entrance floor is for study, thus access to himself. Having thus liberated him,
while the upper stories are the Dominican’s cells. it leads him to the community in which he feels
Between the Church and the monastic wings lies himself to be richer and of greater significance
Le Corbusier - La Tourette, Lyon,
the cloister, a space which connects the two. Tra- than as an isolated and solitary person. It interprets
France, 1960:
ditionally medieval monastery buildings were a di- the world. Discloses its meaning and in the end re-
rect influence of the needs of the life of the order; flects a reality higher than the earthy.”39 Although
Le Corbusier based his design of La To- the cloister had to provide a covered path between this statement is somewhat generous, it still gives
urette upon Sainte-Marie de la Thoronet (refer to monastery buildings, while also being a place for ideas in which to portray the monks’ cell.
pictures 3.8 and 3.10). Le Corbusier thought that leisure and private prayer. Le Corbusier disregard-
architecture of the monastery should be “simple ed this idea of the cloister being open and, instead,
and functionally conceived, though ample and he decided to enhance the “functional quality of
beautiful in its pure relationships …. the relation- the communicating way. His cloister had side walls
ship of the individual to the community, as rep- made of undulatory glass and the monks can use
resented by the monastery building, impressed it in all weathers.”38 By doing this Le Corbusier
him.”37 reduced the cloister passageways to thin passage
ways across a space in which was to be unusable
The monks of La Tourette asked for a Within La Tourette Le Corbusier provides each cell
church, oratory, chapter-room refectory, cloister, with only enough space for a table, book-shelf, a
library, lecture-rooms and cells but left the shape cupboard and a bed.
and form to Le Corbusier. For the planning of La
Tourette Le Corbusier selected a ground-plan of Le Corbusier design of the monk’s cells
the rectangle surrounding an inner courtyard, as allows for “man to create an image of himself and
37
Anton Henze, La Tourette, 6. 38
Ibid., 12. 39
Ibid., 19.

23
 Le Corbusier allows little light to enter
the church; the rear part has narrow horizontal
windows and between the short wall and the roof
there is a band of light. As described in the book La
Tourette: The Le Corbusier Monastery the church
has little lighting but it does not appear dark, in-
stead the dim light increases the power of the un-
surfaced concrete and the space broadens into the
hall of the Lord where the monastery community
meets for Mass (refer to picture 3.11).40 Le Cor-
busier kept the church free from ornaments and
images allowing “the monks themselves in white
and black garments fill the room with figures and
images.”41 Le Corbusier used height differences to
create different moods within the passageways.

Figure 3.11: La Tourette, church interior.

40
Ibid., 14.
41
Ibid., 15.

24
Figure 3.12: La Tourette analysis, entrance floor plan (green – cloister, yellow – church, blue – monks, red – lay Figure 3.13: La Tourette, entrance floor plan.
brothers).

25
 Figure 3.15: La Tourette, cross section.

Figure 3.14: La Tourette, cell floor plan.

26
 The library changes from an intimate, low it to create unique, awe inspiring interior spatial
room to a liberating, high room. This has the effect environments. He achieves this by allowing small
of going from the inside to outside. “The overall amounts of controlled light, which thus increases
aspect of La Tourette stands in contrast to nature, the power of the un-surfaced material palette and
emphasising the frontiers which separate the sa- refined interior environment.
cred precincts from the world.”42 Le Corbusier cre-
ated a building of the modest construction; within
“Light is the fundamental basis of architecture”
the building Le Corbusier was compelled to cut
- Le Corbusier
down to comply with the poverty of the project.

La Tourette by Le Corbusier has clear rela-

tionships to past monastic architectural principles
and follows closely the rules of St. Benedict. Le
Corbusier uses little or no treatment regarding ma-
terial palette. The complex has been provided with
typical functionalities based on the needs of the
monks. The layout also follows a typical monas-
tic complex in which a ground-plan of a rectangle
surrounds an inner courtyard, while between the
church and monastic grounds lay the cloister (refer
to figure 3.12). Le Corbusier has taken ideas per-
taining to light in religious architecture and uses
42
Ibid., 17.

27
 Figure 3.17: Novy Dvur, interior. Figure 3.18: Novy Dvur, exterior.

Figure 3.16: Novy Dvur, complex.

28
John Pawson - Novy Dvur, Bohemia, 1999 ously to add precision, drama and a sense of mys-
tery to the experience of the spaces.”44
In 1999 John Pawson took the commis-
sion to design a Cistercian monastic order for a The overall design has a monastic feel but
site in Bohemia. The proposal had to incorporate seems somewhat ascetic in its appearance due to
existing baroque structures (a house, courtyard its minimal exterior representation and materiality
and three wings of agricultural buildings). The pallet (refer to figure 3.18). Once again the mo-
site functions include church, dormitory, refectory, nastic functionalities have been based upon the re-
infirmary and a manuscript. Pawson succeeded in quirements of the monks. The way in which Paw-
creating a design which pays homage to St. Bene- son questioned what areas he could change while
dict’s rules for the order in which the architecture still trying to adhere to old rules created a ‘modern’
is portrayed. Pawson adhered to old rules in which take on the traditional representation of a mon-
he “first defined the functional and aesthetic val- astery. As did Le Corbusier, Pawson used light as
ues that St. Benedict’s rule defines and then tried an essential component of the overall architectural
to generate the best possible expression of these aesthetic as well as the clustered organisation of
qualities.”43 In keeping with the architectural qual- buildings around a cloister space.
ity ideas above Pawson describes the materiality
of the design as “characteristically restrained, with
plaster, concrete, timber and glass predominating.
In keeping with Cistercian aesthetic preoccupa-
tions, effects of light read as essential components
of the fabric of the architecture, being used vari-
43
John Pawson, Monastery of Novy Dvur. 44
Ibid.

29
 Figure 3.19: Novy Dvur, movement plan. Figure 3.20: Novy Dvur, lower plan.

30
Figure 3.21: Novy Dvur, ground floor plan. Figure 3.22: Novy Dvur, upper floor plan.

31
32
4 . 0 Lo dgin g th e Fo un d a tio n o f th e
Design

Traditional This not only acknowledges a sense of place but

also time. “Paper doors and split-bamboo curtains
The Temples of Kyoto, specifically Tofu- contribute to the Japanese interior a sense of the
ku-ji during the autumn season, impress the visi- half-hidden and partially revealed. Deep eaves and
tor by the view from the Tsuten-kyo Bridge which surrounding verandas keep the interior in dark-
looks over the famous red and orange coloured ness and shadow analogous to that of the for-
maple leaves (refer to figure 4.1). The Japanese est. The hidden richness and ubiquitous concern,
idea of celebrating the changing seasons is appar- with which the Japanese appreciate in nature, they
ent with temples lined with sakura (cherry blos- emulate in architecture with the elaboration of
soms) in spring and the reddening of the maple carefully concealed joinery.”46 Temples use shoji
trees in autumn. The temples exhibit traditional screen doors which open to connect the outside.
timber construction techniques, especially the use Shoji screens allow for natural cross ventilation
Figure 4.1: Tofuku-ji Temple.
of post and beam wood construction, under typi- and continuation of view shafts in which the built
cally large overflowing eaves. Due to the span of structures themselves become second to the natu-
wood construction this “tends to deprive Japanese ral landscape. The temple gardens are a reflection
architecture of large-scale volumetric possibili- of nature, while at the same time showing a need
ties” in which spaces often end up small and in a for perfection that man desires (refer to section
uniform nature.45 Verandas have juxtaposition be- 11.7 for further information regarding Japanese
tween open and closed, outside and in, indicating temples).
the need to bring the landscape inside by framing
surrounding natural scenes (refer to figure 4.2).
45
Walter Dodd Ramberg, Some Aspects of Japanese Architecture
(2004): 2 http://www.jstor.org (accessed April 20, 2011). 46
Ibid.,

33
34
 While visiting Japan one notices the num-
ber of traditional timber constructed buildings.
Wooden buildings are resilient in earthquakes and
Japan is an area of high seismicity. “On average
four earthquakes are registered in Tokyo every day
and the danger of destruction by earthquake is
ever present. Experience has shown that wooden
buildings last when stone erections fail.”47

At the Shrines of Ise one notices the ar-

chitecture of Shinmei-zukuri which is characterized
by simplicity and antiquity. The shrine buildings at
Naikū and Gekū as well as the Uji Bridge, are re-
built every 20 years on an adjoining site as part of
the Shinto beliefs of death and renewal of nature.
The Shrines of Ise are the Japanese version of the
traditional European church (refer to section 11.2
for further reading regarding the Shrines of Ise).

47
Ernest H. Short, History of Religious Architecture, (Kessinger Figure 4.2: Sketch of Tofuku-ji Temple – Veranda area, showing
Publishing, 2003), 106. ideas of materiality and construction.

35
 Figure 4.4: Japanese house showing the tatami mat. Figure 4.3: Le Corbusier’s Modulor.

36
 Traditional accommodation was part of Corbusier’s Modulor and figure 4.4 shows a Japa-
the experience of staying in Japan. “The city dwell- nese housing based around modules of the tatami
ing is, in fact, in many respects composite of its mat.
sacred and rural secular antecedents and may quite
reasonably be considered to reflect the essential
“Within each room the tatami are commonly laid
character of Japanese building.”48 The Japanese
in a spiral pattern which in itself contributes to the defini-
house is often a “one-room house which has been
tion of separate spaces. The bindings of the tatami make
partitioned into a series of compartments by the
a linear pattern which is not carried across the threshold of
shoji.”49 A key feature in the Japanese home is the
the room. Though the eye is, by virtue of the adjacent linear
tatami mat, “long before Le Corbusier’s famous
pattern, led outside of the room and though the space with-
Modulor, the Japanese were working with a human
out is made to seem a part of that within, this is not done
proportioned unit that informed not only the di-
at the expense of definition and a sense of containment.”51
mension of homes and rooms, but also the way
in which they were used. An essential item makes
this multi-functionality possible. The tatami mat is
long and wide enough to accommodate one per-
son lying down or in the traditional saying “tatte
hanjo, nete ichijo, which translates as half a mat
to stand, one mat to sleep.”50 Figure 4.3 shows Le
48
Walter Dodd Ramberg, Some Aspects of Japanese Architecture.
2.
49
Michael Freeman, Space: Japanese Design Solutions, (New
York: Rizzoli, 2004), Introduction. 51
Walter Dodd Ramberg, Some Aspects of Japanese Architecture.
50
Ibid.. 45.

37
 Modern one side and a gentle grass covered slope on the habitation of the church itself the only means of
other (figure 4.6). The larger cube holds the func- colour and ornamentation within the Church (fig-
tion of the church and the smaller cube the en- ure 4.8). The interior of the church has been left as
“You cannot simply put something new into a
trance. Once inside the church a cross appears as a raw concrete and timber pews giving an overall re-
place. You have to absorb what you see around you, what
reflection within the dark blue lake. “the interior of fined minimalist feeling. The only way in which one
exists on the land, and then use that knowledge along with
the chapel may not seem like a piece of borrowed may define this building as a Christian typology is
contemporary thinking to interpret what you see.”
landscape, but through its reflection in the pond, the cross symbol cast within the panels facing the
- Tadao Ando the sense is nonetheless effectively captured.”52 street frontage. Ando’s architecture, especially his
Water itself becomes as much a part of his mate- interiors, are known for their contemplative, medi-
Tadao Ando is a Japanese architect who rial vocabulary as his famed concrete. tative, retreat quality. His ability to attach to non-
aims at the poetic and creative while questioning secular views and secular, but with the same power
how architecture can improve human existence. and conviction is mastered. While his Church of
Church of Light (1989, Osaka) by Tadao
Church on the Water (1988, Hokkaidō) is a precedent Light draws obvious attachments to Protestant
Ando was produced using his signature reinforced
in which Ando successfully blends a church into its organizations, his other buildings for contempla-
concrete which enables his contemporary struc-
surroundings by connecting it with nature. It is lo- tion have no religious attachments whatsoever. His
tures to have a variety of forms. Ando used dense
cated sloping down towards a river amongst a small often austere interiors, especially within spaces for
concrete which enabled less material to be used.
clearing of beech trees (figure 4.5). The form is contemplation and relaxation, churches, tea rooms,
In Church of Light Ando once again embraces his
contemplative and meditative with a simple, yet re- etc, transfer the occupier into the spiritual realm.
ideals of creating a framework between nature and
fined, internal environment. As the name suggests The emptiness or ‘nothingness’ is there to allow
architecture. Ando plays with the use of light to
the church itself is built on the edge of a body of the spiritual to fill the space.
define new spatial perceptions (refer to figure 4.7).
water. The overall floor plan is simple, consisting The Church itself becomes void of any surplus
of two squares overlapping in which views from colour or any ornamentation in fact; leaving the in-
the buildings look out upon a manmade lake on 52
Nute, Place, Time and Being in Japanese Architecture. 117.

38
Figure 4.5: Tadao Ando’s Church on the Water - Site plan. Figure 4.6: Tadao Ando’s Church on the Water – Exterior Figure 4.7: Tadao Ando’s Church of Light Figure 4.8: Tadao Ando’s Church of Light – In-
photograph. – Interior sketch of light penetration. terior sketch crucifix.

39
 Figure 4.9: Tadao Ando’s Water Temple – Exterior. Figure 4.10: Tadao Ando’s Water Temple – Interior photograph showing vermilion colour.

40
 Water Temple (1991, Awaji Island) by ing and is allowed to enter the space from behind
Tadao Ando is a new sensory take on tradition- the Buddha into the vermilion coloured room in
al Japanese temple design. The location of the stark contrast to the exterior’s mono-chromality
temple is of no great grandeur; instead it is built (refer to figure 4.10).
within the hilly landscape of Awajishima Island.
The overall form of the Water Temple encloses
traditional Buddhist religious aspects. From the
entrance of the site the visitor is immersed in a
sensory experience. Once past the cemetery one
reaches the smooth surface of the concrete walls
sheltering the lotus pool below. A long white gravel
path leading to the entrance is to symbolize the be-
ginning of the purification process which is tra-
ditional amongst Buddhist temples. To enter visi-
tors must descend into and below the lotus pool
which forms a boundary line reflecting surround-
ing mountains, rice paddies, bamboo groves and
mountains. Although concrete is abundant in the
outer portions of the form, inside is a more tradi-
tional Shingon temple structure constructed from
timber. Within the heart of the temple Ando ex-
tenuates the sacredness of the room using colour
and light. The light source is filtered through grat-

41
 Figure 4.12: Tadao Ando’s Awaji Island Ho-
Figure 4.11: Tadao Ando’s Westin Awaji Island hotel – Church interior. Figure 4.13: Tadao Ando’s Westin Awaji Island hotel. tel – Sketch of ramp system.

42
 Westin Awaji Island hotel (2000) by Tadao
Ando becomes part of the hillside of the Osaka
Bay area, descending the hillside to the sea. The
overall layout is a series of complex interior and
exterior spaces which are all interconnected, (fig-
ure 4.12 shows interconnected circulation routes).
The idea behind the interconnected spaces is to
reconstruct the landscape that had originally been
destroyed during the Kobe earthquake and at the
same time serve as a memorial to the thousands
who died. The complex has multiple functions
such as a chapel, hotel, conference centre and
a restaurant. The church may be entered via the
hotel, from which one descends below ground to
view an illuminated cruciform shaped void in the
ceiling. Only the bell tower can be seen from the
outside to signify the church’s existence. As with
the concrete in Ando’s previous works the silky
smooth concrete is employed throughout the site,
along with steel and glass.

43
 Representation in Architecture used materials? Therefore, one must avoid stereo- factors of that situation (function, topography and
types and preconceptions. climate). Therefore, when expressing ‘Japan’ it is
not about form or materials and will not be cultur-
Walking around Japan one could easily ste-
ally specific.
reotype Japanese architecture as that of post and The stance is a Romantic Fallacy, (that is,
lintel, supporting a generally curved roof, paper conceiving styles as a stereotyped language). But
thin walls which are often moveable (implying non then how can one ascribe ‘Japan-ness’ to Tadao The stance taken rejects the notion of
load bearing) and large overhanging eaves covering Ando’s Church of Light? The architecture is the representational architecture, instead concentrates
the veranda . From this deduction, one could say formal gesture of primary geometric shapes of a solely on an apostate architectural response. It is
that this genre of architecture symbolizes, or repre- cylinder upon a square, but once the building was Japanese due to the principles that create an overall
sents, Japan. A certain shape, material and tectonic constructed it then became subsumed under the atmosphere within and how it is used. But what is
representation have been chosen and have the ef- concept of ‘being’ Japanese. The building has not more important is the architecture will be judged
fect of representation. This project aligns itself been fully evaluated on its own architectural for- by the aesthetics of Scott (Mass, Space, Line and
with Geoffrey Scott when he states that a building mation, and is instead placed into the stereotype Coherence).
should instead be judged by the architectural values of Japan-ness.
of “Mass, Space, Line and Coherence.”53
The project will not create a building that
Therefore, good architectural principles appears to be Japanese within the New Zealand
The materiality should not be associat- that have been employed for a specific building in context, but rather taking the subtle Japanese no-
ed with cultural identity either. For example, the a specific country can be examined, but this should tions of what really makes them Japanese into the
Church of Light by Tadao Ando is constructed in not allow the architecture to be placed into a ste- philosophy of design. Therefore, it will be Japanese
concrete, steel and glass. How could it be a repre- reotype of a specific culture or set of people. The because of the incorporated selected aforemen-
sentation of Japan when it is built of universally architecture instead is derived from a functional re- tioned principles. This allows the building itself
53
Scott Geoffrey, The Architecture of Humanism: A Study in the sponse to a set of guidelines realised from specific not to be seen as Japanese, but as a collaborative
History of Taste, (New York: W.W. Norton, 1999), 55.

44
approach between the ideas of two cultures, coher- techniques, and how to integrate that into a mod- passage, a space that must be traversed in order to
ently placed within the monastic typology. ern urban context.”57 In an interview with Waikato reach what one has traveled there for. At the end
Times he stated, “I try to make things feel beauti- of the avenue there is a rise in the natural typog-
Southern Star Abbey ful and make them uplift the human spirit. That’s raphy which leads to an open space, car parking,
about proportions and how things are composed church, guesthouse, garden and monastery ground
The Korua Abbey designed by Hugh and arranged. The use of light is really important there are beautiful views of hills, mountains and
Tennent was influenced by Cistercian abbeys in … the use of light can create power in a space that pastures. A friendly welcome is given upon arrival
southern France. His intention was to create a makes one become self-reflective or self-aware.”58 and then one is lead to one’s room (refer to figures
space where, once inside, “you breathe differently Tennent states, “The cloister isn’t very common in 4.20 and 4.21 for the current layout and circula-
and your mind slows down and you become more New Zealand, as we’re a culture of pavilions and tion of Southern Star Abbey). The guest complex
aware of your place in the universe.”54 His influ- we sit in the landscape and look out …. the cloister (recently designed by Hugh Tennent, 2008) is a
ences led him to a design that is “quiet and full of focuses the attention inward.”59 symbol of the Cistercian Monastic order; refined
warmth.”55 The design of the cloisters and court- and minimalist, all in alignment with the Rule of
yards used materials that “tread gently on the land” The monastery itself is set in a very rural St Benedict (refer to figure 4.19). The guest house
and the courtyards provided a “varying experience area. The first indication one sees of the Southern is “one of simplicity, space and serenity, provid-
of seclusion, outlook procession and pause.”56 Ten- Star Abbey is of a small sign, hinting at its exis- ing comfort and privacy to those seeking a spiri-
nent is known for his spirituality and has designed tence beyond. Leading up to the site a line of trees tual refuge from the cares of the outside world.”60
everything from a Buddhist monastery to a Cister- signals the start of a journey, inviting one in to Rooms consist of two single beds, a desk on which
cian retreat. Tennent states that he is “most inter- share and feel the peace within. This signifies the to work, an en-suite, storage, and a crucifix behind
ested in the inquiry into life offered by meditation life left behind you. The drive through the trees is a the bed, all of which are a direct imitation of the
54
Sarah Catherall, "Spiritual Dimensions," Waikato Times, monk’s cell (refer to figure 4.17). The view from
June 18, 2011, 45. 57
Ibid.. the room looks out to the hills beyond.
55
Ibid.. 58
Ibid..
56
Ibid.. 59
Ibid.. 60
Ibid..

45
 Monks live highly structured lives, with positioning the change in materiality (refer to fig-
each day ordered around a repeating sequence of ures 4.14 and 4.18). Within the monastery the walls
services and the rising and setting of the sun. The between the monks’ cells have been constructed
daily routine follows a strict order which can be using concrete blocks filled with concrete to help
seen in the structured timetable followed at South give isolation between rooms.
Star Abbey (refer to figure 4.15). Throughout the
year different adjustments are made to the timeta-
ble to allow not only the rules of St Benedict to be
followed, but also allowing for the monks to follow
the changing seasons in the way they live and pray.

Guest rooms are linked to communal

facilities, which include a kitchen and living area.
This is the central area for the guest if one is not
following the monastic timetable or exploring the
natural surroundings. The living room accommo-
dates a fireplace around which to gather and talk
at night (reinforcing the communal idea of the
Cistercians). Local materials from the nearby river
have been used in the construction process, such
as stone for the kitchen floor. The corridor of the
guest rooms plays with light as it bounces between Figure 4.14: Southern Star Ab-
white washed walls and natural timber slats, juxta- bey – Sketch of corridor.

46
 Figure 4.16: Southern Star Abbey – Interior of guest complex.

Figure 4.15: Southern Star Abbey time table. Figure 4.17: Southern Star Abbey – Guest room.

47
 Figure 4.18: Southern Star Abbey – Photograph of corridor. Figure 4.19: Southern Star Abbey – Sketch of exterior guest complex.

48
Figure 4.20: Southern Star Abbey – Model of proposed site layout by Hugh Tennent. Figure 4.21: Southern Star Abbey – Proposed site layout by Hugh Tennent (green – cloister, yel-

49
 The exterior of the guest house is a di- cilities from one another. The chapel is a typical paths in a daily routine within the complex. As
rect reflection of its interior: white walls with glass Cistercian layout, separation between laymen and seen in the figure the companions are free to move
and black frames. The outside form breaks away public from the monks, with a secluded area lo- around the entire site helping with the monks daily
from becoming a simple geometrical form to al- cated at the rear for Mass. Hugh Tennent has de- chores and catering to guests. The monks’ move-
low for more contrasting shapes in which to re- signed an overall master plan for future develop- ment paths are mainly restricted to the guest quar-
flect the ruggedness of the surrounding hills and ments within the monastery (refer to figures 4.20 ters and church areas. The guest’s movement path
mountains (refer to figure 4.19). Throughout the and 4.21). Currently the guest house has been is allowed to freely roam the complex while giving
site view shafts are constantly becoming visible. completed (first stage) and the new monks living adequate distance between the private areas of the
The previous guest house accommodation is in the quarters are under construction. The construction, monks ‘cloister’.
style of a typical West Coast house, although it is layout and internal environment are very similar to
now inhabited by monks. The old buildings are in the guest house accommodation and living quar-
the common New Zealand wooden weatherboard ters. The overall experience is one of relaxation,
style, painted in a lime green, which has bleached meditation, refinement, solitude, community and
over the years. Surrounding the monk’s current spirituality.
complex is a veranda on which monks may escape
from the solitude of their room to the openness of
Figure 4.22 and 4.23 show the current lay-
the courtyard area, similar to a cloister.
out of Southern Star Abbey. Figure 4.22 shows the
different functions within the monastic complex.
Surrounding the site are a series of inter- The church and the companion rooms act as a
twining nature trails on which one may become buffer between guests and the monks. The monks
closer to natural world while experiencing solitude. ‘cloister’ type area is protected from all other us-
The chapel, within the heart of the site, separates ers, and thus this is where their inner community
the guest, the companion, monks’ rooms and fa- exists. Figure 2.23 shows the different movement

50
Figure 4.22: Southern Star Abbey – Site functions (yellow – church, blue – monks, orange - com- Figure 4.23: Southern Star Abbey – Site movements (yellow – monks, blue – companions, red -
panions). guests).

51
52
5 . 0 Project D evelo p m en t

5.1 Site Analysis • An active area from which the project can September 2010 Christchurch has experienced
be viewed and exemplified as a precedent.. numerous large earthquakes and aftershocks (cur-
rently totaling over 8,700).61 The earthquakes have
From research conducted, several points
seriously damaged a large number of buildings and
can be made regarding the site. Monks tradition- As previously mentioned the recent earth-
it is likely that over 1,000 buildings within the CBD
ally choose sites that are considered ‘isolated’. The quakes within Christchurch were also a deciding
area will have to be demolished (refer to figures
reason for isolation is to separate them from soci- factor.
5.4-5.8). Because of the large amount of remain-
ety and thus reduce ‘social noise’. These isolated
ing infrastructure (i.e. roads, water and sewer pipes,
places were often beautiful landscapes with stun-
A connection with nature, surrounding power and communications cables, etc.) invest-
ning views. Water was a requirement for pragmatic
views, adequate light were to be part of the site ment within Christchurch C.B.D. it would be na-
reasons, but also for its contemplative quality, and
criteria in order to display the selected principles. ive to suggest that the C.B.D. will shift as a result
so it was often incorporated within the complex.
The site needed to allow for an isolated aspect in of the earthquakes. The rebuilding of the Christ-
which reduction of social noise and the separation church C.B.D. will create the opportunity for a sov-
5.1.1 Criteria from modern society could be achieved in align- ereign, architectural design to be implemented.
ment with the monk’s needs.
The proposed Cistercian monastery will
be located in the Christchurch C.B.D. area (refer to 5.1.2 Location
figure 5.1). To select a site for the proposed mon-
astery, specific criteria had to be established. The
The location has been selected based
key attributes considered in the site selection were:
on the aforementioned criteria. It is situated in a
(usually) busy urban environment located in the
61
Paul Nicholls,  Christchurch Quake Map, http://www.
• A connection with the Avon River, views Christchurch C.B.D. area (refer to figure 5.1). Since christchurchquakemap.co.nz/all (accessed April 10,
and greenery close at hand. 2007).

53
 Figure 5.1: Site location – Christchurch.

54
Figure 5.2: Christchurch city structured grid/city blocks.

55
 Figure 5.3: Photograph of Christchurch post-earthquake.

56
Figure 5.4: Photograph of Christchurch post-earth- Figure 5.5: Photograph of Christchurch post-earth-
quake – Earthquake damage and spire of Christ- quake.
church Cathedral missing.

Figure 5.6: Photograph of Christchurch post-earth- Figure 5.7: Photograph of Christchurch post-earth-
quake. quake – Earthquake damage of heritage building.

57
 An initial location of the proposed mon-
astery was the site of the old Christchurch Munici-
pal Chambers. The site offered proximity to public
transport allowing a high level of visual awareness
within the C.B.D. and greater Christchurch area.
The connection to the Avon River would be an im-
portant element in demonstrating Japanese design
ideas regarding landscape and nature. However,
after further research and initial concept designs
it soon became apparent, through critical analysis,
that the site would neither be appropriate nor pro-
duce a successful result. This was ultimately due to
the change in mind of the council to restore the
building (any surviving buildings after the earth-
Figure 5.8: Plan view of initial site.
quake now play a significant role in Christchurch
due to the now limited number) and also due to
the lack of sufficient surrounding typologies in
amongst which to build.

58
 A new site then had to be selected. The se-
lection was once again based on the key attributes
stated earlier, as well as favorable qualities. The site
chosen has a mixture of public and private activi-
ties happening throughout the year, creating a vi-
brant environment. This idea of a vibrant environ-
ment allowed the being not to become an isolated
insertion within Christchurch and rather allowing
the selected principles to be put on display. The
site itself creates many problems arising from its
public facing orientation, accessibility, size, existing
buildings, surrounding activities and a connection
with the Avon River. The site is situated near the
Christchurch Law Courts and looks over the Avon
Figure 5.9: Plan view of selected site.
River onto Victoria Square, where regular events
occur, such as the Chinese lantern festival, provid-
ing exposure to the general public.

59
 Figure 5.10: Photograph of site facing Armagh Street (post-earthquake).

60
Figure 5.11: Photograph of site facing Durham Street (post-earthquake).

61
 5.1.3 Analysis

The site selected is currently an unused,

grassed space beside the Avon River. The Avon
River flows serpentine like through the Christ-
church C.B.D. area and breaks the structured grid
of Christchurch (refer to pictures 5.2 and 5.12).

Existing buildings around the site consist

of multiple brick buildings on the south west axis
that are used as storage, year round dance studios
(former Magistrates Courts) and environmental
courts. The north side of the site is an extension
of the Christchurch Law Courts complex in which
the facades are mixed curtain wall system and con-
crete tilt slab with windows (south and east facing).
An existing unutilized car park exists within walk-
ing distance which the proposed complex will take
advantage of.

Figure 5.12: Site Location – Christchurch.

62
5.2 Program evant to the architectural principles and research
conducted.
The programme for the trauma patients
will span 10-14 days. The patients will check-in on The selected functions of the monastic
the entrance level reception area, located on Ar- complex fitted into five categories as listed below:
magh Street where they will be greeted by a com-
panion. They will then be briefed on how their stay
will proceed. Clients will be invited to breakfast in
the companion’s facilities and similarly for lunch
and supper. The three meals of the day will be in
a communal environment, which is traditional in a
Cistercian monastery. The monks within the com-
plex will follow a daily timetable similar to that of
Southern Star (refer to figure 4.15). There will be 8
rooms in which each will contain two single beds
equating to 16 guests at one time within the trauma
quarters, although not all will stay in the facility.

5.3 Layout of the Complex

The functions for the complex would not

only need to meet the site requirements, but be rel-

63
 One: Companions (cells, kitchen/ a state of peace that is unthought-of in the ordi- The project will develop a series of ‘units’
common room for both companions and trau- nary world.”62 beside the Avon River. The companion’s quarters
ma patients, and other required amenities): will provide necessary support for the units; hous-
ing of staff, administration rooms, kitchens, coun-
“The ideal of poverty, requiring not only each
seling, common room, storage, etc. The trauma
The monks’ and companions’ cells will be monk, but also the monastery and its church to be poor and
units will contain two single beds, a desk, storage
based upon the ideal of poverty. The cells are a make a show of their poverty, inspired severe condemna-
space and an en-suite.
place to meditate and study as in traditional mon- tions of any form of architectural or artistic luxury. In
astery’s (refer to section 3.3). Design to allow sun- every monastery the same simple rooms were to hold the
light in will be looked at to ensure each cell receives monks… In this primitive age, when sculpture was being Three – Monks’ quarters (refectory,
adequate daylight, such as that of Le Corbusier’s called upon everywhere to give graphic expression first to cells, common room, oratory and other re-
La Tourette. The cells will be small to encourage the fantastic visions of the Romanesque, and before long to quired amenities):
interaction within the more open communal spac- the Gothic desire for stained-glass in glowing, often violent,
es of the exterior ensuring both the individual and colours, the Cistercians demanded bare, unadorned stone… “A new abbot should not be sent into a new place
communal aspects are experienced during a daily the Cistercians should be pictured in grey-white, woolen and without at least twelve monks …. and without having first
routine. The monks’ cells are designed in reflec- linen cowls, neither blenched nor coloured, in the midst of put up the following buildings; the oratory, the refectory, the
tion of Patrick Leigh’s ‘A Time to Keep Silence’ in light-grey walls.”63 dormitory, the guesthouse and the gatehouse.”64
which he states “for, in the seclusion of a cell - an
existence whose quietness is only varied by the si-
Two: Trauma quarters (guest rooms): The refectory is to be the place in which
lent meals, the solemnity of ritual and long solitary
walks in the woods – the troubled waters of the monks will have communal meals. Although diet
mind grow still and clear, and much that is hidden
62
P. Fermor, A Time to Keep Silence (London: John Murray, and eating habits changed by order this project fol-
1957), 9-10.
away and all that clouds it floats to the surface and 63
W. Braunfels, Monasteries of Western Europe: The Architecture 64
Henri Gaud, Cistercian Abbeys: History and Architecture (h. f.
can be skimmed away; and after a time one reaches of the Orders (London: Thames and Hudson Ltd, 1972), 72. ullmann; 1 edition, 2009), 49.

64
lows the rule of the Benedictine. The rule of St have to do something else there do not disturb can attend services and pray.
Benedict allows for two meals year round with sup- those who wish also to pray outside the prescribed
per served late spring to fall (4am breakfast, lunch house, in their free time.” Five – Other functional requirements
at noon and supper at 6pm). Moderation of all
(study areas, chapter house, library, small scale
meals is to be in the spirit of Benedict’s law. Meals
Four – Church (lower and central): lecture room, visitation area and cloister):
will be eaten in silence and monks will use hand
signals to communicate if needed. The monks will
eat in a three aisle hall (as done traditionally). Be- The creation of the lower and central Within the monastery there is a need to
fore one enters the refectory one must wash one’s church was a direct influence from the require- study, therefore, a lecture room, library and study
hands in the lavabo (hand basin). Within the refec- ments of a Cistercian monastery, although this rooms will be provided.
tory the idea of St. Augustine is to be appreciated project incorporates Japanese principles into the
“when you go to table, until you stand up again, overall design. The lower church is a place for pri- The cloister traditionally provided cov-
listen to the regular reading without sound and vate prayer and is the only room to which the com- ered ways between buildings within the monastery
without dispute; for you shall take in nourishment panion also has free access. A sacristy is needed grounds as well as acting as an area for private
not only through your mouth, but your ears also in which priest’s sacraments, sacred vessels and prayer and leisure. The cloister frames the court-
shall be hungry for the word of God.”65 parish records are kept and where the priest may yard, which in some cases will be the only view for
prepare for ceremonies. The sacristy is located next internal spaces. On one side, the church, typically
to the altar, in keeping with traditional church lay- lying east-west, occupied the high ground of the
The oratory as stated by the rule of St Au-
outs, while more recent churches have a separate monastic site. On either side of the church, service
gustine says: “no one shall do anything other than
building. The high altar located within the central buildings had to be built alongside the river (mill,
the purpose for which it is there, and from which
area of the church is elevated to symbolize Christ. lay brothers and monks’ quarters, etc). Although
also it takes its name, so that those who think they
The central church is where monks, companions, in this project the Church is located against the
65
Francesca Hughes, The Architect: Reconstructing Her Practice trauma patients and, in this case, the general public
(Massachusetts; MIT Press Paperback, 1998), 48. Avon River as it is to have a powerful connection

65
 to the Avon and allow for Japanese ideas of place, 5.4 Environment and Vistas 5.13 and 5.14). The lack of any connecting access
time and nature to be demonstrated while explor- or public views to the Avon River creates a dis-
ing the Japanese idea of presence of kami. The jointed relationship between the two. Figure 5.14
Christchurch is known for its flat typogra-
higher point of the site is to be given to the general shows view shafts that are needed to be retained
phy, meandering Avon River and the surrounding
public, visitors and trauma patients through whom and strengthened, while figure 5.16 shows sur-
Port Hills. The site is situated in an area that is shel-
the Church and its users are symbolizing a hum- rounding movement and massing (green – minor
tered from the cold, southerly winds, but is open
bling of one’s self (within traditional Japanese tea road, orange – public walk way red – site location
to the east (refer to figure 5.15). The nor’wester
houses a lower entrance is found in which to sym- and yellow – main, arterial roads).
blows hot, dry wind which can result in tempera-
bolize reduction of all the participants to the same
tures above 30°C. In winter, southerlies occasion-
social level in Japanese society for the duration of
ally bring snowfall, and cold air that causes hard The Avon River floods occasionally dur-
the ceremony). The cloister is placed in the heart
frosts. The northerly aspect of the location is built ing heavy rainfalls. Although through the town
of the site, allowing for light and views to Victo-
up against existing buildings with the trauma com- area the Avon River is straightened allowing the
ria Park to penetrate the complex while creating a
plex getting the northern sun freely. Because of water to flow freely helping to reduce the problem.
feeling of piety regarding existing buildings. The
the reasonably low level surrounding buildings the To help further reduce the chance of flooding,
western cloister walk will be the most frequented
site captures sun from east to west (some north- the river bed will be lowered by removing gravel
of the cloisters as it leads to the church in which
ern parts are blocked due to the Christchurch Law from the bed and clearing the river of vegetation.
the monks will travel seven times during the day
Courts), and in winter the site will continue to re- These methods are both common practices within
and also where the monks’ rooms are to be found
ceive an abundance of natural light. The site enjoys Christchurch.
and their daily lives will take place (as in traditional
natural outlooks to key vistas, including the Avon
monasteries). Within the cloister the traditional
River, Victoria Square and Christchurch Town
rule of “love of silence” will be encouraged.
Hall. In contrast, Armagh Street vistas have been
restricted and gradually lost to the community due
to the built-up nature of the area (refer to figure

66
Figure 5.13: Site Cross Section – Showing Relationship with Figure 5.14: Adjacent site views. View shafts lost due to build forms.
Avon River and Surrounding Buildings

67
68
Figure 5.15: Site Conditions – Sun /wind diagram. The site is sheltered from the cold, southerly winds, but is open Figure 5.16: Surrounding roads (dark grey - subsidiary road, black - arterial
to the east (red denotes site location). road, red - site location).

69
70
6 . 0 D esign Pro cess a n d
D evelop m en t

6.1 Guiding Principles / Form Driving Factors

From research into selected Japanese ar-

chitectural principles and the Cistercian monastery
the following guiding principles have been deter-
mined and will form the foundation of the design
proposal. These principles will drive the design.

• Ma/oku / miegakure
• Light and shadow
• Connection with nature
• Refinement
• The City Site
• Tadao Ando

71
 Ma / Oku / Miegakure

Ma was first used in traditional Japanese

arts such as Kabuki, Noh, dance, storytelling, music,
calligraphy and painting. Often ma was in reference
to a “dramatic pause” within plays. Ma denotes
ideas such as gaps, spaces or even the space be-
tween two structural parts (this can be in reference
to architecture). If the definition of ma is taken as
an interval (space and time), then with reference
to architecture it is the experience of progressive
intervals in which spatial design may be best por-
trayed. Therefore ma becomes not only about the
physical but also the temporal. As an example of
ma one can look at traditional Japanese tea hous-
es in which the focus is not only on the structure
(building’s form) but also the space in which it con-
tains. The idea of focusing on form and space im-
plies that the imperfections often seen in Japanese
architecture (knots and bows in timber elements)
are there to exemplify that perfection is not within
this man made world.
Figure 6.1: Salzburg Congress Hall. Figure 6.2: TEPIA (a exhibition pavilion for new technology).

72
 Ma is best understood as relational space, the term oku “Maki’s 1979 book Miegakure Suru can be explained as the abstraction of an experi-
or the space between things. The New York Times Toshi referred to the paradigmatic Japanese village, ence completed only in our minds. For instance,
once reported that when researchers asked school- located along a river valley at the base of a for- it is the white undergarment beneath the collar of
children from America and Japan to describe the ested mountain. For the villagers, the mountain is a kimono that seduces the viewer into imagining
contents of a fish tank, American children de- imbued with a spiritual life, but it is not a place or what lies beneath.”69
scribed the individual fish, whereas the Japanese a spirit that can be known. The mountain is a mys-
children described the relationships between them; terious part of the collective unconscious, evok-
this propensity is the basis of ma.66 Ma is to be ing a mystery that is neither sinister nor benign. It
considered “more an imaginary concept, rather only lurks, and its presence constantly reminds the
than being physical and in fact, Japanese percep- villagers that something unknowable lies beyond.
tion of the word Place is similar to the western This concept is also used in Japanese architecture
understanding of space.”67 If one is to use the con- as obscure and vague screens are used in the façade
cept of ma within architecture it can be achieved of the buildings. In this case the mysterious exis-
through attempting a visual connection between tence seen behind the screens is close to the spatial
vacant and median spaces of buildings. concept of oku.”68

There is no exact translation in English of Miegakure has a close relationship to oku, it

the word oku. Oku denotes a mysterious depth or is to glimpse something that is hidden “such as the
symbolic, unattainable centre. To help understand moon passing behind clouds, it is a concept that
embodies both the ephemeral and ambiguous. It
66
Erica Goode, " How Culture Moulds Habits of Thought
," The New York Times, August 8, 2000, sec Science. 68
Levitt, Brendon, Veiled Sustainability: The Screen in the Work
67
Jodat M, Japan’s Old and Contemporary Architecture, of Fumihiko Maki, (College of Environmental Design, UC
(Tehran: Aryan publishing co, 1996), 44. Berkeley, 2005), 1-5. 69
Ibid.,

73
 Light and Shadow forms dim shadows within emptiness.”71 limits light entry to the church and monks’ cells.
Ando instead aims at reflecting light rather than
allowing direct contact.
“Light’s touch changes everything. What Ando’s quote “Light is the origin of all be-
lay shrouded in darkness is revealed, and hidden ing” helps to explain his devotion to light as an ele-
spaces suddenly open wide under light’s dance. In ment within his buildings.72 Ando uses light to give God is referred to as many things in the
itself, unseen, we see by means of light’s selfless ac- identity and prescribes relationships. Ando writes, Bible, such as “the Light”. God as light is often
tivity. In physics, the refinement of light’s touch is “Light, alone, does not make light. There must be symbolic in religious architecture. Traditionally,
measured by its wavelength. The very smallness of darkness of light to become light.”73 Darkness is stained glass windows were used to depict a story.
visible light’s internal patterned movement guaran- used within Ando’s creations to give emphasis to In early church architecture light was limited due to
tees that the tiniest detail, the most subtle texture, the minimal and to restrain light that is allowed to the restraints of technology. Large masonry walls
remains visible.”70 enter. only allowed for small openings. The Gothic style,
as it was later called, utilized flying buttresses, al-
lowing for large window openings and letting in
Often light and shadows are used to archi- Traditionally, Japanese houses have win-
more light.74
tecturally portray ma and oku within Japanese archi- dows on the south, where full sun is received in
tecture. Tanizaki states this as “whenever I see the the winter. However, Ando avoids openings on
alcove of a tastefully built Japanese room, I mar- southern facades due to the intense brightness of Light will be let into the trauma rooms
vel at our comprehension of the secrets of shad- light. The idea of restraint and control relates to Le with control and precision. The light itself brings
ows, our sensitive use of shadow and light. For the Corbusier’s La Tourette in which he restrains and its own benefits of creating a healing environment
beauty of the alcove is not the work of some clever in which to evoke a deeper sensual experience.
71
Jun’ichiro Tanizaki, In Praise of Shadows (New Haven, Conn:
device. An empty space is marked off with plain Leete's Island Books, 1997), 32. By controlling the light source and reflecting light
wood and plain walls, so that the light drawn into it 72
Francesco Dal Co, Tadao Ando: Complete Works (London: where possible and limiting direct sunlight into the
70
Arthur Zajonc, "Daylight & Architecture," Velux, Spring Phaidon , 1995), 470. 74
Butler and Ritchie, Rosslyn Revealed (UK: O Books, 2006),
2006, 1. 73
Ibid, 471. 17.

74
rooms.

“When our bodies are brushed by light,

we warm and open ourselves like dark sanctuaries
to the penetrating luminosity of sun and sky. No
wonder cathedral builders knit geometry to light in
service of theology; no wonder evolution has knit
plants to the silent power of sunlight in the service
of life. Light is the architect of the organic world,
and conversely in architecture.”75

75
Arthur Zajonc, Daylight & Architecture, 1. Figure 6.3: Tadao Ando Koshino House. Figure 6.4: Tadao Ando Koshino House.

75
 Connection with nature help to portray the site’s character, but also give the “Plaster, paper, metal hardware, and cloth are inert; wood
occupants a sense of belonging. and straw retain in their grain and texture the evidence of
growth and, in that, a suggestion of life.”77
“The Cistercian abbeys continue to impart a les-
son written in the landscape, woods, and stones …. No ideal “The Japanese have been concerned to
of technical innovations has had such far-reaching conse- make the architectural intrusion into the natural “I do not believe architecture should speak too
quences …. The lessons of the Cistercians on the mastering scene an easy and gracious one and this concern much. It should remain silent and let nature in the guise of
of nature, of techniques and of building are of inestimable has done much to preclude the symmetrical orga- sunlight and wind speak.”78
value.” – Leon Pressouyre, Le rêve cistercien nization of buildings. Symmetrical arrangement
bears very much the stamp of a human and an in-
Sensitivity to natural phenomenal change tellectual order. It involves an interruption of the
and relationship to natural surroundings was es- natural pattern and implies man’s intent to improve
sential when trying to connect built form with its on nature in terms other than its own. It insists
surroundings. Kami was the traditional reason for on man’s divine dispensation, his special place be-
showing natural phenomena changes. Reasons be- tween nature and the gods.”76
hind creating a connection with nature are to help
sustain both environmental and cultural identities
against the effects of modernisation and globalisa-
tion, while heightening our awareness of the inher-
ent uniqueness of where, when and what we are.
A unique integration of geometric volumes and
the natural order will help to create a stronger link 77
Ibid. 47.
between natural and manmade, this will not only 76
Walter Dodd Ramberg, Some Aspects of Japanese Architecture Tadao Ando, “Introduction”, Tadao Ando: Buildings, Proejctects,
78

(2004): http://www.jstor.org (accessed April 10, 2011) 40. Weritings, ed., Kenneth Frampton (New York: Rizzolo, 1984), 25.

76
Figure 6.5: Koshino House. Figure 6.6:

77
 Refinement The idea of refinement aligns itself with “Of all the healing forces in the God-given world
Japanese Buddhist rules and St. Benedict’s rules (St around us, silence is perhaps the greatest.”80
Within Japanese Buddhist architectural Benedict himself saw much of the church’s deco-
principles and that of St. Benedict’s rules there rations as a distraction from piety). Southern Star
are underlying principles of refinement. Ando’s Abbey employed refinement in its creation of the
Church of Light specifically looks at refinement in guest house, creating one of “simplicity, space and
the cost of the architectural form as he once stated serenity, providing comfort and privacy to those
in an interview “I hoped this project would raise seeking a spiritual refuge from the cares of the
an issue against the current tendency. I tried to see outside world.”79
to what extent an affluent space could be created
with the minimum budget in an era flooded with Retreating to a place of considerable soli-
goods and materials.” Within Church of Light, Ando tude, the building is to be stripped of all excess and
aimed to create a space in which the Church itself will be located beside the Avon River. The refine-
becomes void of any surplus colour or ornamenta- ment of noise was also a factor in the design as re-
tion, in fact leaving the habitation of the church duction of social noise and allowing for attention
itself the only means of colour and ornamentation to the environment in which the complex is set,
within the Church (a similar idea to Le Corbusier’s contributed to the overall idea of contemplation.
La Tourette). The interior of the church has been
left as raw concrete and timber pews leaving an
overall refined minimalist feeling. Even the overall
feeling of a Christian typology has been reduced to 79
Irene Stevens, Southern Star Abbey, http://www. 80
Christopher Day, Places of the Soul: Architecture and
a simple cross void in the concrete panel facing the kopuamonastery.org.nz/pages/7-developments.html Environmental Design as a Healing Art, (Burlington:
street. (accessed April 10, 2010). Elsevier, 2003), 138.

78
The City Site

Within the depths of the site which may

not normally acquire views to Victoria Square the
Japanese idea of Ikidori will be used by which to
actively procure vistas. This helps to reinforce
ideas pertaining to connection with nature by visu-
ally connecting the built form to surroundings – a
merging of the tectonic and the natural. Maki Fu-
mihiko’s view that the house should be “bounded
domain within which to create and sustain a place
of serenity against the unremitting turmoil of the
megaopolis” will be adhered to when creating the
idea of a modern day cell for the monks, compan-
ions, trauma patients and visitors.81 The site re-
quired exploration of pairing opposites, primarily,
the concept of meditation and a life of quiet ser-
vice with the hustle and bustle of a metropolitan
city.

Taylor Jennifer, Conner James, The architecture of Fumihiko

81

Maki : space, city, order, and making, (Boston, MA : Birkhauser-

Publishers for Architecture, 2003), 26.

79
 Principles of Tadao Ando Sunlight, wind and rain affect the senses and give variety to a space is created that is “true and convincing be-
life. Architecture in this way becomes a medium by which cause it is appropriate and satisfying.”85
Principles of Tadao Ando’s architecture man comes into contact with nature.”82
are the predominant design precedent used within If one is to look at Ando’s planning it ap-
this project. Ando’s juxtapositional use of light and Ando gives priority to nature over the man pears simple; for example, Ando’s Church on the Wa-
shadows, restrained architecture, and connection made in which he “may gently pervade space at ter (as mentioned previously) is comprised of two
to nature are aspects that shaped the design. one moment, and stab through it like a blade at the geometrical squares. The squares contain different
next.”83 Ando aims to create spaces that are active functions, one as the entrance and the other as a
and that respond to the seasons and surrounding church. By intersecting the two squares Ando em-
Ando often uses a single concrete wall
nature. phasizes the link between the two, one cannot exist
with which to define the build form and connect
or function without the other. John Morris states
it with its surroundings. Ando talks about how the
in Progressive Architecture that - “The geometry of
construction of a wall allows for the shadows of Within Ando’s architectural formations
Ando’s interior plans, typically involving rectangular systems
surrounding trees on the wall to help blend it into one can sense the minimalist approach in which
cut through by curved or angled walls, can look at first glance
the landscape. The construction of a wall also the qualities of poverty, stillness and tranquility can
rather arbitrary and abstract. What one finds in the actual
gives juxtaposition to that of a surrounding land- be observed. Ando uses emptiness to introduce us
buildings are spaces carefully adjusted to human occupancy.”
scape. Within Ando’s Church on the Water he uses to the spiritual dimension. He states that by mak-
a single concrete wall which runs along the side of ing a wall austere, to the point of being cold, “the
the complex. Not only does this wall give a sense more it speaks to us.”84 By reducing the interiors Ando often uses water as a key feature
of boundary, but it also emphasises the lines of the to a minimum allowing for only bare necessities, in his architectural experience. He writes about
landscape. 82
Tadao Ando, “Introduction,” in Tadao Ando: Buildings,
a stream that flows through the Ise Shrine com-
Projects and Writings. pound - “I find the sight of its pure current very moving
83
Ibid.
“The expression of nature changes constantly. 84
Ibid. 85
Ibid.

80
and beautiful. Revisiting the river brings back memories I The affinity with water is shared within
had almost forgotten in the intervening years. Gazing at monastic and tea ceremony architecture. Water is
the long continuous wall that rises from the surface of the used to cleanse the body, usually prior to enter-
water to the level of the eye is strangely relaxing. Perhaps ing the building. Traditionally monasteries would
it is because that wall by the water endures even as nature be built next to rivers in which to wash, cook etc.
undergoes change and time passes in a never-ending flow.”86 Therefore, within monastic architecture water acts
as a key element by which to survive.
Water is an element that can be read in an
infinite amount of ways, it can be used to reflect or From looking at the architectural spaces
show the presence of a kami. Water, thus, has the of Tadao Ando, Buddhist traditions and traditional
power to stimulate the imagination, and, as Ando Cistercian monastic orders, it can be seen that the
puts it, “make us aware of life’s possibilities.”87 reduction of social noise, attention to environmen-
tal aspects and materiality used in construction are
“Water is a monochromatic material. Seemingly seen as factors in meditation (ideas of meditative
coloured yet colourless. In fact, in that monochromatic world spaces, materiality and constriction are discussed
there are infinite shades of colour. Then, too, water is a mir- later) .
ror. I believe there is a profound relationship between water
and human spirit.”88

86
Tadao Ando, “From the Periphery of Architecture,” The
Japan Architect 1 (January 1991).
87
Ibid.
88
Ibid.

81
 6.2 Process of Design eling and handmade models. These approaches
allowed the explorations to be critically examined
A number of explorations have been in drawing plans, as well as the three dimensional
made, developed and undertaken in response to formations, to see what was successful and what
critical analysis taken from investigations into ar- was not.
chitectural strategies, selected research material
and appropriate functional layouts. Within each exploration the principles
and functional requirements had to be constantly
Explorations undertaken were not de- evaluated in order to establish the aspects which
signed in isolation, but rather developed as a suc- had, or had not worked, and what needed further
cession of ideas learnt from each subsequent de- design consideration. Refer to appendix 10.8 for
sign. It was a process of discovery within the set initial conceptual processes leading up to final de-
boundaries of the guiding principles and outcome sign solutions.
of research. Research by, into and for design cre-
ated many avenues of design exploration. Each
exploration was dictated by the selected principles
and elements which worked successfully in one de-
sign and were sometimes negated in the next devel-
opment due to incompatibility with further explo-
ration of principles. The project used a systematic
approach achieved through the combination of
floor plans, computer aided design (C.A.D.) mod-

82
6.2.1 Exploration One

The first exploration was an investigation

using guiding principles and architectural strategies
to create initial ideas.

83
 Figure 6.7: Lower floor plan.

84
Figure 6.8: Basement floor plan.

85
 Figure 6.9: Ground floor plan.

86
Figure 6.10: First floor plan.

87
 6.2.1.1 Principles Experience of Exploration One ed with a large crucifix structure formation which Figure 6.14: The monks’ quarters are located in the
acts as the main circulation space. Within the crucifix voids between the Christchurch Law Courts com-
formation one can descend down to the church, en- plex and existing brick buildings. The space is both
Figure 6.11: The entrance uses a concave wall to gen-
ter the monks’ quarters or journey through the clois- limited in light and in views, but due to low level sur-
tly invite visitors and reflecting light into the com-
ter to the trauma/companions’ quarters. One can- rounding buildings light can be gathered from verti-
plex. This allows one to be drawn naturally into the
not pass from north to south or east to west without cal sources. A connection through to Durham Street
site and indicates the start of the journey. The en-
passing through the cloister and crucifix formation. has been created in order to create a strong axis from
trance symbolises the layers of a Japanese house in
north to south and east to west. The entrance is cre-
which one transcends from public spaces through to
Figure 6.13: To enter the church one must descend ated by using existing buildings to frame a corridor.
private.
down into the site which is fronted by the Avon
River running alongside the exterior. The idea is Figure 6.15: From the crucifix one is led outdoors to
Figure 6.12: The person is drawn through the com-
to create a strong link between built form and the a small cloister circulation space. The cloister allows
plex by light shafts penetrating the building’s enve-
natural landscape, while breaking the visual link of for uninterrupted views across to Victoria Square
lope, acting as a path to follow (somewhat of a spiri-
Victoria Square. The church looks at first ideas of and is the central circulation space.
tual guide). Insertions of light give an ever changing
roof formations to allow for the spiritual use of
internal environment in which place, time and a re-
light, and ways in which the users’ quarters are lo-
strained theme of nature can be experienced (as seen Figure 6.16: The companion’s and trauma areas are
cated in the voids between sensory experiences can
in Ando’s works). integrated into one complex. Combining the two
be heightened. The incorporation of the Avon River,
functions creates a strong mental and physical link
alongside the church allows for the Japanese idea of
between patients and carers. The formation is a re-
Figure 6.12: The person transcends through twin representing the arrival of kami to be portrayed. Re-
flection of ideas incorporated into the church re-
walls which denote a change of layers (functionality flection in the pool of sudden changing environmen-
garding light and sensorial experience.
change, entrance through to the refectory, common tal factors is an exploration of Ando’s Church on the
rooms, study and library). The guest is then confront- Water relating to ideas of kami.

88
Figure 6.11: Photograph showing entrance and connection Figure 6.12: Layering of buildings to create separation Figure 6.13: Church connection with Avon River.
with Avon River. between functions. Light is allowed to enter via openings.

Figure 6.14: Monks area nested within voids of site. Figure 6.15: Plan of site, cloister within the heart. Figure 6.16: Companion’s/trauma areas along the Avon
River.
89
 6.2.1.2 Outcome of Exploration One

The journey from beginning to end is a

complex movement which allows light to aid in the
journey. One acquires glimpses of the church and
other functions throughout the complex. This al-
lows one to experience the different functions and
spatial arrangements within. The idea of the jour-
ney is in stages which provoke different feelings or
senses. The design looks first at ideas of providing
a view of the destination point to create a relation-
ship between functions within.

The design lacks connection with existing

buildings and gives little regard to the word “piety”
which the monks value. The design lacks unifor-
mity, instead becoming a series of clusters. This
is due to the mismatched volumetric spaces and
forms created for each distinct function. The loca-
tion of the cloister works well in tying the site with
its surroundings while allowing for views into the
depths of the site.

90
6.2.2 Exploration Two

This exploration develops the complex’s

internal spaces and overall relationship between
the various functions. The design uses the same
entrance as Exploration One to direct visitors in-
side.

91
 Figure 6.17: Interior of church.

92
Figure 6.18: Interior of church.

93
 Figure 6.19: Cross Sectional Model. Figure 6.20: Cross Sectional Model.

94
Figure 6.21: Sketch of Cloister. Figure 6.22: Shaded plan of lower floor.

95
 6.2.2.1 Principles Experience of Exploration Two Figure 6.25:. A main vertical core has been placed Figure 6.27: The monk’s quarters have been re-
within the heart of the site from which the church duced to only cells from which to escape the mod-
is accessed. As in previous designs the cloister is ern world. The cells have been reduced in width,
Figure 2.23: A development of the cloister area.
once again located within the centre of the site. but increased in height. This is to allow light to
The cloister has been covered and looks out onto
Within this design the cloister is left to become enter the monks’ cells while placing them in the
a pond of water with existing buildings adjacent.
an open circulation route. The cloister uses water recessed voids of the site (allowing for reduction
Small details such as a crucifix acting as the win-
to help create a sense of connection between the of social sound and distractions).
dow joinery displayed.
manmade forms of the site and the surrounding
natural formations.
Figure 6.28: The companions’ / trauma areas have
Figure 6.24: The spaces located within the en-
been broken into two separate areas in which the
trance are layered and become a maze to navigate
Figure 6.26: The church has been allowed more in- companions’ area acts as the main hub of activity.
through, suggesting a separation from the outside
ternal space. This is to create a more inhabitable This acts as a nurturing apparatus, focusing on get-
world. Therefore, walls located beyond the initial
and usable environment and give a sense of hier- ting the trauma patients to move around the site
entrance have been dropped to allow light into the
atical importance to the church. Interest has been and not linger in their rooms. Between the two
entrance area. The functional locations have taken
placed in the new concept of the roof design, functions lies a path which the public accesses, this
priority within this design in which the external
which allows for an interaction between light and path is on an axis from north to south and is re-
form is extruded.
the internal environment. Spaces have been allo- cessed below ground level. The idea allows for a
cated for more detailed planning in which sacristy, separation which does not disturb or interfere with
Figure 6.24: The main entity of the site is based altar and oratory are placed. Figures 6.17/18 show surrounding programs.
upon ideas from Exploration One. Exploration the internal environment of the church and how
Two explores how to show a more physical idea of light would penetrate the roof structure. Figures
layering (in this case by a series of internal walls). 6.19/20 are cross sectional models in which to ex-
plore the laying of space and functionality.

96
Figure 6.23: Plan view of model (cloister space selected). Figure 6.24: Concave concrete entrance wall. Figure 6.25 Layered complex / light penetration.

Figure 6.26: Location of church. Figure 6.27: Monks area within voids. Figure 6.28: Location of companion and trauma rooms.

97
 6.2.2.2 Outcome of Exploration Two form due to refinement regarding their rooms
(ideas regarding poverty). The location of the
Establishing a direct visual connection monks’ quarters works well with regard to site
between the Avon River, church and various view placement. The height of the form allows for an
shafts within the complex allows people to have a abundance of light, although this is moving away
visual glimpse of their destination. This helps to from the originally desired controlled environ-
create a known ‘there’ for the user, suggesting di- ment.
rection and movement. The trauma and companion’s quarters
follow a geometrical development regarding the
monks’ quarters, thus they are becoming extruded.
Allowing the Church to extend along the
They allow for separation between the functions
Avon River creates a larger interior environment
and give a sense of privacy to the trauma patients.
and helps to give the Church a sense of promi-
This idea works well and needs to be carried into
nence of the surrounding clusters.
the next exploration.

The outdoor cloister works well in link-

ing all aspects of the site. Following Exploration
One it is an open cloister, which is unprotected and
incorporates the use of water to reflect the Avon
River.

Monks’ rooms have become simple in

98
6.2.3 Exploration Three

Exploration Three is an extended inves-

tigation of Exploration Two. The functional or-
ganization is similar. Exploration Three develops
the formal aesthetic of the building, including the
facades and roofs. It also investigates the journey
from oratory and sacristy into the church.

99
 Figure 6.29: Lower basement floor plan.

100
Figure 6.30: Basement floor plan.

101
 Figure 6.31: Ground floor plan.

102
Figure 6.32: First-third floor plan.

103
 6.2.3.1 Principles Experience of Exploration Three exterior environmental conditions. The placement exemplified while the monk’s rooms are modular
has created dark internal spaces, specifically the and give a sense of even hierarchy within the order.
cloister. The placement of the cloister within the
Figure 6.33: The entrance developed from previous
mass allows the heart of the site to become denser,
ideas of a concave wall into a colonnade in which
although losing relationships to surrounding build-
to reveal existing buildings. Spaces located within
ings.
the entrance have been separated into different lev-
els within the initial massing. Administration, of-
fices and guest areas are located within the ground Figure 6.35: It has been reduced in scale from Ex-
floor, while a study and library would be located on ploration Two. The church has been divided into
higher levels for views and light. two, one space for the church and the other for
the oratory, sacristy and welcoming space. As pre-
viously explored, the roof has been developed
Figure 6.34: The monks’ quarters are located within
once more to play with ideas of light and symbolic
the heart of the site; this idea was looking at mini-
representations. A crucifix has been cut into the
mizing the overall footprint of the complex. The
concrete roof to cast a shadow into the church be-
monks’ rooms are placed on the east side to cap-
low. During different times of the day the crucifix
ture morning sunlight. This helps to symbolize the
would change and allow a sense of time to be ex-
beginning of the new day.
perienced.

Figure 6.34: The cloister has been removed as an

Figure 6.36: The cross section looks at developing
external function and is instead inserted within the
relationship of spaces and formation vision. The
ground floor of the monks’ quarters. The cloister
relationship between the church and Avon River is
can now be used all year round and regardless of

104
 Figure 6.34: First-third floor plan. Figure 6.35: First-third floor plan.

Figure 6.33: First-third floor plan.

105
 Figure 6.36: Cross section development.

106
6.2.3.2 Outcome of Exploration Three

The formations of the buildings are still

quite cubic (due to a focus on manmade geometric
forms as being a stark contrast to nature) in form,
but are beginning to feel more cohesive as they are
relative in spatial layout and geometrical form. An-
do’s work in particular has been a reference from
which to examine how functions dictate relative
geometrical forms.

The scale and overall feeling of the church

has been reduced too much, the church is fading
away and losing the sense of grandeur which is
traditionally related with its typology. The monks’
quarters are too bulky and, while reducing its built
footprint, it is creating more problems than it is
solving.

107
 6.2.4 Exploration Four

The emphasis for Exploration Four was

purely experimental to develop formations and
aspects relating to piety (regarding existing build-
ings). This looks at ideas pertaining to allowing
light shafts and views being retained by existing
buildings.

108
Figure 6.37: Cross section ideas. Figure 6.38 : Cross section ideas. Figure 6.39: Cross section ideas.

109
 6.2.4.1 Principles Experience of Exploration Four

Figure 6.40/6.41: Ideas of how to expose and allow

light to enter existing buildings and how the struc-
ture might add to this feature.

Figure 6.42: The roof formations give a sense of

hierarchy within the complex’s spatial layout. Roof
formations rising upwards to the heavens suggest
links with spiritualty.

Figure 6.40: Ideas of light and structure giving priory to existing.

igure 6.43: The trauma complex has been segre-
gated into different level heights once again, as in
previous designs. This creates a buffer from public
reaching the trauma complex, allowing for a more
private sense of recovery. Once again, the trauma
rooms are located adjacent to the Avon River.

110
Figure 6.41: Ideas of light and structure giving priory to existing. Figure 6.42: Model development. Figure 6.43: Model development.

111
 6.2.4.2 Outcome of Exploration Four

Exploration Four helped to reveal impor-

tant aspects regarding existing buildings and how
to allow not only for light but also for views to be
kept when designing the complex. Although this
was almost a complete change in overall massing
and formation it was a necessary change, allowing
geometry to be experimented with.

112
6.2.5 Exploration Five

Exploration Five continued the emphasis

on experimentation regarding existing structures
as well as developing the complex’s formational
layout. The functional layouts indicated in previ-
ous explorations have been challenged creating a
new form.

113
114
Figure 6.44: Cross section ideas.

115
 6.2.5.1 Principles Experience of Exploration Five allowing the main bulk of the central area to be from the outside world has a large opening to the
distributed. The height of the monks’ quarters al- Avon River. The church itself is bunkered into the
lows views to be maintained, while procuring the landscape and furthermore anchored through the
outdoor environment of the cloister. location of the bell tower. The tower acts as the
Figure 6.44: The cross section looks at different
vertical core to access the church from the first
internal environments for spaces and how to dif-
floor. The tower is on a slight angular placement
ferentiate the spaces through the use of light and Figure 6.47: The cloister has been transformed into
to give emphasis to the entrance of the church
materiality. The church is stark with raw exposed a mass of its own. The cloister is in the shape of
below it and faces towards the user walking from
concrete, while the main functional areas exhibits a double helix to create separate journey paths
the town square.
simple concrete construction and timber lining to for the monks and companions/public/patients.
soften the interior environment. Views can be seen from the entrance through to
the cloister located at the rear; this is to help draw Figure 6.50: Within the trauma and companion
people through the site by the use of a destination complex the buildings have been developed along-
Figure 6.46: The entrance has been lifted up to the
point. side existing structures allowing key view shafts to
first floor. This is to emphasise the separation of
be kept (towards the fountains and squares within
the exterior world and the internal environment.
Victoria Square).
This idea is also reflective of the journey into Figure 6.48/49: The church design has been
South Star Abbey where a rise of natural landscape stretched and given back its missing emphases. To
suggested a separation of worlds, proposing the enter the church one undergoes mimicry of the
arrival at the destination. event process at Southern Star Abbey. From the
first floor one is gently exposed to an angled open-
ing which allows the user to slip inwards towards
Figure 6.47: The monks’ quarters have been pushed
the Avon River. The entrance slowly expands as
back into the recesses of the site as in Exploration
one moves along it (referencing ones separation
Three. This allowed for best use of the site while

116
Figure 6.45: Site model. Figure 6.46: Entrance. Figure 6.47: Cloister space located at back and cloister loca-
tion.

Figure 6.50: Companion and trauma area allowing light

Figure 6.48: ‘Folded’ circulation. Figure 6.49: Church entrance. and views to be kept.

117
 6.2.5.2 Outcome of Exploration Five

Exploration Five allowed for the develop-

ment of spatial qualities within the complex. The
formations now have an angular shape which is a
development of their previously simple cubic geo-
metrical forms. The angles are founded from the
extrusion of the corners from the previous geo-
metrical forms and a means by which to enhance
internal environments through connectivity. The
trauma complex is too small as a result of main-
taining existing building views and will need to be
developed. The cloister takes up too much space
and the vertical movement paths are unnecessary,
although the double helix works well in creating a
line of separation, but while allowing for a visual
connection to the monks.

118
6.2.6 Exploration Six

Exploration Five was successful in the

adaption of selected principles, overall layout and
formation. Exploration Six looks at minor adjust-
ments and refining the layout and planning while
developing the new form.

119
 Figure 6.51: Lower basement floor plan.

120
Figure 6.52: Ground floor plan.

121
 Figure 6.53: First floor plan.

122
6.2.6.1 Principles Experience of Exploration Six where the passerby may gather a glimpse of inci- they have reverted back to original design ideas
sions in the roof formation. of separating the two with regard to their levels.
The trauma complex will consist only of the pa-
The entrance to the complex has been al-
tient’s rooms while all other amenities will be lo-
lowed to protrude so that it is flush with the pe- The cloister has been reduced from Ex-
cated within the companion’s quarters behind. The
destrian footpath. A small exterior atrium environ- ploration Five to become solely located on the
trauma rooms use the same concept as the church
ment has been created between the existing west ground floor. The cloister is enclosed by glass and
to build in and around existing contours in order to
buildings to allow exposure of its external facades. white washed walls; this allows the cloister to be
help strengthen the link between natural and man-
used year round, and for light to enter existing
made.
buildings.
The church has been changed in its an-
gular composition in order to either emphasize
The use of materiality has also been ex-
implied angles, or remove unutilized ones. The The monk’s quarters have been extended
plored. As one of the principles is of layering this
steps within the church have been changed to cre- into the depths of the site, using up voids cre-
idea can also be carried not only in the architec-
ate more functional ones leading to the altar. The ated by existing buildings. The placement of the
tural internal environment but also in the layering
idea of entering at the first floor has been removed oratory has been shifted from the church to beside
of material to form a space.
as it creates issues such as suggesting hierarchical the monk’s quarters. This will be a private place
importance of the complex over its surround- for prayer and is separate from other users of the
ings. The bell tower has been shifted to allow for complex. The oratory is located in the depths of
other functions to be inserted within the church the site, removed from all distractions, allowing for
area (such as sacristy, a small office and a place for a focus on prayer.
the abbot to greet and welcome attendees of the
church ceremonies). The roof of the church is to
The trauma and companion’s complex
angle from a central high point to the road edge
has developed from Exploration Five, although

123
 6.2.6.2 Outcome of Exploration Six

Exploration Six has been successful in the

line of evolution. Concerns have arisen when look-
ing at the church’s floor plan; the church is once
again losing its main congregation space due to the
insertion of other functions. The monk’s quarter
needs to be extended and some of the angular ge-
ometry needs to be refined, or reduced, to create
more usable space. The exterior shapes are an ex-
trusion of the interior geometrical conflict, creat-
ing a roof formation which allows the lines of the
walls to penetrate the roof line.

124
6.2.7 Exploration Seven

Exploration seven aimed at refining and

solving problems from exploration six. Figure 6.34
shows the resolved functional layout.

Figure 6.54: Site layout.

125
 Figure 6.55: Street elevation massing. Figure 6.56: Victoria Square massing elevation. Figure 6.57: Tower formation displaying cruci-
fix.

126
Figure 6.58: Victoria Square elevation. Figure 6.59: Church formation.

127
 Figure 6.60: Diagrammatic planning - ideas of final location. Figure 6.61: Companion quarters form massing.

128
Figure 6.62: Armagh Street concept elevation.

Figure 6.63: Development of trauma room internal layout.

129
 6.2.7.1 Principles Experience of Exploration Seven extruded from a corner of the tower creating a co- Figure 6.61: The companion’s quarters are raised
hesive crucifix which anchors not only the tower at each end indicating the entrances. The south
but also the site. entrance is for the companions and trauma guests
Figure 6.55: The sketch shows ideas of massing
while the north end is the access to the trauma
and uniformity between the church and the main
rooms themselves. This allows for constant con-
functional building. The diagram shows current Figure 6.58: A more developed sketch of the Vic-
tact between the two.
issues of scale and formal relationships between toria Square elevation. This shows ideas of façade
the church and surrounding building. The diagram treatment and openings.
also shows lines of the façade. The street facing fa- Figure 6.62: The figure shows Armagh Street fa-
çade is aimed at emphasizing its verticality allowing çade and its entrance into the site. The church is
Figure 6.59: The church has been developed and
it to become its own structure. hidden from view although the walls can be seen
resolved to allow views from Armagh Street into
leading down towards the church.
the church while a concrete wall extends at the op-
Figure 6.56: The elevation facing Victoria Square posite end in which not only to frame the church
is to create a uniform massing. This is achieved but also to create a wall to reflect the change in Figure 6.63: The plan shows ideas of floor plan
through slanting adjacent walls in which to comple- functions. layout for the trauma rooms. The ideas involved
ment each other; by doing this a containing form look at creating private deck areas allowing the
is created through the building’s silhouettes. The patients may open their interior environment out
Figure 6.60: This picture is a conceptual diagram
darkness represents a more dominant structure in upon the Avon River. The different functions of
which to take priority over behind forms. of the internal planning of the scheme. Final place- the room are separated allowing for transitions be-
ment of the monks’ quarters is once again in the tween rooms. The rooms will readily catch morn-
recess of the site while the trauma complex and ing and afternoon sunlight, while relying on artifi-
Figure 6.57: Ideas of how to incorporate the cru- companion locations are spread out over the north cial lighting at night. The rooms are to be lighter
cifix into the tower have been explored. The tow- end of the site. timber walls in contrast to the concrete massing of
ers presented are of the final selected. The cross

130
the church. Figure 6.67: The trauma rooms overflow out onto
the Avon River in which the patients may extend
Figure 6.64: The internal view of the complex their internal environment out to. The rooms are
shows ideas of layering and juxtaposing of mate- located in the natural contours of the site allowing
riality. The Avon River can clearly be seen from for them to be protected and sheltered from sur-
within the church and links the church to Victoria rounding elements and direct views from Victoria
Square. Gaps between the roof plane and internal Square.
walls allow light to penetrate selected areas.

Figure 6.65: The external view looks at massing

and materiality represented. The connection with
the river as it laps along the edge of the church.
The tower can clearly be seen as the anchor of the
site. Note: the buildings behind have been removed
to allow for a focus on the individual building.

Figure 6.66: The elevated view of the complex

looks at the cloister within the heart of the site
allowing for views and light to freely penetrate the
depths of the site.

131
 Figure 6.64a/b: Internal church - preliminary

132
Figure 6.65/7: External view - preliminary render/ View of trau- Figure 6.66: View of complex - conceptual preliminary render.
ma/companion areas - conceptual preliminary render..

133
 6.2.7.2 Material Palette

“By reducing buildings to simple or familiar forms,

and covering them in a single material, the architectural interest
could be focused almost entirely on surface qualities and the
play of light.”89

Figure 6.68: Materiality is to be arranged and focused

around the ideals of the internal environment de-
sired. The church and monk’s complex will use a lot
of exposed raw concrete. The trauma complex and
companion’s complex will use more timber than con-
crete to create a more warmly and inviting sensation.
The timber will flow from companion’s complex to
main fictional area via the cloister.

89
Arthur Zajonc, "Daylight & Architecture," Velux, Spring
2006, 12.

134
Smooth White Concrete Blackened Plate Steel Radiata Timber Ando Style Concrete Rough-cast Concrete Existing Exposed Bricks Black Steel Slat Screens Tinted glass

135
 Figure 6.68: Plan view showing ideas of materiality.

136
6.2.7.3 Outcome of Exploration Seven Environment: integration of the two opposing structures.

Exploration seven resulted in a form in which The structure of the final form reflects ide- The internal environment of the monks’ quar-
the distinct functions are able to co-exist. The church als of Ando and the Cistercian order. Load bearing tilt ters and the church are in alignment. Both environments
has reclaimed its status on the site by extending its roof panels, unispan flooring and insitu columns/beams will adhere to the already explored ideas of refinement. The
line and becoming a more dominant massing form. The be used within the church, monks’ quarters and main spaces focus the users on attention to God and evoke
monks’ quarters have had angles reduced and the place- functional area. The ‘simple’ construction will be cost a meditative state. Natural daylight is the only lighting
ment of the monks’ cells on the east axis to allow for effective and can be left exposed. The church itself will factor within the church due its operating hours (4am-
morning light to enter. The companions’ area has been be a free standing form, relying on the mass of the con- 7pm). Heating within the church is left to the natural ab-
refined to create a form that takes as little away from crete as its structure, with only the timber louvers as a sorption of concrete. In summer windows will open out
existing buildings while reflecting light into spaces be- contrast. The thickness of the church walls relates to to the Avon River, while the timber louvers help to de-
hind and allowing for the continuation of view shafts. the monks quarters in which both are solid masses. The flect direct sun. The idea of minimal heating in the cold
The trauma patients have been given lay to the natural concrete mass acts as passive solar gain through ther- seasons, but allowing for ventilation in the hot summer
landscape (the Avon River) such as the church. This is mal storage. The main functional space located between periods stems from ideas of the Japanese house (during
to encapsulate the aforementioned qualities with wa- the monks quarters and the church displays ideals of the cold season the user puts on extra layers to adapt to
ter. Overall the complex is a more cohesive form and miegakure, allowing the church to become the dominate the season and during summer periods the house may
while allowing for separation between the distinct func- structure. The trauma quarters is constructed from tim- open to the external environments).
tions. It also allows for the journey between them to be ber which is to tread lightly on the natural contours of
experienced and thus creating a more personal internal the site. The timber creates a more homely environment
The main functional area, companions’ quar-
environment. which reflects the materials of the guest home (refer
ters and trauma quarters are more forgiving. This is
to section 11.9 for further information regarding the
achieved through a greater means of personalization of
timber construction).The church and the trauma rooms
Ideas Regarding Structure and Internal internal environment (such as heating and lighting).
are in direct contrast. The companions’ quarters are a

137
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7 . 0 C ritical A p p ra isa l o f Fin a l
D esign

The purpose of this project was to design The church has been the main environ- ings allowing light to be drawn in. The monks’
a Cistercian monastic order building based on se- ment in which to portray the selected ideas and quarters isolates itself in the natural recesses of the
lected Japanese principles. encompasses such ideas as fluidity of nature, light site, the placement of the cloister allows for east-
and journey. The cloister is an active space that is ern morning sun to penetrate the monks’ rooms
highly visible from Victoria Square encouraging signaling the start of the new day. The lay brothers
7.1 Selected Principles
people to enter and engage with the building and and trauma patients’ quarters have been juxtaposed
its ideals. This helps the public to make use of the against each other, the lay brothers on top protect-
Initially, Japanese principles were the movement line through the complex and experi- ing the trauma quarters below. The architectural
dominant factor in the design development pro- ence what they are unfamiliar to. strategy of the facade aesthetic is to emphasise the
cess. They incorporated ideas to help the design spaces within. This is done by allowing glimpses
relate to its context and act as a precedent in a way and initial views into the complex while drawing
forward for Christchurch. However, further in the 7.2 Massing
external light inwards. Overall massing and use of
design process it seemed that the monastic typol- concrete/glass are in keeping with the nature of
ogy itself became the driving factor for the project. The site massing allows the building to the buildings of the street.
The monastic research and development produced extend vertically, past the other surrounding build-
spaces and functions in which the principles would ings to capture light and reveal the entrance. The
7.3 Journey Through
then be applied and adapted. Therefore, to pres- church was to be sunk against the Avon River,
ent the principles a form and function requirement although this denoted a lower hierarchy status
had to be developed first. This subsequently pro- which was breaking with tradition. To help give the The journey through the site reveals the
duced monastic spaces with awe inspiring spiritual church a sense of prominence the roof was raised encompassing functions within the complex. The
interior environments, comparable to the monastic and the massing behind was to portray ideas of journey allows for public to have access through
designs of John Pawson and Hugh Tennent. miegakure allowing the church to have priority. The the site while allowing for the necessary reclusion
cloister was to reveal existing surrounding build- of the monks and trauma patients. The journey

139
140
through the site allows the principles to be experi- tions for a modern day monastery to run success- a holistic approach to an individual’s life. However,
enced in which juxtapositions seen in Ando’s work fully. The placement of the cloister helped to rein- by taking key aspects from Monastic and selected
of light/shadow and natural/man-made. force ideals of piety in which to give lay to existing Japanese architecture, the resulting complex be-
structures and improve what is currently there. The comes more appropriate as a place for contempla-
cloister allowed for Japanese principles such as mie- tion, prayer and self-healing.
7.4 Visual Outlook
gakure and ikidori to be demonstrated and revealed
to the public. The church has been the main gen- 7.6 Future Directions
The visual outlook from the site is con- erating function in which its location and cohesion
stantly changing with specific views becoming with the Avon River allowed surrounding buildings
obscured. These views created an organised focus to extend from. The journey to the church which If more time where to be available, the
helping to create a cohesive bond between exist- sits against the river became the final destination project would look at greater a in-depth analysis of
ing and proposed. This idea has also been demon- of the journey. The separation of the monks and Tadao Ando’s works, including details at 1:1/1:2 to
strated in which the occupants of Victoria Square lay brothers has been kept as in traditional mon- test materiality and construction. More time would
can see back into the depths of the site via the asteries and has been used throughout the design also allow for further research and display of the
cloister and also those occupying Armagh Street process. The success of rehabilitating the trauma selected Japanese principles as well as research into
are allowed a glimpse into the church from street patients depended greatly on the integration and other various principles.
frontage. cohesion occurring between the companions’
quarters and trauma quarters. It is hard to say how
7.5 Functional Monastic Elements well the patients would respond to the architecture
of the complex, although they were designed to be
calm and contemplative in their design. This was
The proposed monastic complex within
due to issues pertaining to contemplation, which is
Christchurch City incorporates the required func-
often a matter of personal issues that would need

141
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8 . 0 Co n clusio n

Throughout the exploration and design sign with the use of Japanese principles within a
processes, research by, into and for design have New Zealand context. The final design is spacious,
been the major contributing tools in reaching a fi- tranquil, holy, rational and an integrated scheme.
nal outcome. The challenge of merging different
functional organisations and their individual spe-
cific needs while portraying the desired sensorial
explorations was a major role in the developmental
process. This has provided the fundamental prin-
ciples for a plausible solution. It promotes public
interaction, a sensorial experience, connection with
the Avon River and integration of the building en-
tity with the surrounding urban context allowing
for the monks’ idea of piety to be portrayed. The
buildings within the complex, while not alluding
traditional monastic architecture directly, have in-
stead employed the qualities of austere appear-
ance, socially devoid individual spaces, awe inspir-
ing internal environments, and the Avon River in
which to integrate and help tie it to Christchurch
City.

The final exploration demonstrates a radi-

cal approach to traditional Cistercian monastic de-

143
144
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Schittich, Christian, Japan: Architecture Constructions
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Tanizaki, Jun’ichiro, In Praise of Shadows.

147
148
1 0 . 0 List o f Figures

Contents tOct%202010/Those%20Inspiring%20Cistercians.html

Figure 1.1: Development of Project. Figure 3.8: Plan of Sainte-Marie de la Thoronet (green – clois-
ter, yellow – church, red – lay brothers). http://archidialog.
Figure 3.1: Giving way to the land. Place, Time and Being in Japanese
com/2010/09/11/
Architecture, 17.
Figure 3.9: Exterior view of La Tourette. http://lovenordic.
Figure 3.2: Built space honouring the spirit of natural place. Ibid,
blogspot.com/2011/04/novy-dvur.html
18.
Figure 3.10: Comparison of La Tourette and La Thoronet. http://
Figure 3.3: Sliding screens inside the Catley House. Group Architects,
archidialog.com/2010/09/11/
211.
Figure 3.11: La Tourette, church interior. http://archidialog.com/
Figure 3.4: The Lowe house using patterned curtains rather than
tag/la-tourette/
shoji screens. Ibid, 213.
Figure 3.12: La Tourette analysis, entrance floor plan (green – clois-
Figure 3.5: The Mallitte House showing a large sliding door. Ibid,
ter, yellow – church, blue – monks, red – lay brothers). http://
213.
cobagonzo.blogspot.com/2011/03/convent-of-la-tourette-karya-
Figure 3.6: Plan of St Gall showing key ideas of layout - cloister le.html
adjacent to church and connects surrounding buildings (green –
Figure 3.13: La Tourette, entrance floor plan. Ibid.
cloister, yellow – church, blue – monks). http://www.gardenvisit.
com/garden/st_gall-sankt_gallen Figure 3.14: La Tourette, cell floor plan. Ibid.

Figure 3.7: The Cistercian Abbey according to Bernard of Clairvaux Figure 3.15: La Tourette, cross section. Ibid.
(green – cloister, yellow – church, blue – monks, red – lay broth-
Figure 3.16: Novy Dvur, complex. http://www.johnpawson.com/
ers). http://www.themedievalchronicle.com/2nd%20year%20Sep-
architecture/monastery/scheme/fulltext

149
 Figure 3.17: Novy Dvur, interior. http://thebesttimeoftheday. file-41231/media
blogspot.com/2011/04/novy-dvur-monastery.html
Figure 4.6: Tadao Ando’s Church on the Water – Exterior photo-
Figure 3.18: Novy Dvur, exterior. http://lovenordic.blogspot. graph. http://jilee23.wordpress.com/2009/10/01/ji-young-lee-
com/2011/04/novy-dvur.html church-on-the-water/

Figure 3.19: Novy Dvur, movement plan. h t t p : / / w w w. Figure 4.7: Tadao Ando’s Church of Light – Interior sketch of light
johnpawson.com/architecture/monastery/scheme/plans penetration.

Figure 3.20: Novy Dvur, lower plan. Ibid. Figure 4.8: Tadao Ando’s Church of Light – Interior sketch cruci-
fix.
Figure 3.21: Novy Dvur, ground floor plan. Ibid.
Figure 4.9: Tadao Ando’s Water Temple – Exterior. http://
Figure 3.22: Novy Dvur, upper floor plan. Ibid.
chlorinegardening.wordpress.com/2010/02/26/water-temple-
Figure 4.1: Tofuku-ji Temple. hyogo-japan-tadao-ando/
Figure 4.2: Sketch of Tofuku-ji Temple – Veranda area, showing Figure 4.10: Tadao Ando’s Water Temple – Interior photograph
ideas of materiality and construction. showing vermilion colour. http://flotsamandjetsamny.blogspot.
com/2010/10/tadao-andos-temple-of-water-awaji.html
Figure 4.3: Le Corbusier’s Modulor. http://www.paul-rand.com/
site/thoughts_designAndthePlayInstinct/ Figure 4.11: Tadao Ando’s Westin Awaji Island hotel – Church inte-
rior. http://tracygan.wordpress.com/2010/04/18/581/
Figure 4.4: Japanese house showing the tatami mat. Place, Time and
Being in Japanese Architecture. 26. Figure 4.12: Tadao Ando’s Awaji Island Hotel – Sketch of ramp
system.
Figure 4.5: Tadao Ando’s Church on the Water - Site plan.
http://openbuildings.com/buildings/church-on-the-water-pro- Figure 4.13: Tadao Ando’s Westin Awaji Island hotel. http://tracy-

150
gan.wordpress.com/2010/04/18/581/ Figure 5.3: Photograph of Christchurch post-earthquake.

Figure 4.14: Southern Star Abbey – Sketch of corridor. Figure 5.4: Photograph of Christchurch post-earthquake – Earth-
quake damage and spire of Christchurch Cathedral missing.
Figure 4.15: Southern Star Abbey time table.
Figure 5.5: Photograph of Christchurch post-earthquake. http://
Figure 4.16: Southern Star Abbey – Interior of guest complex.
blog.yayateahouse.co.nz/2011/03/03/we-have-started-shipping-
Figure 4.17: Southern Star Abbey – Guest room. again-after-the-christchurch-earthquake/
Figure 4.18: Southern Star Abbey – Photograph of corridor. Figure 5.6: Photograph of Christchurch post-earthquake.
Figure 4.19: Southern Star Abbey – Sketch of exterior guest com- Figure 5.7: Photograph of Christchurch post-earthquake – Earth-
plex. quake damage of heritage building.
Figure 4.20: Southern Star Abbey – Model of proposed site layout Figure 5.8: Plan view of initial site.
by Hugh Tennent. http://www.tennentbrown.co.nz/
Figure 5.9: Plan view of selected site.
Figure 4.21: Southern Star Abbey – Proposed site layout by Hugh
Figure 5.10: Photograph of site facing Armagh Street (post-earth-
Tennent (green – cloister, yellow – church, blue – monks). Ibid.
quake).
Figure 4.22: Southern Star Abbey – Site functions (yellow – church,
Figure 5.11: Photograph of site facing Durham Street (post-earth-
blue – monks, orange - companions).
quake).
Figure 4.23: Southern Star Abbey – Site movements (yellow –
Figure 5.12: Site Location – Christchurch.
monks, blue – companions, red - guests).
Figure 5.13: Site Cross Section – Showing Relationship with Avon
Figure 5.1: Site location – Christchurch.
River and Surrounding Buildings
Figure 5.2: Christchurch city structured grid/city blocks.

151
 Figure 5.14: Adjacent site views. View shafts lost due to build Figure 6.7: Lower floor plan.
forms.
Figure 6.8: Basement floor plan.
Figure 5.15: Site Conditions – Sun /wind diagram. The site is shel-
Figure 6.9: Ground floor plan.
tered from the cold, southerly winds, but is open to the east (red
denotes site location). Figure 6.10: First floor plan.

Figure 5.16: Surrounding roads (dark grey - subsidiary road, black - Figure 6.11: Photograph showing entrance and connection with
arterial road, red - site location). Avon River.

Figure 6.1: Salzburg Congress Hall. Veiled Sustainability: The Screen Figure 6.12: Layering of buildings to create separation between
in the Work of Fumihiko Maki functions. Light is allowed to enter via openings.

Figure 6.2: TEPIA (a exhibition pavilion for new technology). Figure 6.13: Church connection with Avon River.
Ibid.
Figure 6.14: Monks area nested within voids of site.
Figure 6.3: Tadao Ando Koshino House. http://www.flickr.
Figure 6.15: Plan of site, cloister within the heart.
com/photos/raimist/3875050857/
Figure 6.16: Companion’s/trauma areas along the Avon River.
Figure 6.4: Tadao Ando Koshino House. http://www.arc-
space.com/books/ando_works/ando_works_book.html Figure 6.17: Interior of church.

Figure 6.5: Koshino House. http://www.behance.net/gallery/Ko- Figure 6.18: Interior of church.

shino-House-Tadao-Ando/1333427 Figure 6.19: Cross Sectional Model.
Figure 6.6: Tadao Ando Church of Light. http://www.flickr.com/ Figure 6.20: Cross Sectional Model.
photos/antjeverena/2652372380/
Figure 6.21: Sketch of Cloister.

152
Figure 6.22: Shaded plan of lower floor. Figure 6.38 : Cross section ideas.
Figure 6.23: Plan view of model (cloister space selected). Figure 6.39: Cross section ideas.
Figure 6.24: Concave concrete entrance wall. Figure 6.40: Ideas of light and structure giving priory to existing.
Figure 6.25 Layered complex / light penetration. Figure 6.41: Ideas of light and structure giving priory to existing.
Figure 6.26: Location of church. Figure 6.42: Model development.
Figure 6.27: Monks area within voids. Figure 6.43: Model development.
Figure 6.28: Location of companion and trauma rooms. Figure 6.44: Cross section ideas.
Figure 6.29: Lower basement floor plan. Figure 6.45: Site model.
Figure 6.30: Basement floor plan. Figure 6.46: Entrance.
Figure 6.31: Ground floor plan. Figure 6.47: Cloister space located at back and cloister location.
Figure 6.32: First-third floor plan. Figure 6.48: ‘Folded’ circulation.
Figure 6.33: First-third floor plan. Figure 6.49: Church entrance.
Figure 6.34: First-third floor plan. Figure 6.50: Companion and trauma area allowing light and views to
be kept.
Figure 6.35: First-third floor plan.
Figure 6.51: Lower basement floor plan.
Figure 6.36: Cross section development.
Figure 6.52: Ground floor plan.
Figure 6.37: Cross section ideas.

153
154
Figure 6.53: First floor plan. Figure 6.68: Plan view showing ideas of materiality.

Figure 6.54: Site layout. Figure 11.1: Intial concepts.

Figure 6.55: Street elevation massing. Figure 11.2: Intial concepts.

Figure 6.56: Victoria Square massing elevation. Figure 11.3: Intial concept elevations.

Figure 6.57: Tower formation displaying crucifix. Figure 11.4: Folding form.

Figure 6.58: Victoria Square elevation. Figure 11.5: Layering.

Figure 6.59: Church formation. Figure 11.6: Layered scene.

Figure 6.60: Diagrammatic planning - ideas of final location. Figure 11.7: Development of folded form.

Figure 6.61: Companion quarters form massing. Figure 11.8: Development series.

Figure 6.62: Armagh Street concept elevation. Figure 11.9: Development series.

Figure 6.63: Development of trauma room internal layout. Figure 11.10: Manipulation of formal geometry.

Figure 6.64: Internal church - preliminary render. Figure 11.11: Lines of movement.

Figure 6.65: External view - preliminary render. Figure 11.12: Dimensional planning.

Figure 6.66: View of complex - conceptual preliminary render.

Figure 6.67: View of trauma/companion areas - conceptual prelimi-

nary render.

155
156
1 1 . 0 App en d ix

11.1 Brief definition of Zen the Sukiya style detached palace, Katsura Rikyu”90. ed Ise authentic status on the grounds of its ratio-
It is with Taut’s writings that Katsura and the Ise nale structural expression.
shrine have come to be regarded as honmono, au-
The word Zen somewhat translates to
thentic, in opposition to ikamono, kitsch or trash
‘meditation’ or ‘meditative state’ which ties itself to Katsura Rikyu
as Taut translated it and found represented by
the aims of the project (regarding the process of
Tokugawa and Nikko Toshogu. On the basis of
mental healing). Zen aims at a focus of self-realiza-
these buildings he claimed “simplicity almost to Taut thought Katsura achieved Japan-ness
tion through meditation. Zen is developed in a way
the point of poverty is the essential basis of Japa- through its demonstration of a “freedom of in-
which emphasizes on direct experience rather than
nese aesthetics.’’ tellect which does not subordinate any element of
on the rational. The project itself aims at a sen-
the structure or the garden to some rigid system”92.
sual experiential environment in which unfamiliar
He felt sure that the unique quality of Katsura,
architectural ideas can be invoked. The daily rou- Ise Jingu
ascribed to Kobori Enshu, was the doings of
tines of Zen (meditation periods broken with short
“a man who must have been an authority on
rest breaks, meals, and sometimes, short periods of
Taut acclaimed the Ise temple for its Bud- taste and had a remarkable quality of inven-
work) relates closely to the routines of Southern
dhist subordination of the aesthetic to structural tion, as well as liberty from convention and a
Star Abbey and Cistercian monks. The idea of wabi
necessity. In Ise he found “the art of omission” vast artistic horizon.93”
(as mentioned in section 3.2) closely follows the
pushed to its extreme and declared “after a first
ideas of Zen.
visit to Ise one knows what Japan is”91. Taut grant-
The goal for a modem Japanese ar-
90
David E. Young, Introduction to Japanese Architecture
(Singapore : Periplus ; North Clarendon, VT : Distributor,
chitecture was found in Katsura, but could
11.2 Traditional Japanese
Tuttle Pub, 2004), 100. only be accomplished where “the materials
91
Sandra Kaji-O'Grady, Authentic Japanese architecture after Bruno remain architectural; where the architect has
“Bruno Taut proclaimed that the two high Taut: the problem of eclecticism, http://espace.library.uq.edu.au/
eserv/UQ:23877/n11_2_003_KajiOGrady.pdf (accessed
92
Ibid,.
points of Japanese architecture are Ise Jingu and April 10, 2010). 93
Ibid,.

157
158
freedom to grapple with new problems and
is allowed to develop and to gain recognition;
and where the prospect still exists of becom-
ing a modern daimyo in intellectual pursuits and
in decisive influence on the problems facing
the country.”94 Consistent with his earlier dis-
interest in concepts of historic authenticity,
Katsura is revered for its “eternal beauty for-
ever inexplicable”95. Taut declared beauty was
achieved in the palace because its architect uni-
fied common utility with dignified representa-
tion and philosophical spirituality.

94
Ibid,.
95
Ibid,.

159
 11.3 Preliminary Designs increasing their scale to create modules within non-judgmental stage of the design process.
the site.
The first concepts (figure 11.1) were
derived purely from site research and experi- The last concept within this series
mentation with surrounding geometry. Con- (11.3) looked at experimentations of ground
cepts are aimed at creating a connection be- floor to formulate and influence upper floors.
tween the west side across to Victoria Square Within this model a central space is created
where the general public could circulate within which can be viewed from the adjacent park
the complex. Initial thoughts regarding the right into the heart of the site. The central col-
incorporation of the Avon River into the site umn was reminiscent of the traditional Japa-
could be done by means of either cantilevering nese techniques of using a natural object with
part of the concept over the river, or bringing historic value to anchor the building. The col-
it into the heart of the site to create natural umn height is that of a twelve story building
features. The models represent ideas of forms and was placed within the site model to get a
and geometry that could be used in future con- sense of relation to the surrounding buildings.
cepts.
Initial series aimed at trying to create
The later concepts within this se- axis through the site and placement of form.
ries (figure 11.2) were derived from develop- Later concepts within this series looked at Jap-
ing ideas in relation to Japanese architectural anese principles. The monastic order had not
principles. Picture * shows the idea of using been implanted or looked at during this stage,
traditional tatami mats (1800 x 800mm), but as stated in the methodology it was a purely

160
Figure 11.1: Intial concepts.

Figure 11.2: Intial concepts.

Figure 11.3: Intial concept elevations.

161
 Design 2 The idea of layering seems to create a this series was the idea of wrapping a building
more monastic feel within these early develop- within its walls, nesting itself within its own fa-
This series was more an experimental ment models (figures 11.5). Just by layering a cade (figures 11.7). Another option of this ex-
stage to conceptualize how these principles box within a box and creating a recessed feel ample was to cut away at its own façade where
might look if regarded separately from the site. the idea of layering shifted to a focus on the the building would eat away at itself allowing
Ideas pertaining to connection with nature and idea of nesting within. This model sparked travel of, not only people, but also the external
how to frame the views were the main focus ideas showing how horizontality of traditional elements, bringing the outside in.
of these preliminary designs. These ideas were Japanese architecture and the more vertical lay-
explored through emphasizing directions and ering of modern Japanese architecture could
paths of movements. Although this experi- be intertwined.
ment yielded interesting forms, it seemed to be
losing the feel of the desired monastery. The idea of layering was to be used
so that an overall form may be created using
The idea of folding a single piece of individual layers (figures 11.6). For example,
card created a form that grew from itself thus when looking from a certain perspective a
creating layers and an interconnecting space in view would be framed to create a picture. In
which ma and oku would become purely reliant this example the idea of layering walls to cre-
on the function of the space (figure 11.4). This ate the cross of the church, so that the crucifix
method was trialed although it seemed to be may only be seen from inside the church while
creating random forms which had little or no externally it appears as a series of walls.
meaning behind their creation.
The final idea to be looked at within

162
Figure 11.4: Folding form. Figure 11.5: Layering.

Figure 11.6: Layered scene.

Figure 11.7: Development of folded form.

163
 Design 3

The first 1:200 model was created to

start demonstrating the ideas described earlier.
This design was to look at ideas pertaining to
layering. The design focused on creating an
overall geometry from which building forms
would be created from. This was to give a re-
lationship within the clusters of buildings. The
model demonstrated view shafts that were first
hinted at in the preliminary design stages. Al-
though the overall form looks somewhat fu-
turistic it became more of an experiment of
form that actually demonstrated a ‘monastic’
feel. This concept did achieve overall layout
needs and initial principle incorporation, but
needed to become more ‘refined’.

164
Figure 11.8: Development series.

165
 Design 4

The next step was to extrude the ge-

ometry to create an overall feel of massing
in which to relate the proposed buildings to
their surroundings which would give respect
to the monastery’s ideas of piety (figure 11.9).
The height of the church was to reach ground
level. It was noted that, due to the height and
placement, a buffer, or obstacle, would need
to be placed to stop people from walking di-
rectly onto the church. The monks’ cells were
to be raised up in the left over voids created by
existing buildings. This would create problems
when dealing with an internal environment
due to the enclosed space and tight proxim-
ity.

166
Figure 11.9: Development series.

167
 Design 6

Form and massing were to be selected

and manipulated in order to break down the
overall simplicity in geometry, while still keep-
ing uniformity (figure 11.10). The concepts
looked at creating a central space in which the
majority of functionality would occur and the
surrounding areas acting as the more private
uses such as monks’ quarters and lay broth-
ers, etc. A curved wall was used to help the
inculpation of public into the complex. With-
in these concepts it became noticeable that
there was no connection or thought given to
existing surrounding buildings.

168
Figure 11.10: Manipulation of formal geometry.

169
 Design 7

After experimenting with cardboard it

was logical to swap between design methods,
in this case planning. A clean and logical pro-
cess regarding movement through the site was
needed to ensure a clean journey from end to
end in which public and lay brothers can be
kept separate from the monks. From the sim-
ple diagrammatic movement diagram a plan
slowly evolved in which spaces could form
around the ideas of movement lines (figures
11.11). The public and entrance areas would
be located near the entrance, which would be
located on vertical lines, to encourage move-
ment through the site. The development from
this plan looked at creating a journey from the
road frontage into the heart of the site, this
would mean one would not first enter a recep-
tion building, but instead enter the cloister and
then be free to move onto the next desired
area.

170
Figure 11.11: Lines of movement.

171
 Design 8

As a development from planning three

dimension modeling was started in order to
start looking at circulation and the connection
between building heights. With basic footprints
marked and then extruded from the designed
unusable voids were created which would re-
ceive little or no sunlight and become space
wasting. The idea of protecting, or sheltering,
the trauma complex by means of using the lay
brother’s complex to surround the building
acting as a buffer to protect it from the public
moving through the site was adopted.

172
Figure 11.12: Dimensional planning.

173
 11.4 Other Monastic / Cistercian Research Carthusian; each with their own distinctive similarly divided, surround the apse. The stalls of
ways of life. the monks, forming the ritual choir, occupy the
four eastern bays of the nave. There was a second
Within the role of monasteries there
range of stalls in the extreme western bays of the
consisted different directions in which it would
The “New Monastery” in Citeaux nave for the lay brothers. The cloister was located
run. “One eremitical approach, consisting of
to the south of the church so that its inhabitants
communities that sought a life of utter sim-
could benefit from ample sunshine.
plicity and self-denial, where a reign of physi- Cîteaux Abbey was founded in 1098, seek-
cal hardship and isolation was regarded as the ing to follow more closely the Rule of St. Benedict,
only way to achieve a closer union with God under the leadership of Saint Robert of Molesme. 11.5 Maki Fumihiko Account of the Single Storied
…. At the opposite extreme were communities Cistercian monasteries were all arranged accord- Dwelling in Japan
that devoted their time to worship, where the ing to a set plan, unless the circumstances of the
main task of the monk was to participate in locality forbade it. Beyond the wall a moat, artifi- Maki Fumihiko gives an account for single
rich liturgical pageant, with carefully rehearsed cially diverted from tributaries which flow through storied dwellings in traditional Japanese architec-
chanting and well-order processions, main- the precincts, completely or partially encircled the ture in which “during the Edo Period, the Kura-
tained according to precise timetable through- wall. This water furnished the monastery with an shiki magistrate did not allow average citizens to
out the year.”96 abundant supply of water for irrigation, sanitation build two story machiya. As a consequence, rich
and for the use of the offices and workshops. The merchants constructed houses that appeared to
church consists of a vast nave of eleven bays, en- have two stories. In reality, the front area of the
There are various different orders of tered by a narthex, with a transept and short apsi- house consisted of a high open space with slat-
monks and nuns such as Benedictine, Cluniac, dal choir. To the east of each limb of the transept covered windows on the upper part of the walls to
Cistercian, Premonstratensian, Augustinian, are two square chapels, divided according to Cis- let in light.”97
96
Roger Stalley, Early medieval architecture (Oxford : Oxford tercian rule by solid walls. Nine radiating chapels,
University Press, 1999), 167. 97
Ibid, 92.

174
11.6 Tadao Ando’s Komyoji temple shaped) structures lies an intricate construction de- when they are introduced inside a house in a form cut off
tail which the visitor walking around the veranda from the outside world. The isolated fragments of light and
looks up to. air suggest the entire natural world.”100
Tadao Ando’s Komyoji temple is a place
for worship within the town of Saijyo. On one side
of the temple is the 250 year old Komyoji temple. The journey to the temple entrance is as 11.8 South Star Abbey’s Monks Initiation Steps
Due to the temple being kept in use during con- complex as the temple itself in which the travelers
struction Ando uses the existing bell tower and the experiences ma and oku. The journey begins from The complex will follow the same initia-
entrance gate for the newly built Komyoji temple the street front, taking the visitor through tight tion steps as at South Star Abbey:
weaving the approach route to the new temple narrow backstreets. White washed walls are broken
around them. The gate and the bell tower have with two large wooden doors and a timber beam
now become a part of the journey into the temple running across the ground, which one must step • Postulant - living with the community for a
and help to tie the newly built form to its history. over. The temples have landscaped areas, often period of at least six months.
with Zen stone gardens. The gardens within the • Novice - two years as a member of the com-
11.7 Japanese Temples temples are meant to be viewed, but not touched munity ‘learning the ropes’.
- the unreachable. Interiors of the temples consist
of walls and sliding doors “made of wood, plaster • Student - three years (minimum) of continu-
The Japanese temple exhibits “carved
on bamboo lath, and paper. Ceilings are of wood, ing formation/education.
gateways, paved courts with their votive lanterns,
stages for the mystic dance, shrines with their gold- and floors, when not of wood, are of straw mat, • Monk - solemn Monastic Consecration (per-
en walls and coloured pillars, stairways, and clois- tatami, or bamboo.”99 manent commitment).
ters with their gilded demons and dragons”.98 At
every corner of the giant (typically geometrically “Such things as light and wind only have meaning
Ernest H. Short, History of Religious Architecture, (Kessinger
98 99
Walter Dodd Ramberg, Some Aspects of Japanese Architecture 100
T Ando, “From Self-Enclosed Modern Architecture
Publishing, 2003), 106. (2004): 8 http://www.jstor.org (accessed April 10, 2011). Towards Universality,” The Japan Architect 301 (May 1982), 9.

175
 11.9 Timber Construction together into multiple layers to produce a product later rearrangement of internal spaces. Exterior
many times stronger than the original lumber.”101 cladding systems need to be independent of the
“Lengths of laminated veneer lumber are prefab- structural elements, so that they can be inspected
Within Japan timber is considered to be
ricated into beams, walls and joists. Steel cables regularly and be changed when necessary.”103
more than just a building material and is valued
for its association with nature, colour and texture. then tie the structure together by threading hori-
But timber buildings are vulnerable to fires. For ex- zontally through ducts in the beams and holes in 11.10 Layering
ample on the 1st September 1923 when an earth- the columns, and vertically from the foundations
quake struck Tokyo leaving many timber buildings to the top of the wall panels. The whole system is
then clamped tightly together. Under the force of Layering within traditional Japanese ar-
still standing subsequent fires destroyed two thirds
an earthquake, the structure rocks and flexes, and chitecture can often be seen separating layers of
of those remaining buildings. Contemporary Japa-
then re-centres with no damage to the joints.”102 function, or use/users. Within traditional temples
nese timber designers often seem to draw inspi-
“This post-tensioned timber system offers archi- verandas are used to distinguish between outside
ration from traditional construction practices. In
tects and structural engineers the opportunity to and inside, although the veranda can become an in-
New Zealand a company called Structural Timber
design large open-plan multi-storey buildings with termediate which transforms spaces from inside to
Innovation Company (S.T.I.C.) has been set up to
great flexibility for future changes of use. Long outside. The layout of traditional Japanese houses
look at the structural capabilities of timber con-
span post-tensioned timber beams require fewer uses the more public spaces, such as the living/en-
structed buildings (specifically radiata pine). The
internal columns and walls, resulting in versatile tertainment room, as an outer layer which becomes
idea behind the S.T.I.C. system is that “laminated
and attractive places to live or work. The major more public than private, allowing for a freer ac-
veneer lumber and pre-stressed steel cables – both
benefit of post-tensioned timber frame systems cess to the area and giving it a secondary function
of which are already widely used in the construc-
over cross-laminated timber (C.L.T.) panel systems as a hallway. By layering the house, using rooms
tion industry. Laminated veneer lumber is pro-
duced en masse by companies such as Carter Holt is that there are very few structural walls to impede A H Buchanan, S Pampanin, M Newcombe, A Palermo,
103

101
Rebecca Macfie, "Outside the Square," The Listener, Non-conventional Multi-Storey Timber Buildings Using
Harvey (a member of the S.T.I.C. consortium); ra- October 9, 2010. Post-Tensioning: http://www.jstor.org (accessed April 10,
diata logs are peeled into thin strips, and glued back 102
Ibid., 2011).

176
instead of access paths, it allows smaller sized lots South Star Abbey Tennent aimed at creating spaces
of land to be fully utilized creating a more ‘open that make “you breathe differently and your mind
plan’ type situation. slows down and you become more aware of your
place in the universe.”104 The juxtaposition of light
Not only can layering be considered in a and shadows is employed so as to create layers of
horizontal formal situation, but also as a layering a sensual experience, such as self-reflective or self-
of senses. As in Ando’s Water Temple, multiple lay- aware spaces. Therefore, layering, in this sense, is
ers are used to separate and prolong the entrance recognition of the delights of the hidden and the
of the temple, creating a journey in which one is partially revealed.
‘purified’, as in traditional Buddhist temples. This
idea helps to give a hierarchy of importance to the With regards to layering Ando employs
space, while also allowing for a deeper connection ideas of spatial enclosure. Ando creates enclosed
to occur within the architectural form. Within the space primarily through the use of thick concrete
Water Temple Ando also uses layers to symbolize walls; he writes “the primary significance of en-
greater importance with regards to the symbolic closure is the creation of a place for oneself, an
meaning of religious icon. At the centre of the Wa- individual zone, within society.”105 Within small,
ter Temple lies a Buddha. Ando has nested it within spatially enclosed spaces, Ando states that the
the heart of the site, not only in horizontal terms, thoughts of the occupier can range into infinity.”106
but also burying it into the ground. 104
Sarah Catherall, "Spiritual Dimensions," The Press, June 18,
2011, sec Design
105
Tadao Ando, “A Wedge in Circumstances,” The Japan
The principle of layering also includes that Architect 243 (June 1977).
of light and materiality within the overall form. In 106
Tadao Ando, “From Self-Enclosed Modern Architecture
Towards Universality,” The Japan Architect 301.

177
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