NARRATIVE LIGHT:
the design of a monastic retreat
by
Jose Marcos Sama
Bachelor of Design in Architecture
University of Florida
Gainesville, Florida
1984
SUBMITTED TO THE
DEPARTMENT OF ARCHITECTURE IN PAR'l IAL
FULFILLMENT OF THE REQUIREMENTS FOR THE
DEGREE OF MASTER OF ARCHITECTURE AT THE
MASSACHUSETTS INSTITUTE OF TECHNOLOGY
JUNE 1988
@ Jose Marcos Sama
1988, All rights reserved.
4'
The author hereby grants to MIT permission to reproduce and to
distribute publicly copies of this thesis document in whole or in
part.
Signature of author
Jose MarcosSama
Department of Architecture
13 May 1988
Certified by
Bill Hubbard, Jr.
Assistant Professor of Architecture,
Thesis Supervisor
Accepted by
Bill Hubbard, Jr.
Assistant Professor of Architecture,
Chairperson, Department Committee for
Graduate Students
JUN
16
LIBRARiES
NARRATIVE LIGHT:
the design of a monastic retreat
by
Jose Marcos Sama
Submitted to the Department of Architecture on
13 May 1988, in partial fulfillment of the requirements
for the Degree of Master of Architecture.
Abstract
This thesis is the design of a monastic retreat on
Cumberland Island, off the coast of Georgia. The island
serves as the source of the generative concept that
the
within
spaces
of
sequence
the
organizes
monastery. The thesis proposes that light possesses the
This
capacity to reinforce the generative concept.
in
light
of
use
capacity might be called a narrative
the
behind
which light tells us of the intentions
concept.
A narrative use of light is expressed in Louis Kahn's
design for the Unitarian Church in Rochester, New
Kahn employs the light to evoke a sense of
York.
By this
roundness within the square central room.
thus
corners,
the
softened
has
simple move, Kahn
which
concept
initial
his
of
retaining the essence
His attitude
depicts the space as a circular room.
concept.
generative
the
of
us
tells
light
towards the
The first
The thesis is composed of three sections.
collects
which
island
the
through
walk
a
describes
second
The
island.
the
of
nature
the
about
impressions
section describes how impressions of the island have
and how light
been transformed into architecture,
As a
tells a story, as one walks through the buildings.
reference, religious buildings by Tadao Ando and Jorn
Utzon are evaluated in the third section, as additional
sources for creating a narrative with light.
Thesis Supervisor:
Title:
Bill Hubbard, Jr.
Assistant Professor for the
Department
of
Architecture
2
Acknowledgements:
Many thanks for the criticism, support and friendship:
Greg, Jamie, David and Chris
Bill Porter and Barry Zevin,
my readers
Bill Hubbard,
my advisor and the best architect/teacher!
Julie Johnson,
with all my love and thanks
Maria, Mahmood, Janina, and Johnathan
wish you all the best.
I'M OUT OFIHERE!
Introduction
of
seaboard,
eastern
the
along
stretch
islands
such
Dozens
is known as a barrier island.
Cumberland
The
storms.
retreat
Cumberland
is associated with the Georgia Sea Islands.
priests
and
a
current
religious
public
groups
currents,
shifting
Carved
by
baseball
bat:
this
resembles
island
it extends north and south for a length
miles, but
of sixteen
seasonal
from
is
only
three miles
wide
at its
opulent
Today,
The
turn
winter
many
of the century,
resort areas.
development,
the
island
but
was
Cumberland
The island
retained
is managed
site for this project,
one
of
saw its share of
areas
of wilderness.
Seashore.
as a National
is located
a monastic retreat,
in
ruins.
mansion of
the
Carnegies,
now
monastery
straddles
the
wilderness
and these
an earlier
time.
near a
issues.
In
the
summer,
reserve
the
retreat
private
and
complex
for
classrooms,
a
programs.
The
the
about
discussions
annual
for
could
thirty
approximately
theologians,
the
point.
broadest
At
the winter,
During
accommodate
would
the
use,
for year-round
envisioned
groups.
other
and
by religious
buffering
mainland
is
retreat
monastic
ruins
The
library,
The
is
complex
sleeping
intent
of
programmatic
this
thesis
needs.
island,
and
three
and
refectory,
a
quarters,
formulation of a concept
the
of
composed
is
Rather,
not
church.
on
concentrate
to
thesis
the
a
is
the
which is tied to the nature of
reinforced
through
the
narrative
use
of light.
of
w
"
.
I
..........
4
You approach the island from the west.
-~
-. -.
~
Acres of salt marshes separate the island from the
At first glance, the maritime forest appears as a
mainland. Your eyes skim the surface of the marsh, as
membrane,
a point of reference.
a thin veil that has been stretched across the island.
Its linear disposition becomes a
Through this membrane, an occasional rip reveals the
datum line from which the island
contorted forms
rises.
of the trees within.
-4
5
Once you've penetrated the membrane, you step into
and under a dense canopy of branches.
Along the journey, you encounter a series of
Beams of light pierce through the canopy and find
voluminous outdoor rooms.
their way to the floor of the forest;
Though you are conscious of the
illuminating a thick underbrush of saw-palmettos
entangled underbrush and spiny palmettos
which cover every inch of the forest. The sun light is
as you walk into these rooms, your eyes are drawn up
dispersed throughout, resembling an impressionist
towards the light
painting,
filtering down from the forest canopy.
Reaching a road, you realize that you've arrived at
the spine
of the island. This man-made spine allows for ease of
travel to points north and south.
scattering your attention throughout the frame.
6
Further inland, rips in the membrane
A low roar begins to Fill the air.
reveal fresh water ponds which are stretched along
Sounds and smells
the island's eastern edge. These
of the ocean draw you further cast. Still underneath
tranquil pools
the forest's canopy, you thirst for the ocean,
provide a visual release which is not possible
to be freed of shelter and exposed to the full rays of
underneath the forest canopy.
the sun.
-
.
____..~.I.
~
7
A mound of sand rolls into the forest, partially
In one sweep, your perceptions are hoisted
burying the live oaks. These
mountainous mounds
signal the start of the dunes. The live oaks are forced
to give way to the thrust of
up and out.
You begin to rise from the floor of the forest, leaving
All obstacles are removed, what remains is pure
behind its contemplative realm and confront sheer
light.
wonderment.
You find yourself suspended, high above the dunes,
wind and sand.
atop a wooden bridge that stretches over them towards
They part their branches and reveal
the beach.
a portal of light.
7
-~_
__
ii
-~
11
It
8
At this point, you may reflect on the walk.
As you move towards the beach, the
dunes dance the drama
When walking across the island,
Nearing the beach, the distance between
your body was conscious of the ground.
you and the ground
You looked down to plot a path,
gradually decreases. The wooden bridge rams into the
detect danger and avoid stumbling.
beach; its tail buried under layers of sand.
However, your mind was elevated,
You've reached the beach.
sensing the environment above and
of the ocean's waves, as they rise and fall. For the first
time, you are aware of your relationship to the
ground.
Suspended above the shifting currents of the dunes,
you realize how sensitive and unstable the ground
probing that which the body could not reach.
really is.
It was not until the end of the journey that the desire
to be lifted
was fulfilled as you sailed across the dunes.
I
'I
LIX
-
/
~
9
This seems to be an appropriate premise from which to
generate
the concept for the building:
a concept derived from an understanding of the
island's physical characteristics. The concept calls for
a building that fulfills
A'
the mind's desire to be elevated,
and the body's need to be sure-footed.
II
I,
ii
K.
~r
~IA
The building appears as if assembled on flat earth, but
tV
then raised to level height above the ground. This act
You approach the monastery fromthe south.
recreats the datum line of the leveled salt marshes
4dW
which greeted your arrival to the island.
10
At first glance, the building appeared
Strips of openings
as solid boxes sheathed in a corrugated metal
stretch across the front facade, introducing
membrane.
a band of light
Yet, a series of openings have been cut into the
into the spaces. These intricate bands are the
membrane and folded back to act as shading devices.
building's eyes into the landscape.
From these initial impressions,
you can identify a number of similarities between
building and island.
Consider that the building is
layered,
like the island, as you proceed through it.
11
They grow in height and expand in width
Once you've pierced the corrugated metal membrane,
the skeleton of the building
is revealed. What appeared as solid boxes become
fragile tents,
anchored to the ground by a rigid concrete
framework.
The building is designed as a collection of
to accommodate group activities. The refectory
rectangular rooms
is nestled between the classrooms and library,
which increase in volume, as they extend away from
envisioned as a place to share thoughts
you. Like the forest, the rooms allow your eyes
before and after meals.
to pass through them.
The library and classrooms are set aside
for indepth meditation and research.
12
In the next layer, the exposed concrete framework
resembles a spine.
The rooms cling to it for support. You return to the
spine to reach adjoining rooms. The spine, therefore,
becomes the organizing element for
However, the spine is not merely a means of
circulation. At times, a section of the spine extends
into a room to define zones of use.
For instance, this section straddles the zone of the
......................-----.-------
library that houses the stacks.
circulation and support.
13
The individual cells
Eventually, the concrete framework
steps down, adjusting its height to support the
community of cells
which extend the full length of the complex.
This next layer of rooms encloses
the spine, which seem as the heart of the complex.
Despite deliberate gaps which serve as
are shuffled along the perimeter.
visual releases,
An internal path meanders between the cells and
the sense of containment within the spine heightens
occasionally expands into a porch.
your anxiety. You desire to move out to the edge and
The cells part, creating
be freed of shelter.
portals of light
which draw you closer to the edge.
14
r
L
i
7-~
§7
7
The building has allowed your mind to float
above the ground,
while giving your body a secured structure to walk
You've reached the edge.
This is best accomplished within the church.
through. Looking down, you begin to wonder how
your body might descend, in a way which
celebrates the act of returning to the ground.
15
Here, the stages of the Mass
sequentially draw you to the ground. In addition,
the light
entering at the ground level heightens
the procession.
16
Once inside, you can almost imagine a surge of light
entering from below,
inflating the space, and forcing the roof and walls
to part.
17
Wooden stairways lead you onto concrete platforms
rising from the ground.
Now, closer to the ground, and looking into the light,
you receive communion.
18
Finally, you step down onto the ground and into
the light of God.
19
20
21
L
22
I
23
"I
In this second sketch, Utzon begins to draw
"architecture".
The expansive horizon is framed
the clouds and have created a
am inspired by
space that fades upward."
on
northern
clouds.
Generations
a
example
an
as
Consider
/
VI
light
This
painting
-~
41
~
I
broken
lines
the
the
light
retained
effectively
the
The
entry is
the essence
of
been
has
one
as
reproduced
and
transforming
moves
church.
actual
into
become
clouds
voluminous
soft
beneath
passing
have
However,
a ceiling.
into
sky
the soft
concrete,
of
vaults
In fact,
clouds
initial
of
unification
soft and hard.
the
of
etched
ridgidly
northern
of
clouds
the
under
found
commonly
Dutch
of
quality
the
illustrates
and earth,
foreground.
painting's
the
on
focused
sun's
heaven
with
landscape
lit
clouds.
cast by the
the shadows
sparsely
a
reveal
perhaps
the
by
painting
artist Jacob van Ruisdael:
clouds
these
from
inspiration
drawn
have
artists
sketch,
at
first
met in the
the
suggesting
Dutch
and
Scandinavian
of
placed
is
cross
and earth
where heaven
the point
its
for
renowned
is
region
Europe's
a
horizon,
internalized
this
Centered
church.
of the
walls
the ribbed
between
Jorn Utzon
Bagsvaerd Church,
Europe.
The capacity of clouds to scatter light, to provide a
~
soft luminous
being
underneath
capture
clouds.
He
of his
of
feeling
the
his
conveyed
source
tucked
behind
a
radiant
here,
From
to
first
landscape
century
seventeenth
band
a
presence
of light is suggested
between
the clouds.
be
themselves
heavens,
dichotomy
drawing.
poised
and
which
that
which
that
between
is
is
further
which
is
the
explored
in
appears
to
where
the
find
soft,
the
earth;
a
the
of the
above,
form
cloud.
concrete
a passage
path
the
its
leads
which
cross
to
the
in
Utzon's
the
second
sketch.
The
space
between
the
congregation's
in an attempt
interaction during the service.
they
volume
illuminates
and
depicted
streaks drawn
beyond,
hard,
altar
and the altar is shortened
Thus,
meet.
the
image
the
glow
the
clouds;
of
recalls
bulging
a
vaults
the
emphasizes
by the
the horizon
heaven
and
a
its
with
painter
The congregations
directed towards
earth
Preliminary sketches ky Jorn Utzon
underneath
people
of
Utzon's sketch depicts a group
presence of the sky.
of
which
perspective,
one-point
that
to
similar
is
sketch
primarily
Unveiled,
church.
the
congregation
Utzon's
enters
Light
church.
the
enlarging
upward,
to roll
begin
into
sketches.
figural
two
through
intentions
to
wished
Utzon
church.
in the design
to clouds
to make an analogy
Jorn Utzon
inspired
is what
canopy,
the
white
Pale
church.
the
into
courtyard
passes through
as one
compressed
next
"We
chose a certain broad angle
seating
area
to increase
toward a place
which is not so stagelike, but where what's going
on
happens
By
giving
explains
lengthwise."
the
room
this
how he envisions
configuration,
Utzon
its usage:
24
". . . many people, good acoustics and a certain
dark room
theatrical; not a
not
is
peace which
facing a stage of a high altar, but something you
are in together and sharing. . ."
The
under
like
be
would
it
what
of
experiencing
a
and
sharing
the
to
services
religious
of
sharing
beyond
goes
describes
Utzon
sharing
the
clouds.
have a soft, even presence.
the
inside
concrete
bathe
evenness
of
which
vaults
the
materials
An
the doors, trim,
the
All of
and pews.
of
the
does
this
one
remind
to
combine
from
bleached wood is used
throughout in
elements
and
curving
light
uniform
a
distribute
Additionally,
qualities
brick
the
by
reinforced
is
skylight above.
these
of
the space with reflected light.
light
to
is further
white-washed
where
church,
the
This quality
brightness
the
by
intensified
Now
is perceived
like the light under clouds,
church,
within
light
The
clouds.
with
associates
which one
of light
the quality
to capture
managed
Utzon
of clouds,
formal analogy
In addition to the
of light beneath the clouds.
the
what
arises:
question
clues
example provide in deciding on the quality of light
within a space?
The
Church
Bagsvaerd
how
to derive
the theme
More
importantly,
were used as an analogy
the
building.
illustrates
how
Utzon
depiction
of
church.
Thus,
form
of
generative
through
sensitivity
idea
Utzon
from
drawings,
for the
had
envisioned
quality
the
of
clouds
demonstrates
of light
was
able
conception
his
light beneath
to
to
northern
a
and
it
narrative
within
the
carry
the
realization,
European
the clouds.
Geometrical section
W
W,
,,
"It is my wish that this quiet space. . . will come to
The
life through light and have an impact on people."
colonnade
Mt. Rokko Chapel,
vaults.
Tadao Ando
first
component
sheathed
Entering
immediately
The
term
Japanese
depth
In
of a space.
a distancing
through
instance,
the
Japanese
village
the
of
oku is achieved
an erecting
of
set
is
leads
that
serves
worship.
Its
Rokko
shrine, the Mt.
through
oku
its
to
choreographs
the
light
of
or
closeness
distance
evokes
a
sense
to
has
and
one
the
patterns
landscape
light,
prepare
to
the
of the
one
long
actual
this
and
sky
By
this
shadowless
for
the
stretch
sanctuary,
ceremonial
is
light emitted
obscured,
forty-meter
along
deep
connected
of
Ando
perception
and
spaces
deliberate
"distancing"
from
withdrawal
"to
even
surrounding
to
component
a
between
of contemplative
distance
the
colonnade,
soft,
surrounding
entry
The
sunlight.
heighten
Ando argues that
the profane.
one
his
addition,
In
objects.
of
the
their
Chapel, exhibits attributes
manipulation
at
By
of the mountain
His modem version
this
walls
act
of
terminates
the
second
path.
remote
the
importance.
Ando.
into
glass
framed
are still perceptible within this "tube of light".
colonnade
The
concrete
frosted
Though
of the
the
Oku is still being explored, as seen in the work of
Tadao
sounds
a
with
of the
glass.
softening
perpendicular
acquire
shrines
unseen
and
the
rural
oku.
to
through
aware
For
mountain
depth.
mountain's
of
space.
traditional
a
virtues
hidden
the
innermost
surrounding
its
axis
the
remoteness,
of
organization
within
shrines
sense
the
religious
the
the innermost
from
linear
village's
to
of built forms,
distancing
reflects
shrines
refers
architecture,
layers that screen
spatial
to
"oku"
is
body
cubes
side.
Access
which
opens
the
end
meters
each
apart,
wall
into
this
heighten
planar
elements.
begin
a
innermost
central
space
a
on
dark
prism.
Since
only
thirteen
are
sense
As
to
each
steel door
a slit of light
the
two
of
above
distance
a consequence,
pull
away
the
from
the
In the wake of the repelling
window
with
of
meters
sanctuary
Ando introduces
center of the space.
forces,
6.5
rectangular
of the
walls
comprised
through
to
light-washed
is
measuring
is gained
walls
between
sanctuary
unfolds,
direct
enveloping
the
sunlight.
approach God
the
oneself from
rest
of
mankind."
Overall,
the
sanctuary's
definite sense of direction
major
light
quality
which
Ando states as his
exhibits
a
goal:
High above Osaka Bay, the chapel was built with a
commanding
chapel
Oriental
view of the port town
of Kobe.
is situated on the grounds of the Mt.
hotel to the remote
sequentially
Rokko
A winding path leads you from
Hotel.
comprised
The
of
The chapel
chapel grounds.
three
arrranged
to
a
theme of this design is directionality leading
from light to shadow;
that is, the contrast between
light and darkness."
is
components
distinct
establish
the
"The
processional
By
dissolving
qualities,
Ando
the
box
demonstrates
in
contrasting
the
light
immateriality
of
path.
26
the
form,
meaning of a space can change simply
"The
controlling the
are
Rhythms
light.
large
having
spaces
alternating
by
created
of
amount
by
amounts of light with spaces having less. . . . I feel
the primary concern,
space contained is
that the
and not the walls, floor and ceiling which bound
it."
but
the
from
visible
is
cannot be
component
The final
on
reached
central
The
sanctuary.
foot,
window provides a view of a sloping bank of grass.
This
of the
dimensions
portion
deciding
when
clues this
consider what
one must
provides
final
the
L-shaped
of the
to the true light of nature.
journey returns
Again,
some of the
Thus,
sanctuary.
an
by
enclosed
reflects
wall that
concrete
is
garden
ascetic
on
the
example
of
quality
light
within a space.
The
Mt.
how
demonstrates
Chapel
Rokko
light
is
used to heighten the sense of distance or proximity
from
withdrawing
a layering
the
light
anticipation
for
of
is
these
drama
accomplished
experiences.
qualities,
the
The
objects.
nature
of spatial
layering
varying
and
spaces
between
By
innermost
creates
space,
through
intensifying
experiences
Ando
of
a
through
sense
of
oku.
27
BIBLIOGRAPHY
ILLUSTRATION SOURCES
All illustrations
used in this thesis
are given their
source below, with reference to the page
in which they appear in the thesis.
number
"Chapel on
Ando, Tadao.
Tokyo, Japan:
Architect.
Oct. 1986. p. 15.
p a ge s
source
Andrews,
Werwie.
5-9
Larry F. Andrews, H. Grant Rice and
Joanne C. Werwie, Cumberland Island A
FL:
(Tampa,
Memories,
of
Treasure
Memories.
World-Wide
1986).
Printing,
Larry F., H.
Cumberland
Tampa, FL:
Douglas.
Brenner,
Architectural Record.
16 - 23
Todd Gieg, (thanks!)
sources
listed
in bibliography
sources
listed
1986.
World-Wide Printing,
of Vows."
McGraw-Hill
pp. 104-109.
in bibliography
to Tadao Ando's work.
"Cubic
Kazuyuki.
Japan:
Nature."
La.p.a~n
Shinkenchiku-Sha
Co.,
pertaining
Tokyo,
Architect.
Oct. 1986. p. 31-33.
pertaining
"Jorn Utzon, Church at
Norberg-Schulz, Christian.
Vol. 61. Tokyo,
Architecture.
Global
Bagsvaerd."
Japan: A.D.A. Edita, 1981.
to Jorn Utzon's work.
26 - 27
C.
of
Boston, MA.
Negishi,
24 - 25
Grant Rice, and Joanne
A Treasure
Island
"An Exchange
New York, NY:
Feb. 1987.
Publishing,
Ja pa n
Mt. Rokko."
Shinkenchiku-Sha Co.,
and Alessandro
Ronner, Heinz, Sharod Jhaveri,
and Theory of
History
the
for
Institute
Vasella.
of
Institute
Federal
Swiss
The
Architecture,
Complete Works
Louis I. Kahn:
Technology.
Basel, Switzerland and Stuttgart, West
1935-1974.
pp. 169-177.
1977.
Birkhauser Verlag,
Germany:
Treib, Marc.
Architecture.
Sept. 1980.
Progressive
"Clouds of Concrete."
Reinhold Publishing,
Stamford, CT:
pp. 165-169.
Utzon, Jorn.
Nyhavn, DK:
Arkitektur DK.
"Bagsvaerd Kirke."
pp.
Arkitektens Forlag, March 1982.
81-91.
28