the architecture of contemplation
//
report I
bram van grinsven
4198638
bram_van_grinsven@hotmail.com
spring studio roosenberg
interiors, buildings, cities
irene cieraad research seminar
ar3ai055
18.05.2017
Visions of an Industrial Age
Uno Tomoaki // 'Temple House'
Retrieved from http://tomoaki.com/templeproject at 10-05-17
Contemplation //
con·tem·pla·tion (konʹtem-plaʹshen)
1. The act or state of contemplating.
2. Thoughtful observation or study.
3. Meditation on spiritual matters, especially as a form
of devotion.
4. Intention or expectation: f.e.: sought further
information in contemplation of a career change.1
The word contemplate derives from Latin, meaning "to
observe, especially in a space (temple) marked off for
observation". With the word space integrated into the actual
origin of the word, inherently a concern for the relation
between the designed space and the act of contemplating
arises. This mutual connection and influence creates the
starting point of this research; the physical manifestation of
contemplation in architecture.
The dictionary explains contemplation equals meditation on
spiritual matters, but contemplation can’t be considered to be
an equivalent of meditation. Meditation is focussed on
something or someone specific; a subject.2 Meditation is
often, for many centuries in the Western Church, referred to
more cognitively active exercises, such as visualisations of
Biblical scenes or lectio divina – the practice of a slow,
thoughtful, "savouring" reading of a Bible verse.3 In this
definition, also physical activities such as yoga, can be
considered meditation, as this entails a physically focussed
exercise in order to reach cognitively active state.
Contemplation on the other hand is a relation between two
equal subjects.4 The human subject tries to open itself
towards the other subject (often God) by just being in its
presence. In the Western Christian tradition contemplation
entails the spiritual meeting of God. In this definition of
contemplation, no activity is involved.
In modern society, the definition of contemplation is often
used in a non-religious context. It is referred to as a mode
of profound self-reflection, the devotion is not necessarily
addressed to a super mundane power, but rather towards the
essence of the subject’s own spirit. In this research into the
architecture of contemplation, both the religious as the non-
religious manifestations are considered.
1
Oxford English Dictionary
2
Watts, Alan. "11 _10-4-1 Meditation." Eastern Wisdom: Zen in the West &
Meditations. The Alan Watts Foundation. 2009.
3
Keating, Thomas. Open Mind, Open Heart: The Contemplative Dimension of the
Gospel, 1986.
4
"Contemplation", Catholic Encyclopedia, New Advent. Retrieved March 19, 2017.
Types of manifestations of contemplative architecture //
It is undisputed that physical design affects mind states and
social interaction. As Bermudez writes, architecture has the
power of "moving us from the ordinary to the extraordinary,
from the profane to the sacred."5 The physical design
responsible for such movement can be a range of contexts,
from sacred spaces such as religious buildings, to calming
gardens, to spaces of refuge in vibrant urban centres.
Jones distinguishes three significantly different ways of
conceiving of the relations between built forms and the act
of contemplation.6 Firstly, she defines the so called "theatric
mode", the prospect of architectural forms that provide the
stage-setting or backdrop for theatrical spiritual activities.
Here, the built forms themselves are mostly not the objects
of the ritual. In these cases, it would be more accurate to
say that people experience the ritual performances that the
architecture facilitates rather than experiencing the
architecture itself.7
Theatric mode:
John Pawson’s St. Moritz church, 2013
Retrieved from https://www.dezeen.com/2013/07/31
/st-moritzbyjohnpawson at 10-05-17
5
Bermudez, Julio. Transcending Architecture, Washington, 2015, page 22.
6
Jones, Lindsay. Architectural catalysts to contemplation, Washington, 2015, page
170
Idem, page 178
7
An example of an architectural piece built in theatric mode,
is a traditional protestant cathedral. With its clear focus point
on the altar and the spectacle of the mass, the building has
a clear facilitating theatrical function, giving meaning and
spirituality through its scale and impressive but modest
architecture, that doesn’t form an object of devotion on
itself.
Theatric mode:
Facilitating the spiritual rituals, creating a focus point
Secondly the "sanctuary mode" is distinguished. This type
entails architectural forms that simply provide boundaries
between the wider, presumably more prosaic, environment and
some special "sacred space" in which the experiential
engagement with "the divine" takes place.8
The Christian abbey or monastery is a clear example of a
building in sanctuary mode. Most Cistercian abbeys and
monasteries share their introvert typology, closing the inner
spiritual environment off from the outside world, thereby
creating a contemplative atmosphere in its heart; the court
yard. In some orders, traditionally the monks and nuns
inhabiting the monasteries lived their lives completely between
the walls of the domain, having no contact at all with the
prosaic world. The boundaries between the two worlds create
a mythical secluded experience.
Sanctuary mode:
Closing off a spiritual place from the prosaic world
8
Jones, Lindsay. Architectural catalysts to contemplation, Washington, 2015, page
170, page 180
Sanctuary mode: Abbey of Roosenberg, 1975
Retrieved from http://greenmast.tumblr.com/post/54126429028/functionmag-
roosenberg-abbey-waasmunster at 10-05-17
The third way of conceiving the relationship between
architecture and spiritual or contemplative experience, is the
mode of actual architectural contemplation, the "contemplation
mode". This involves built configurations that serve as the
actual object of direct and purposeful, meditative attention.
An example of the contemplative mode where the architectural
elements are not just helpful but instead are absolutely
crucial in instigating the subsequent religious experience, is
the Buddhist stupa. Temples like Angkor Wat in Cambodia or
Borobudur are sacred subjects of worship, becoming a holy
object an sich. The most famous example of the
contemplative mode is probably the Hadj in Mekka.
Contemplative mode: Hadj in Mekka
Retrieved from https://beritasumut.com/Politik at 10-05-17
Contemplative mode: architectural object focussed
Whereas Jones’ three types of modes are mainly used to
describe different religious ways of reaching a contemplative
state, these modes can very well be applied to non-religious
ways. Applied to the abbey of Roosenberg as the religious
institute it was, the theatric mode can be found in the
church. With its circular shape, clearly focussed on the
central altar, it provides a stage for ceremonial activities. The
church is shaped not to astonish by itself, but to facilitate a
collectivistic way of reaching a spiritual mode, where the
priest and his words are the actual catalysers. The ceiling
that reaches its total height in the centre, the light,
everything focusses the attention on a stage that by itself
isn’t particularly initiating any mental mode of contemplation.
When seeking for a new function for the church, this specific
theatric quality of the space should be well considered. Ideal
for inspiring lectures, or maybe even collective contemplation
in a non-religious way. When designing spaces for collective
or more ceremonial functions, one should very well be aware
in which of these contemplative modes to design. Too much
attention on the architecture itself will withdraw attention from
the actual act, the difficulty is to facilitate rather than
demand.
The sanctuary mode is most strongly present in the abbey of
Roosenberg. Most Cistercian abbeys and monasteries share
their introvert typology, closing the inner spiritual environment
off from the outside world, thereby creating a contemplative
atmosphere. It is this sanctuary quality that is very much
useful for contemplation in relation to educational functions.
When designing spaces for studying or concentrating, this
cloister like sense of isolation helps to create an inner world
in which all disturbing factors are filtered out. Architecture
that provides an island of peace and a serene atmosphere of
pure concentration is ideal for a retreat centre as is planned
in Roosenberg.
The contemplative mode, where the architecture itself is the
object of inspiration, wasn’t initially designed on purpose by
Van der Laan. In contrary to the lavish gothic cathedrals that
are undoubtedly instigating devotion, the Roosenberg abbey is
built in the modest style of the Bossche School. Van der
Laan wanted the architecture to facilitate the rituals in the
most ideal way possible without distraction. Van der Laan’s
architecture is therefore arguably more fitting in the tradition
of the protestant builders, than the catholic ones.
Today however, the contemplative mode can arguably be
found in the specific Bossche School architecture of Van der
Laan. The sole existence of this course, proves that the
abbey has become a subject of admiration. The contemplative
mode can therefore be found in the specific style and
atmosphere of Van der Laan’s gesamtkunstwerk, making the
abbey worth to preserve.
All three modes, described by Jones, are present in the
Roosenberg abbey. On different levels these modes can fulfil
an important role in determining the direction of design.
Whereas to preserve specific aspects of Van der Laan’s
design as well as to create new spaces of contemplation,
categorising and analysing raises awareness and understanding
of the building. Contemplation has always been the leading
factor in the Roosenberg abbey, and it will remain to play a
crucial role in the Roosenberg university retreat centre.
