Universal Sacred Space

Universal Sacred Space Design

Our studies of the art and architecture of sacred spaces included many ways that human beings have found to express their relationship with the spiritual. Our design for a universal sacred space incorporated several of these, but is by no means all inclusive.
The Sacred Space is designed in which all who wish to worship could do so. It is designed to eliminate or minimize boundaries between the physical world of matter and the spiritual world to encourage the worshiper in their quest to differentiate between flesh and spirit and in their worship to approach their god or deity in spirit. We have chosen to make the area for congregation a small worship space as shown in the photo in order to emphasize the worshipper's connection with the surroundings and make transparent any perceived boundaries between matter and mind. Our Sacred Space has no roof and the rustic "natural" wooden seating emphasizes a connection to the physical world, while making a separation by standing or kneeling an easy accomplishment. This design incorporates aspects of nature while maintaining the desired transparency. Also, without a roof there truly is a lack of boundary between flesh and spirit, which as is the case with many religions assumed to exist either actually or metaphorically "above" the worship space. The rustic wooden seating delineates the congregational area for worship and a sense of longitudinal space is present in paths on either each side of the seating and between to accommodate processional ritualized worship. Our design utilizes the open spaces of the valley and beach to provide for communal space, open and without boundaries, where the worshipers are offered opportunities to admire the nature and beauty of Hawaii and hopefully be inspired .
The immediacy of the ocean, the basis of life on our planet, evokes thoughts of nature and ideas utilized by nature based religions as well as reminding some worshippers of more conventional faiths that utilize the metaphoric life nourishing aspect of water in their imagery of our connection to the sea.
Ideally the congregational would be entered from the South and the stage or podium would be on the North. A west exit to the ocean would be the location of the communal open air space flooded by natural light during the day and canopied by stars at night. The area between the Chapel and the ocean would provide a communal space. This space would permit a gathering overlooking the ocean and offered a feeling of protection and enclosure by the imposing walls of the beautiful Pololu Valley.
A short walk down the beach a prayer wall would be erected that would actually meander into the ocean. Worshippers could follow the path along the wall and pause to worship, or if appropriate utilize Conch shells to ritually scoop sand and return it to the beach, or water and do the same to symbolize a loved one lost, a celebration or a special prayer. The sand symbolizes how significant each grain is to the earth as people are significant to each other. There is the celebration of being washed in ocean water to signify the renewal of a person’s spirit. The ocean is pure and each wave represents the continual change that occurs day to day and moment to moment.
We would include pathways branching away from the wall that would lead to a scheduled area for various religious groups to worship in an area devoted to their specific practices and symbols. In each of these areas a small space would provide icons and symbols of a religious nature that would aid in the worship process. Christian crosses and statuary might be found in one location, carved Tiki's representing early Hawaiian deities in another, elements of worship of Judaism and Islam might adorn others. The Pololu Valley would provide an ideal center for a unified sacred space, that would include a ritual journey that would lead to this sacred site. In addition to a "normal" path from a parking area located on the peaks above the Pololu Valley, the chapel would also have a path that would be a secondary path for those seeking enlightenment that is long and somewhat difficult for the worshipper to trek to reach the sacred site. The path would resemble a smooth flowing shape that will be a unified symbol for peace and harmony. It should do this because its purpose is to challenge the mind but at the same time keep the mind in a tranquil state of being. The path would go through a cave, over water, through the forest and then last up the mountain so that the person would be able to see the path that creates a symbol of peace. Then after being on top of the mountain there will be a straight path leading to the entrance of the sacred space. If will feel welcoming to the person and also give a feeling of accomplishment and reunite one with the supreme power.

Our universal sacred space is a sanctuary located on the coastline at the base of a lush valley. As you sit among the congregation the open air design of the sanctuary allows you to hear the waves hitting the coastline in the background. Your sense of smell is stimulated by the fresh scent of the ocean air. As you exit to the west you face the ocean in the background which is only a few feet away. The view gives you the feeling of freedom and limitless opportunities. In the evening you see a beautiful ocean sunset as you exit the sanctuary. Palm trees and tropical foliage surround the sanctuary on the north, east, and south sides. Tropical breezes flow freely through the sanctuary along with the sounds of the rustling palm trees. The sanctuary is always very relaxing especially when it is raining. The sound and smell of the rain is very mesmerizing.
In order to keep our sacred space completely natural, the entire structure is built with materials provided by nature. One of our main goals was to provide worshipers the opportunity to become one with nature and be away from the trappings of modernization. Our sanctuary is accessible by a winding wood planked path that separates the parking area from the sanctuary. This insures that you cannot hear or smell the congregation’s automobiles when visiting the sanctuary. Torches and lanterns are used to light the sanctuary and walking path. The flickering light is relaxing and provides symbolism and the warmth of fire. Our sacred space gives worshipers of all religions the opportunity to become one with nature and their god.
The Universal Sacred Space is located between two mountains in the Pololu Valley. The sacred space and solitude of the structure is to allow people to recapture inner peace. The structure is made from wood from the valley. The building itself is made of all natural substances. The planks are constructed, not using nails but of natural fittings. The benches are also made from wood from the valley. Amazingly the entire structure is built to withstand the winds and rainy seasons. The structure is open so as people enter through the structure on the south side they are greeted by the luminous light that fills the structure from the east to the west. The north end of the building is open and the view past the podium is that of the wall of mountains of majestic colors that surround Pololu Valley. The salty winds blow in from the west and people are embraced by the sounds of the ocean. The structure is designed so that entry will only occur from the south with the emphasis on the procession to the open alter. The exit is to the west where the people are to proceed to the ocean so to symbolize a new beginning.
Earth and water are life-sources or sustainers of life. In Assyro-Babylonian mythology, first the gods and subsequently all beings arose from the fusion of salt water (Tiamat) and sweet water (Apsu). The holy books of the Hindus explain that all the inhabitants of the earth emerged from the primordial sea. At the beginning of the Judeo-Christian story of creation, the spirit of God is described as stirring above the waters, and a few lines later, God creates a firmament in the midst of the waters to divide the waters (Genesis 1:1-6). In the Koran are the words We have created every living thing from water. Judeo-Christians also have many representations of "sacred" springs, etc because of a connection with a miraculous event. Water also represents springs and well such as the fountain of youth, etc.
The Celts also had a unique way of looking at water and wells. Water was the boundary between the otherworld and our world. It was the boundary between land and sky. Since the water came from the otherworld and/or deep from the earth it was especially blessed. Water that bubbled to the surface or that was steamy and hot was especially thought to have healing properties to pre-Celtic and Celtic as well as Roman settlers to these countries. Also, when you think about the Celts and where they lived, surrounded by water on all sides, you begin to realize that they more than likely realized the strength of water and how it could both destroy and heal.

Johnny Limones

Pyramid of the Sun

General Description

One of the largest buildings located in the city of Teotihuacan is the ancient Pyramid of the Sun. The Pyramid of the Sun is an old pyramid that was built by the Teotihuacanos in two phases and then was later abandoned and inhabited by the Aztecs. There is still not much known about the Teotihuacanos. Discoveries show that most of the construction was done from 100 A.D. till many years after even though it seems as if the city was established during the time of Christ and would be used as a place of worship. It is the third largest pyramid and was one of the largest cities in the fourth century with a population of about 125,000 inhabitants. Three centuries later, their civilization had completely diminished. There is still a controversy over what actually happened to them.

Architectural Design

The pyramid is made of stone and originally plastered and painted red. Along with the red paint there were many big and beautiful murals painted on the inner walls. The size of the pyramid is 738 square feet at the base, and has a height of 233 feet. The design had four distinct platforms. It had a temple, and an Adosada platform. Unfortunately, the temple and the upper levels of the pyramid no longer exist and are destroyed. In the early 20th century the pyramid was reconstructed with five platforms. Many admirers of ancient locations were not to pleased with the changes so there was a bit of speculation.

Harmony with Nature

There is a row of stairs that face west towards the direction of the setting sun. The sun was the center of attention and power therefore the Aztecs believed that the pyramids main purpose was to worship the sun. It is also noted that the pyramid seems to be in the same orientation as the Mayan long count calendar and therefore has a higher significance in its use and could have been a symbol for time. However, this might not be the true purpose that the Teotihuacanos had for the pyramid. The fact that there is a natural cave is an example of its connection to nature as well thus showing another reason of why the pyramid was built at that specific location.

Symbolism and Sacred Objects

A couple of artifacts were found in the pyramid one of which is a vessel that had an image of the Storm God Tlaloc. This god’s purpose did not necessarily emphasize the function of pyramid but was stilled worshiped in the pyramid. The place where this pyramid is said to be is where men would go to become gods. There is a cave underneath the pyramid and is thought to have burial chambers with corpses in them that might lead to further explanation of the pyramids purpose. The adosada platform is decorated with many figures of animals like jaguars and snakes which seemed to have some kind of godlike importance.

How it was used by Worshippers

The use of this pyramid by worshippers is not certain but as stated before many believe it is o give praise to the sun god. The cave that is under the pyramid could have been used for burials of important spiritual people. There could have been ceremonies that took place that would turn men into gods. Whether the entire pyramid was intended as a burial place or as a place for the sun god is not known. The main use would be by the Atecz in their worship for their gods. The use of the pyramid changed of course and is now a historical landmark.

Sources

http://en.wikipedia.org/wiki/Pyramid_of_the_Sun

Sacred Places - The Pyramid Of The Sun At Teotihuacán

http://www.uri.edu/personal/lteg2422/pyramid.html

Mario Maiorana

The Ziggurat of Ur

General Description:

The Ziggurat of Ur is located in southern Iraq. It was built in what was then the city of Mesopotamia between 2250-2233 B.C. Ur-Nammu became the ruler of the cities of Mesopotamia around 2100 B.C. He built several Ziggurats to worship gods. They were built up until 500 B.C. The Ziggurat of Ur was built to worship the moon god Nanna.

Architectural Design:

The Ziggurat has a pyramid look to it. The front has three sets of steps leading to the top. The size of this structure is breathtaking considering when it was constructed. The structure is filled with sand. As you walk around the structure you see hundreds of openings which allow water to escape and allow for expansion caused by moisture. On the left, right, and back side of the structure there is a small set of steps that lead into a false entranceway giving the appearance that the structure is hollow and you can enter it. The faces of the walls have several staggered vertical layers giving a pillar like appearance. The facade of the Ziggurat has eroded throughout the years and is missing the top three levels. In 1923 an excavation jointly sponsored by the British Museum and the University of Pennsylvania Museum cleared the rubble around the Ziggurat. It was reconstructed to its present state by the Iraqi Directorate of Antiquities.

Harmony with Nature:

Being in southern Iraq, the surroundings of the Ziggurat are vast flat desert land. On the left side of the Ziggurat are the excavated remains of the city of Ur. The bricks that construct the Ziggurat are the same tan color as the desert sands that surround the structure. The Ziggurat can be seen from miles away due to its size. The view from the top of the structure is immense and desolate. It is relaxing to look at the Ziggurat from a distance in the quiet desert.

Symbolism and Sacred Objects:

Obviously the Ziggurat has great symbolism as a religious artifact. There are also tombs that have been excavated which are quite amazing to the left side of the structure. The tombs are underground and built of brick like the Ziggurat. Many of the bricks in the tombs have script carved into them. The home of Abraham has also been reconstructed on the site.
How it is used by Worshippers:
Ziggurats enabled worshipers to get closer to the gods they worshipped. This aided in their communication with the gods. Ziggurats were also built as an offering to the god the city worshipped.

Personal Experience at the Ziggurat:

In 2003 I had the great opportunity to visit the Ziggurat and the remains of the city of Ur. I was also able to see the Ziggurat from the base I was stationed at. It is a beautiful sight especially considering that it was created 4000 years ago.
Sources:
Ziggurat. The Metropolitan Museum of Art <http://www.metmuseum.org/toah/hd/zigg/hd_zigg.htm>
Ur. University of Pennsylvania Museum of Archaeology and Anthropology <http://www.mnsu.edu/emuseum/archaeology/sites/middle_east/ur.html>
Ancient Babylonia - The Ziggurats. Bible History Online <http://www.bible-history.com/babylonia/BabyloniaThe_Ziggurat.htm>

Vanessa Mayhew

Great Pyramid

General Description:

The Great Pyramid is located on the edge of the Giza Plateau. The Great Pyramid is the largest pyramid ever built. You can not truly understand the size and intensity of this massive pyramid unless standing before it. The numbers do not do justice to the description of how large the Great Pyramid truly is. Dr. John DeSalvo clarifies, “Today, with all our modern science and engineering, we would not be able to build a Great Pyramid of Giza.” This statement truly defines the work and genius put into the formation of this pyramid.

Architectural Design:

According to PBS.org the Great Pyramid was built with over 2,300,000 stones, it weighs 6.5 million tons, the original height was 481 feet and the angle of incline 51 degrees. It was built with limestone and granite which really defines why it weighs as much as it does. Each block is said to weigh at least 2.5 tons and the largest were possibly 9 tons. The pyramid was made of limestone in order to allow the sun’s light to reflect and make the pyramid shine. Another unique architectural fact is that “it is the only pyramid in Egypt that has both descending and ascending inner passages” (DeSalvo). This addition of ascending passages must have a distinctive purpose, along with the airshafts that were built in the King’s and Queen’s chambers.

Interior Features of the Great Pyramid

Harmony with Nature:

The accuracy of the direction the pyramid is facing is a true harmony with nature. It is the most precise north oriented structure because it is only 3 minutes of a degree off of true north. According to Dr. DeSalvo, the 3 minutes of a degree of true north is because of natural forces in the earth and when it was built originally, the Great Pyramid was true north.

Symbolism and Sacred Objects:

One sacred object within the Great Pyramid is the Coffer in the King’s chamber because it the same volume as the Ark of the Covenant in the Bible. Dr. DeSalvo would like to hypothesis that possibly there is a connection between the Ark in the Bible that would actually produce electricity and the Great Pyramid. Could this pyramid have electro-static producing effects?
This pyramid is also sacred to many because pyramids are said to be used for tombs for pharaohs but without any remains found in this pyramid or any decoration it is hard to say this was the purpose of this pyramid.

How it is used by Worshippers:

The Great Pyramid is the first wonder of the world as listed by the Greeks. This is amazing considering there are only seven world wonders left today. The true purpose of the Great Pyramid is unknown, along with the exact age but there is evidence that it was protected. This pyramid has been adopted by different individuals throughout it’s history and also explored by different men, each having their own reactions. One thing that seemed to be agreed upon is the mystery of the massive structure and differing views on how and why.

Sources:

Great Pyramid of Giza Research Association. Ed. John DeSalvo. 16 Apr. 2009 .

"NOVA Online/Pyramids/Khufu/Khufu's Inside Story." PBS. 16 Apr. 2009 .

Karyn McCoy

Stonehenge

General Description

The mystery of Stonehenge has brought many scientists and philosophers to its location to answer the question as to whom or what built Stonehenge. It remains a mystery although there are a lot of stories that give credit to Merlin the magician, aliens or the people that lived 5,000 years ago. Stonehenge is located in a field in England. The Stonehenge we see today stands in ruin. To better understand Stonehenge is to relate to the architecture in three phases.

Architectural Design

Stonehenge 1: 5, 000 years ago, a circle was dug 320’in diameter, 20’wide and 7’ feet deep. Two parallel stones were placed at the entrance of the circle; one of the stones still remains. Stonehenge was used for 500 years and then abandoned.
Stonehenge 2: Approximately 2100 BC, a semicircle of granite stones was added to Stonehenge. These stones were called bluestones. These stones were believed to only exist 250 miles away. It is a mystery as to how they were brought to the location adding an air of mystery to Stonehenge. These stones were placed at the entrance and are aligned with the sunrise.
Stonehenge 3: This part of the construction is what is left today that observers see in ruin. The Sarsen stones can be located 20 miles from the location. They were brought to the location and were up righted and each one was topped with a horizontal stone. Originally there were 30 stones, 17 still remain standing. In this ring 10 more stones were up righted, 8 of these stones remain standing. A century later 20 more bluestones were added. These stones were placed in a horseshoe. Unfortunately only half of these stones remain.
Harmony with Nature:
There is so much mystery about Stonehenge that there is air of magic about the place. The bluestones that were brought to Stonehenge are some of the most curious. If the stones get wet or cut there is a blue hue about them. This gives people a belief that the stones have magical powers. It is believed to be a place of ancient healing.

Symbolism and Sacred Objects:

There is evidence at Stonehenge to indicate that it may have been used as a burial site, as there were skeletal remains found. Stonehenge may have also been used as a crude surgical location with the belief that there were magical medical powers to help healing. Stonehenge simply may have been an astrological site or a religious site. Each stone was placed with care and considered sacred to the ancients.

How it used by Worshippers:

The ancients observed it as a place of honor. Although it predates any known religion it is believed to have been used as a place of worship for Celtic paganism. The people that built Stonehenge had a vision and it served its purpose then. It is a place where thousands gather every year to view the Stonehenge and to give honor to its mystery. Those that visit believe they leave with a renewed sense of spiritual energy.

Sources:
Stonehenge. Brittannnia History http://www.britannia.com/historty/h7.html
Stonehenge. Sacred Destinations http://www.sacred-destinations.com/england/stonehenge.htm
Stonehenge Theories. Time http://www.time.com/tijme/world/article/0,8599,1886661,00.html

Roy Mullins

Rothko Chapel

General Description

The Mission Statement for Rothko Chapel states the purpose of the Chapel in simple elegant terminology, “The Rothko Chapel is a sacred space, open to all, established to advance human rights, interfaith understanding and justice.”
The Rothko Chapel was dedicated in 1971 after a building process that took seven years from the time it was commissioned by the John and Dominique de Meril family. The chapel presents an unassuming exterior of beige brick walls, unpierced by windows and with unobtrusive and understated entrances. The building is simple. In this simplicity it eludes the exclusion of any and avoids any obvious connection to a particular idea of the sacred. Although not actually a part of the structure, the reflecting pool that contains Barnett Newman’s sculpture, “Broken Obelisk” contributes to the visitor’s adopting a mood of peace and reverence as one enters the building.

Architectural Design

The Rothko Chapel was originally commissioned by Dominique and John Meril as part of Phillip Johnson’s design for the University of St. Thomas campus in Houston, Texas. Later the Meril’s dissociated themselves and their project from the university. The interior of the chapel contains fourteen paintings commissioned from Mark Rothko and he worked closely with Johnson in the design of the structure. Rothko erected a mock up of the planned design for the chapel in his New York studio and he insisted that the chapel recreate every nuance of lighting and environment. Johnson eventually resigned from the project but returning later in a consulting role he designed the main entrance to the chapel and the reflecting pool for Barnett Newman’s sculpture, “Broken Obelisk.”

Harmony with Nature

The Rothko Chapel creates a contrast with its surroundings rather than a harmony. It is stark and angular but surrounded by trees and it has a reflecting pool with an equally angular obelisk. This contrast between the natural and the manufactured is effective in acknowledging the coming together of two essentially different aspects of Being, that of the human and of the divine or spiritual. Moving from the tree lined park-like environment toward the cubistic structure one’s appreciation for the distance from nature and spirit that is created by the artifacts of man is confirmation that a quieter, more reflective place for an approach to the ineffable is in order. Entering the chapel the spare surroundings focus the visitors’ attention onto the huge paintings that dominate the walls. These paintings were created by Mark Rothko with intent that “the viewer might experience a sense of intimacy, as well as awe, a transcendence of the individual, and a sense of the unknown.”

Symbolism and Sacred Objects

At the dedication of the Rothko Chapel in 1971, Dominique Meril remarked, “We are cluttered with images and only abstract art can bring us to the threshold of the divine.” It is in the spirit of that statement that Rothko’s fourteen paintings establish a mood of meditative reflection devoid of any representational imagery that would iconically invoke a particular object of worship, deity or God. The chapel is designed to evoke a meditative experience that will lead the visitor to experience that personal interaction with the Other that is most often associated with worship.

How it is used by Worshippers

Rothko Chapel is, according to their website, “A sacred space open to all, established to advance human rights, interfaith understanding, and justice.” On the calendar for the chapel in April are gatherings and services of various sorts including, modern Turkish Sufi music, A presentation on human rights under the Obama administration, an arts community open house, a presentation of Gnostic songs interpreting the Gnostic gospels, and a Hindu Kirtan. The chapel is intended to serve as a sanctuary for all religions and denominations and serves as a temporary place for celebrations and worship for organizations that have no spiritual home.
Sources

1. Rothko Chapel. History of the Chapel. http://www.rothkochapel.org/history.htm
2. Rothko Chapel. Programs. http://www.rothkochapel.org/events.htm
3. Images of the Rothko Chapel. http://www.bluffton.edu/~sullivanm/texas/houston/rothko/chapel.html
4. Rothko Chapel. View the Floor plan. http://www.rothkochapel.org/floorplan.htm
5. Mark Rothko. Wikipedia. http://en.wikipedia.org/wiki/Mark_Rothko
6. Houston Press. Blogs. Hair Balls. “Rothko Chapel: Yahoo! Says To See It Before You Die. (That Way You'll Be Depressed Enough, At Least),” http://blogs.houstonpress.com/hairballs/2009/03/rothko_chapel_before_die.php

Johnny Limones
Museum Exhibition at the Kimbell Art Museum
Art & Love in the Renaissance

Though I may be and Architecture Major I find art to be a very interesting addition to my area of study. Art is unique, and the original piece made may be the only one of its kind. Other types of art may look like the strangest thing you would ever see but it would be considered art by the one who made it. It is very interesting to see what visions a person has in the mind and to put it on canvas for many to enjoy what he or she sees. Knowing that I am also focused on architecture I notice that there are similarities in between the artist and the architect. I combined these two aspects for my visit to a museum exhibition and decided to go to the Kimbell Art Museum in Ft. Worth that was designed by the great architect Louis Khan. The exhibition that took place at this location was called Art & Love in the Renaissance.

As I enter the exhibition I see many different unique works of art but there was one piece that immediately caught my attention. I chose a painting created by Francois Boucher in 1769 that is called Juno Asking Aeolus to Release the Winds oil on canvas. It was acquired in 1972. It involves a scene of a book called The Aeneid written by the Roman author Virgil. The goddess Juno is shown and apparently is filled with jealousy towards another god Venus. Apparently Juno schemed to prevent the fleet of Venus’s son, Aenas, from the shore and from founding a Trojan colony in Italy. Aeolus the keeper of the winds is a nymph and Juno offers her his most beautiful nymph in return for his help. That is roughly the scene that was painted on the canvas by Francois. It interested me not by the story behind it but be the detail and activity in the painting. You can see one of the nymphs scheming to do no good by the look on his eyes towards another nymph. The detail in the nude bodies are really good and it just blew me away when I started to think of how long it would take to make and perfect a painting like this one. I took a step closer to look at the texture of the brush strokes and I noticed the enormous talent of the artist. I have tried to complete a painting of my own and I have come to find out that it takes a long time to make a work of art and appreciate it.

In conclusion the painting was so big that it gat its own wall to be placed on. As I was leaving I took a moment to not only admire the art on the walls but to admire the walls themselves. You may be wondering why I say this. I say this because to me and many other people the building is a work of art itself. The thought of the design and the construction of it also amazes me by also thinking of how long it took to make. Therefore I hope to one day have a design and creation of my own.