Transcending with Tea an Interfaith Center for Spiritual Wellness and Understanding

Transcending with Tea An Interfaith Center for Spiritual Wellness and Understanding

by Erin Radetich

B.A. in Art History and Religious Studies, May 2013, University at Buffalo

A Thesis Submitted to

The faculty of The Columbian College of Arts and Sciences (formerly the Corcoran College of Art + Design) Of The George Washington University In partial fulfillment of the requirement For the degree of Master of Arts

May 15, 2016

Thesis directed by

Christy Schlesinger Associate Professor of Interior Design

ii Dedication

I would like to dedicate this to my family who have continuously encouraged supported me throughout my education, to J.P. and my friends who have unwavering faith in me.

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Abstract of Thesis Transcending with Tea

The art of tea or "teaism" is grounded in recognizing the polarity between the spiritual and material worlds with the goal of finding harmony and pause. The exploration of the metaphysical realities and principles of Japanese tea rituals can also be discovered in creating sacred space within the mundane to achieve harmony amidst the dissonance of the secular world. Religion, like tea, is universal, as it is intimately associated with groups of people and cultures throughout the world. Today, religion is at the forefront of divides and there is the need for tolerance and understanding. While people have used religion to divide, tea brings people together. The Japanese way of tea, imbued with deeper spiritual meaning, can help bridge this divide as those sharing in tea will meditate upon the universal values that the tea ceremony promotes. Both the tea ceremony and religion consist of individual meditation and communal ceremony. A college campus is the ideal place to bring people together to learn about each

other’s faiths, as well as encourage spirituality amongst students. Not only will providing

students a place for personal prayer and meditation equate to beneficial outcomes in their

lives, but providing it within the context of an interfaith center will have positive

outcomes on society as these students set foot into the world. A modern tea room based

on the Japanese tea ritual will complete a place that is both secular and sacred and

provide the missing link in bringing those with differing and shared beliefs together to take part in a ritual that promotes spirituality and moral values shared by religions. The spaces within the interfaith center will also provide a place for students to disconnect

iv from their technologically connected lives. They will be able to find respite through the meditation spaces. Exploring Japanese tea history and the ritual will lay the groundwork for establishing a modern tea house based on those principles. Religious pluralism, architecture and religious rituals will help to establish the programming for the interfaith center. Rituals are important aspects of both religions and the tea ceremony and are part of both the sacred and secular realm, public and private (or individual or group).

Introspection and reflection through meditation and prayer are central to the design of the space in both areas of the tea room, such as the outer and inner waiting areas, as well as in the spaces dedicated to spirituality and religion. The juxtaposition and boundary between secular and sacred space will be explored. Nature, which is meditated upon in

Japanese tea rituals and is also important to many religions, is also an important theme.

The method of research includes historical writings on tea rituals and theoretical essays on philosophy of tea and religious influences. Studying sacred spaces such as synagogues, churches, mosques and temples, and how people use those spaces, will give insight into how users interact within them. Case studies of a multi-faith center, interfaith chapel and modern tea house will all provide programmatic and design precedence for the final design.

Table of Contents Dedication…………………………………………………………………………….…..iii

Abstract of Thesis……………………………………………………..………………….iv

List of Figures……………………………………………………………………………vii

Thesis Statement……………………………………………….…………………...….….1

Chapter 1: Framework

I. Tea and Religion: A Common Ground…………………………….………….2

II. The Japanese Tea Ceremony……………………………………………..…...7

III. Interreligious Dialogue and Spirituality Today…………………………...…30

IV. Religion and Spirituality on College Campuses…………….……………….40

Chapter 2: Design Conditions

I. Case Studies……………………………………………………………...…..45

II. Site……………………………………………………………….…………..66

III. Methodology……………………………………………………………..…..78

IV. Design Research………………………………………….……………..……80

V. Program…………………………….………………………………………...89

VI. Design……………….……………………………………………………….92

VII. Materials……………………………………………………………………109

Chapter 3: Results

I. Final Reflections……………………………….……………………..…….113

II. Bibliography…………………………..…...……...………………………..114

List of Figures

Figure 1 Shared Elements of Tea and Religion Diagram ...... 5 Figure 2 Interior of tea room from the Urasenke Tea Ceremony Association of Washington ...... 10 Figure 3 Tea House Layout with Numerical Steps Diagram ...... 14 Figure 4 Plan of a Standard Tea House Diagram ...... 15 Figure 5 A Roji Path to the tea house in Tenryu-Ji Temple in Sagano, Kyoto ...... 16 Figure 6 Outer Waiting Hut ...... 16 Figure 7 Illustration of a Tsukubai and Adjacent Stones ...... 19 Figure 8 Illustration of the Nijriguchi (guest door) into Tea House ...... 21 Figure 9 Illustration of the Stone Arrangement before Entering the Tea House ...... 21 Figure 10 Tokonoma (Alcove) with Kakejikku (Hanging Scroll) at Urasenke Tea Ceremony Association of Washington...... 24 Figure 11 Tatami Mat Layouts ...... 26 Figure 12 Subdued Lighting in a Tea Room Interior. Source: Decoholic Interior Design ...... 29 Figure 13 Number of Religious Adherents per Largest World Religions Diagram ...... 32 Figure 14 Shared Elements of Religions ...... 35 Figure 15 Main Hall at the University of Toronto Multi-faith Centre ...... 48 Figure 16 Meditation Room at the University of Toronto Multi-faith Centre ...... 48 Figure 18 A Celebration at the University of Toronto Multi-faith Centre ...... 51 Figure 17 Ablution Facilities at the University of Toronto Multifaith Centre ...... 51 Figure 19 Exterior of the University of Toronto Multifaith Centre ...... 51 Figure 20 Site Plan of the Interfaith Chapel, Dallas, TX ...... 54 Figure 21 Exterior View of the Interfaith Chapel, Dallas, TX ...... 54 Figure 22 Plan of the Interfaith Chapel, Dallas, TX ...... 56 Figure 23 Hindu Prayer Mats in the Interfaith Chapel, Dallas, TX ...... 56 Figure 24 Interior View of the Interfaith Chapel, Dallas, TX ...... 58 Figure 25 Light Shining into the Apse Area of the Interfaith Chapel, Dallas, TX ...... 58 Figure 26 Aerial View of the Location of the Interfaith Chapel, Dallas, TX ...... 59 Figure 27 Model of “Tea Houses” by Swatt/Miers Architects ...... 61 Figure 28 Bathroom Adjoining the Visioning and Meditation Houses ...... 62 Figure 29 Exterior of “Tea Houses.” ...... 62 Figure 30 Interior of the Meditation House from “Tea Houses.” ...... 65 Figure 31 Bamboo Lending Shade to the “Visioning” House from “Tea Houses.” ...... 65 Figure 32 Site Option 1: 743 Main Street, Buffalo, NY, Aerial View ...... 67 Figure 33 Site Option 1: 743 Main Street, Buffalo, NY, Exterior Façade ...... 67 Figure 34 Site Option 2: 38 North Street, Buffalo, NY, Aerial View ...... 69 Figure 35 Site Option 2: 38 North Street, Buffalo, NY, Exterior Façade ...... 69 Figure 36 Townsend Hall, C. 1920’s ...... 71 Figure 37 University at Buffalo South Campus Map ...... 72 Figure 38 Site Diagrams ...... 74 Figure 39 Townsend Hall, Front Exterior Façade ...... 76 Figure 40 Townsend Hall, Exterior Side Approach Path ...... 76 Figure 41 Townsend Hall, Exterior Side from Parking Lot ...... 77 Figure 42 Townsend Hall, Exterior Side ...... 77 Figure 43 Parti Diagram ...... 79

vii Figure 44 Threshold Diagram ...... 79 Figure 45 Secular vs. Sacred Space Diagram ...... 81 Figure 46 Individual vs. Group Space Diagram ...... 83 Figure 47 Historic vs. Modern Inspiration ...... 85 Figure 48 Spatial Experience Diagram ...... 88 Figure 49 Programmatic Section Diagram ...... 90 Figure 50 Townsend Hall 3rd Floor Plan, Not to Scale ...... 90 Figure 51 Spatial Adjacencies Diagram ...... 91 Figure 52 Program ...... 91 Figure 53 Entry Level Floor Plan ...... 93 Figure 54 Lobby View ...... 94 Figure 55 Lobby Stair View ...... 94 Figure 56 Meditation Garden View ...... 95 Figure 57 Meditation Steps View ...... 95 Figure 58 Tea House (Large Group) View ...... 97 Figure 59 Tea Room Circulation View ...... 98 Figure 60 First Floor Plan...... 100 Figure 61 Third Floor Plan ...... 102 Figure 62 Group Worship Layouts ...... 103 Figure 63 Worship Hall View ...... 104 Figure 64 Worship Hall Entry View ...... 104 Figure 65 Southeast Facing Section ...... 105 Figure 66 Northeast Facing Section ...... 105 Figure 67 Meditation Pod Interior View ...... 107 Figure 68 Meditation Pod Diagram ...... 108 Figure 69 Exterior View...... 108 Figure 70 Travertine ...... 108 Figure 71 Locally Sourced Pine ...... 108

viii

Thesis Statement

The exploration of the metaphysical realities and principles of Japanese tea rituals can also be discovered in creating sacred space within the mundane to achieve harmony amidst the dissonance of the secular world. Designing an interfaith campus center for students to embrace their own spirituality and religion will facilitate understanding and communication between those with differing beliefs. It will provide a postmodern sanctuary that expresses the new social realities of diversity. The inclusion of a modern tea room, based on the principles of the Japanese Tea Ceremony, will provide a place for those with diverse religious beliefs to come together and focus on shared values. This will ultimately lead to an increase in tolerance and peace within society.

Chapter 1: Framework

I. Tea and Religion: A Common Ground

While tea and spirituality may not commonly be thought of in relation to one another,

the exploration of the metaphysical realities and principles of Japanese tea rituals can also

be found in the creation of sacred space within the mundane in order to achieve harmony

amidst the dissonance of the secular world. In Transcending Architecture: Contemporary

Views on Sacred Space, Bermudez notes Mark Wedig’s theories on contemporary sacred

space, stating, “Our contemporary civilization has exacerbated the feelings of existential

emptiness and meaninglessness to such a point that, if properly approached, people may

become all the more open to the absolute. Wedig calls for sacred rituals that admit and

express the new social realities, namely diversity (of cultures, ethnicities, traditions,

classes) and its challenge…Postmodern holy places should be sanctuaries from the

hazards of hypermodernity, centers for the formation and practice of religious identity

from where a new redeeming force to heal our cities and era may spring forth.” The

codification of religious practice, such as rituals and symbols, into special physical

layouts (buildings), remains largely a supportive and secondary method to access the

divine.1 Designing an interfaith campus center for students to embrace their own

spirituality and religion, as well as to facilitate understanding and communication

between those with differing beliefs, will provide a postmodern sanctuary that expresses

the new social realities of diversity. A modern tea room, based on the principles of the

Japanese Tea Ceremony, will be the framework for a space where those with diverse

1 Julio Bermudez, Transcending Architecture: Contemporary Views on Sacred Space, ed. Julio Bermudez (D.C.: Catholic University of America Press, 2015), 8.

religious beliefs can come together and focus on shared values, thus increasing tolerance and peace within society. Drinking tea has become a universal activity shared by many cultures. Although ceremonies from different cultures have taken on different meanings, the universality of the beverage is important. According to Kakuzo, “…humanity has so far met in the tea-cup. It is the only Asiatic ceremonial which commands universal esteem…The afternoon tea is now an important function in Western society. In the delicate clatter of trays and saucers, in the soft rustle of feminine hospitality, in the common catechism of cream and sugar, we know the Worship of Tea is established beyond question.”2 Tea, being a beverage steeped in the history of cultures, politics and religion, is something in which people across cultures can relate.

Religion, like tea, is universal, as it is intimately associated with groups of people

and cultures throughout the world. Today, religion is at the forefront of divides and there

is the need for tolerance and understanding. While people have used religion to divide,

tea brings people together. The Japanese way of tea, imbued with deeper spiritual

meaning, can help bridge this divide as those sharing in tea will meditate upon the

universal values that the tea ceremony promotes. A tea room can provide a common

ground that is both sacred and secular for those with differing beliefs to meet.

A college campus is the ideal place to both bring people together to learn about

each other’s faiths, as well as encourage spirituality amongst students. Not only will

providing students a place for personal prayer and meditation equate to beneficial

outcomes in their lives, but providing it within the context of an interfaith center will

2 Kakuzo Okakura, The Book of Tea, Tokyo: Fox Duffield & Company, 1906, 8.

3 have positive outcomes on society as these students set foot into the world. A modern tea room based on the Japanese tea ritual will complete a place that is both secular and sacred.

The Japanese tea ceremony can serve as a vehicle for communication between adherents of various religions. Both the Japanese tea ceremony and many different religions share common themes. Three main themes that emerge in studying both include the “secular vs. sacred,” “individual vs. group,” and “historic vs. modern.” These themes are woven together and will impact the programming of the space and the interior architectural design. Furthermore, they share principles of respect, communion and peace, elements of ritual such as meditation, scripture and purification, and a strong association with nature including time and rhythm (Figure 1).

While Japanese tea ceremonies originally developed based on the principles of

Zen Buddhism, many of these principles that transferred over to the tea ceremony are shared by other religions as well. Both religion and the tea ceremony share in the realm of secular and sacred life. The tea ceremony is, today, a secular practice removed from the Zen Buddhist monasteries, but it is still is imbued with meaningful values that can help people come together and reflect on a personal spiritual level.

Figure 1 Shared Elements of Tea and Religion Diagram, Source: By Author.

Gross’ understanding of the difference between the tea ceremony and the actual

Buddhist religion is essential in understanding why combining a tea room with a center for spiritual wellness and understanding can achieve success. In applying the principles of the ceremony, based on the Zen spirit of sincerity and purity of mind, people of different religions can break down barriers of communication and strive for more peaceful relations with one another, while at the same time still adhering to their own religions while participating in a secular practice of the tea ritual. In the tea ceremony an emphasis is placed on human beings engaging in acts of communication. People engaging in the tea ceremony must see to all aspects of their surroundings with scrupulous care and then physically prepare the tea and serve it to others, and in doing so, understanding of themselves is deepened.3

Humility is a common theme in both religion and in the tea ceremony. In the tea ceremony, humility accompanies the reaching out for the spiritual. According to Tanka,

“When the host prepares for the tea ceremony by cleaning, readying the ash, and so on, he or she is engaging in what would in the West be classified as menial labor.”4 Takana feels that the tea ceremony can lead to a rich inner life. He states, “Simply rejecting what science and technology can offer is no solution. At the same time, we would do well to keep in mind that the age of science is so far the briefest chapter in the long book of human history. To satisfy the universal hunger for deeper answers to life’s questions, it is only natural that attention should be focused on various spiritual traditions in the human experience. It is my hope that the tea ceremony may once again be seen as a means to a

3 Sen Tanaka, The Tea Ceremony. Tokyo: Kodansha International: 1973,189.

4 Ibid., 189.

6 rich inner life.”5 Combining a tea room within an interfaith center for spiritual wellness and understanding will contribute to achieving religious pluralism by not simply bringing the religions together under one roof, but providing them with a secular place within the building to come together in a shared activity.

II. The Japanese Tea Ceremony

The origins of Japanese tea stem from the tea plant, native to southern China. The

Chinese used tea leaves for both internal and external medical application. However, by the 14th century, tea had spread to Japan and developed into a ritual practice of Zen

Buddhism. In the 16th century, the tea ceremony was handed down to the general population and enjoyed widespread favor.6 It did, however, change as it became involved with formal etiquette, but Chado focuses on the spiritual aspects of the ceremony.

Japanese tea ceremonies developed from a religious ritual grounded in Buddhism into their secular existence, “Tea with us (Japan) became more than an idealization of the form of drinking; it is a religion of the art of life. The beverage grew to be an excuse for the worship of purity and refinement, a sacred function at which the host and guest joined to produce for that occasion the utmost beatitude of the mundane.” The ceremony has various names in Japanese. The name Chado, or the “way of tea,” has come to mean practicing and learning the way of tea from an experienced teacher. Chanoyu is used to refer to the tea ceremony but typically used between people actually studying it.

Chanoyu, literally meaning, “hot water for tea,” has as its objective a relaxed communion between the host and his guests. It is partly based on the etiquette of serving tea, but also

5 Sen Tanaka, The Tea Ceremony, 190. 6 Ibid., 15.

the aesthetic contemplation of landscape gardens, tea utensils, paintings, flower

arrangement, and other elements that coexist in a harmonious relationship with the

ceremony.7 Etiquette, spirituality and knowledge are all necessary for the understanding

of the tea ceremony.8 People invited to attend or whom are in attendance of a tea

ceremony will say they are going to a Chakai, or tea meeting.9 The ultimate aim of the

tea ceremony is attaining a deep spiritual satisfaction through the drinking of tea and

through silent contemplation.10 Another aim is to create a profound bond between the

participants.11 Murata Shuko (1422-1502) was the first tea master to emphasize the

spiritual aspect of the ceremony. He taught that purity of mind, rather than superficial

appearance of cleanliness, should be aimed for at all times.12 Four main principles in the

tea ceremony are harmony, respect, purity and tranquility. There is to be harmony

amongst the guests and they must have respect for each other. The ceremony is about

both internal and external purity. One must embrace tranquility, with the outcome being a

sense of calmness.13

The tea house is seen as a house of peace and a sanctuary from the outer world.14

It is a place where one can dedicate their time to the consecration to the adoration of the

beautiful. In his 1906 book, The Book of Tea, Okakura Kakuzo defined “Teaism” as “a

cult founded on the adoration of the beautiful among the sordid facts of everyday

7 Sen Tanaka, The Tea Ceremony, 15. 8 Ibid., 16. 9 “The Japanese Tea Ceremony,” The Japanese Tea Ceremony, http://japanese-tea- ceremony.net/ceremony_process. 10 Sen Tanaka, The Tea Ceremony, 15. 11 Peter Barakan, Documentary: Japanese Tea Ceremony, YouTube, 28:59, March 2, 2015, https://www.youtube.com/watch?v=gx59Y8VFse0. 12 Sen Tanaka, The Tea Ceremony, 78. 13 Peter Barakan, Documentary: Japanese Tea Ceremony, YouTube, 28:59, March 2, 2015, https://www.youtube.com/watch?v=gx59Y8VFse0. 14 Kakuzo Okakura, The Book of Tea, 54.

existence. It inculcates purity and harmony, the mystery of mutual charity, the

romanticism of the social order.” (1) The inspirational figure behind the Chanoyu (tea

ceremony) is Sen no Rikyu (1522-91), who is the most famous of tea masters and who

perfected the wabi aesthetic based on tranquility, harmony, and simplicity. Aesthetically,

it involves the pursuit of minimalism, removing any extraneous decoration and paring

things down to their most basic form (Figure 2).15 Movements in the tea ceremony are to

be performed simply and naturally. The aesthetics and design of the traditional Japanese

tea room are closely linked with the performance of the ritual.

The tea-room was an oasis in the dreary waste of existence where weary travelers could meet to drink from the common spring of art-appreciation. The ceremony was an improvised drama whose plot was woven about the tea, the flowers and the paintings. Not a color to disturb the tone of the room, not a sound to mar the rhythm of things, not a gesture to obtrude on the harmony, not a word to break the unity of the surroundings, all movements to be performed simply and naturally- such were the aims of the tea- ceremony.16

15 Tim Cross, The Ideologies of Japanese Tea Subjectivity, Transience and National Identity, Folkestone, UK: Global Oriental, 2009, 1.

16 Kakuzo Okakura, The Book of Tea, 28.

Figure 2 Interior of tea room from the Urasenke Tea Ceremony Association of Washington, DC., Source: By Author

There are multiple different parts of a traditional Japanese tea room. The tea room is usually small, suggesting refined poverty in material.17 The design of the tea room was influenced by Zen monasteries. Zen monasteries are different than other Buddhist monasteries because the chapel is not a place for worship or pilgrimage but a place where the students congregate for discussion and the practice of meditation.18 Buddhist monks used tea to prevent drowsiness during long hours of meditation.19 Zen masters taught that enlightenment could only be found through Zen meditation and the tea ceremony became a way of disciplining the mind.20 Zen teachings helped mold the rules and rituals of chanoyu, and exhibited the simplicity and purity inherent in the religion. The same harmony of mind attained in a Zen temple could be achieved in the serene atmosphere that pervaded the tea room. However, according to Gross, there is a difference between the religion and the tea ceremony. Gross states, “…although there is a very close relationship between the ethics of the Zen religion and chanoyu, they differ in the following manner: while Zen calls for enlightenment of the individual through meditation and detachment, chanoyu is first an art of communication between people, undertaken in the Zen spirit of sincerity and purity of mind.”21 These principles of the Zen monasteries parallel the life of students living on a university campus. Students spend long hours in classes and studying to achieve a higher level of education. The term enlightenment can be applied to both spiritual transcendence, such as in the monasteries, as well as being closely aligned with education, including science, philosophy and politics, which are

17Kakuzo Okakura, The Book of Tea, 49. 18 Ibid., 51. 19 Ibid.,17. 20 Sen Tanaka, The Tea Ceremony, 15. 21 Ibid., 84.

hallmarks of secondary education curriculum.22 The interfaith center tea room will provide students a respite from both their studies as well as a place to disconnect from the digital age from which they live.

To fully understand the tea ceremony it is essential to understand the design and sequence of events in the ceremony. Harmony with nature is regarded by the tea

ceremony’s originators as the ultimate means of awakening aesthetic appreciation.

Japanese tea rooms and gardens are designed to blend in with their surroundings. The

important parts of the tea ceremony include space both inside and outside the tea house,

including the planning of the garden, which will be incorporated into the interfaith center

program and design (Figure 3). The tea house, or room, is traditionally called the Chashitsu

(Figure 4). The Roji (garden path) leads from the Koshikake-Machiai (waiting area in the

inner garden). The Koshikake-Machiai is the waiting area for guests, who have come from the Yoritsuki (waiting shelter in the outer garden), to be welcomed by the host into the tea house. The Machiai is usually a simple hut in the garden with a roof to protect from rain

(Figure 5). The Roji path leads to the teahouse and should make guests feel like they are entering a different world (Figure 6). The Roji signifies the first stage of meditation and the passage into self-illumination. It is meant to break the connection with the outside world and produce a fresh sensation conducive to the full enjoyment of aestheticism in the tea room.23 According to Kakuzo Okakura, “One may be in the midst of the city, and yet feel as if he were in the forest far away from the dust and din of civilization. Great was the ingenuity displayed by the tea-masters in producing these effects of serenity and purity.”24

22 http://plato.stanford.edu/entries/enlightenment/ 23 Kakuzo Okakura, The Book of Tea, 52. 24 Ibid.,53.

According to Gross, the forerunner of the roji came into existence as a place of quiet in the city where people could enter a different world while being a short distance from the hustle and bustle of the city.25

25 Sen Tanaka, The Tea Ceremony, 109.

Figure 3 Tea House Layout with Numerical Steps Diagram. Source: By Author

Figure 4 Plan of a Standard Tea House diagram. Source: By Author

Figure 5 A Roji Path to the tea house in Tenryu-Ji Temple in Sagano, Kyoto. Source: Zen- garden.org, www.zen-garden.org

Figure 6 Outer Waiting Hut. Source: Japanese Tea Culture, www.omotesenke.jp

Specific details in the landscaping of the garden were also of importance. In the tea gardens, natural stones are used to build paths and rock gardens, sometimes situated next to trees.26 Over time, the stepping stone arrangements in the garden changed and developed but gradually came to follow established patterns. In some gardens, stones were sunk into the earth, and in others they were slightly raised. Large stones were placed at long intervals for the path through the outer roji, and small stones were placed at short intervals through the inner roji.27 As for plants, trees such as pine, cedar and oak were planted with shrubs and grass around them. Flowering trees were avoided due to the fear that one’s mind might be distracted from the mood of the tea ceremony. Moss and low bamboo bushes were eventually added. The weather, movement of the sun and change in seasons all play a major role in the interplay between the tea ceremony and nature.28

This obsession with nature is manifested in the design of tea utensils, flowers, cakes and even ingredients of the tea meal, all in accordance with the season or occasion.29

Guests use a Tsukubai (tiny purifying basin) before entering the tea room. The tsukabai is a stone washbasin where guests rinsed their mouths and washed their hands as an act of purification before entering the tea room. The washbasin is a small and short, so that guests have to squat by its side to wash their hands by themselves. Tsukubai means

“squatting.”30 A prescribed arrangement for the stones developed near the washbasin. On the right side there is a yuoke-ishi, a flat stone where, in winter, a hot water vessel is placed for comfort of elderly guests. On the left there is a high stone called the teshoku-ishi, a

26 Sen Tanaka, The Tea Ceremony, 86. 27 Ibid., 111-113. 28 Ibid., 85. 29 Ibid., 86. 30 Ibid., 115.

17 lamp stone used for placing a candle on in the dawn tea ceremonies or ones performed in the dark (Figure 7). Even the minutest details down to the pebbles near the washbasin, which catch the overflow of the water, are not overlooked. These pebbles are kept clean by constant hand polishing and are arranged with great care.31

31 Sen Tanaka, The Tea Ceremony, 115.

Figure 7 Illustration of a Tsukubai and Adjacent Stones. Source: Sen Tanaka, The Tea Ceremony

The tea house consists of many different parts. Two sliding doors are preferable,

one for the guests and one for the Teishu, or the tea ceremony host and teacher. The

Sadouguchi is the full-sized door the host uses to enter and exit the room while carrying

utensils. A Taikobusuma sliding door is most commonly used. This type of door, pushed

open by hand, includes a lattice frame with white paper attached to both sides. Sometimes,

a Fusuma sliding door is used, which is the traditional sliding door in Japanese homes.32

The Nijiriguchi is a small crawl through opening on the outer wall for the guests to enter

the tea room (Figure 8). Shoes must be removed when entering and this small door is so

small that guests usually have to crawl through on their hands and knees. The last person

closes the sliding door of the Nijiriguchi. The small-door is meant to inculcate humility

amongst those present.33 In his book, The Ideologies of Japanese Tea, Tim Cross recounts

his experience entering the tea house, stating, “It must be entered on one’s hands and knees.

The mild discomfort of crawling while wearing a kimono is a deliberate attempt to intensify

the division of space that started with our transition from the outer to the inner gardens. It

encourages us once more to leave all social status and worries outside.”34 Below the guests’

entrance is a stone higher than other garden stones, called the fumi-ishi. It is high enough to enable the crouching guest’s hand to reach the entrance and its surface is wide enough for one pair of feet. It is a carefully chosen stone, oblong and wider at the bottom than the top, distinguishing it from other stones (Figure 9).

32 “The Japanese Tea Ceremony,” The Japanese Tea Ceremony, http://japanese-tea- ceremony.net/ceremony_process. 33 Kakuzo Okakura, The Book of Tea, 54. 34 Tim Cross, The Ideologies of Japanese Tea Subjectivity, Transience and National Identity, 9.

Figure 8 Illustration of the Nijriguchi (guest door) into Tea House. Source: Sen Tanaka, The Tea Ceremony

Figure 9 Illustration of the Stone Arrangement before Entering the Tea House. Source: Sen Tanaka, The Tea Ceremony

A little lower than the fumi-ishi stone is a stone called the otoshi-ishi and in front

of that stone is the nor-ishi stone. These stones are arranged precisely so that the nori-ishi

stone can be used to catch raindrops from the eaves of the tea house.35 When the Teishu

opens the sliding door, greetings occur, usually including a deep bow in the direction of

the person you are greeting. The Sensu (folding fan) is placed in front of the knees leaving

some space to place hands behind it. The Shokyaku (principle guest) may thank other guest

for their participating in the ceremony.36

A Tokonoma is an alcove in the room where the Kakejiku (hanging scroll) is hung and where Chabana (flowers) are displayed (Figure 10). The Japanese have a traditional

art of flower arrangement called the Ikebana, which involves the arrangement of flowers

in a vase or bowl. In the tea ceremony, however, a few flowers or tree branches are used,

unique to the tea ceremony. In a basic chabana arrangement, seasonal flowers are placed in a container with little or no filler material.37 Tall vases can be made from ceramics or

bamboo. Ceramic vases can be placed on the floor of the tokonoma under the hanging scroll, but not in the exact center. Bamboo vases are hung from a supporting pillar.38 The

flower placement is very important, and loses its significance if it is removed from its

intended place because its lines and proportions have been decided with a view to its

surroundings.39The tokonoma area is considered the most important place in the tea room

and therefore the chief guest would be seated closest to it. The Kakejiku consists of calligraphy or a painting and is usually mounted. Calligraphy may include Waka poetry,

35 Sen Tanaka, The Tea Ceremony , 116. 36 “The Japanese Tea Ceremony,” The Japanese Tea Ceremony, http://japanese-tea- ceremony.net/ceremony_process. 37 Ibid. 38 Ibid. 39 Kakuzo Okakura, The Book of Tea, 92.

letters and Zen phrases written by monks and paintings may be about landscape scenery,

flowers or birds. The scroll is for guests to see the point of the day’s tea ceremony.40 As

mentioned, the tea ceremony often functions around the seasons. For example, in April,

when the cherry blossom trees bloom, tea implements are organized around a theme of

cherry blossoms. In the tokonoma, a scroll with a painting may be inscribed with an ancient

waka in tribute to the beauty of flowering cherries.41 A fire pit is also usually included for

ceremonies during the winter season.42

40 “The Japanese Tea Ceremony,” The Japanese Tea Ceremony, http://japanese-tea- ceremony.net/ceremony_process. 41 Sen Tanaka, The Tea Ceremony , 87. 42 “The Japanese Tea Ceremony,” The Japanese Tea Ceremony, http://japanese-tea- ceremony.net/ceremony_process.

Figure 10 Tokonoma (Alcove) with Kakejikku (Hanging Scroll) at Urasenke Tea Ceremony Association of Washington, DC. Source: By Author

There are variations in the style of tea house or tea room. All have Tatami mats covering the floor. The Teishu’s mat is called a Temaeza. This mat is only used by the

Teishu to prepare tea and re-light the charcoal fire. Usually these mats are the same size

as the other mats in the room, however, size can vary depending on the size or style of the

room. Different size rooms are named differently based on the number of mats included.

There is not a fixed layout for the mat arrangement, however, guests should be seated

near to the Tokonoma and the host’s mat cannot be in the same corner. Nijo Chashitsu is

a two-room mat with a fire pit built in to the Temaeza mat and a three-inch board behind

it. The Naga-yojo Chashitsu has a rectangular four-mat design with a fire pit between the

Teishu and guests. The Nijo-Daime Chashitsu has two guest mats plus a shorter mat for

the Teishu. The fire pit is between the Teishu and the guests. The Hira-Sanjo Chashitsu has three mats with a fire pit between the Teishu and guests. The Yojohan Chashitsu has four-and-a-half mats with the fire pit in the center. The Ichijo-Daime Chashitsu has one guest mat and a short mat for the Teishu with a fire pit built into it. The Fuko-Sanjo

Chashitsu has three mats with a fire pit built into the Teishu’s mat on the wall side with a

45 cm board. Lastly, the Old-Style Naga-yojo Chashitsu is a rectangular four-mat room

with a fire pit between the Teishu and the guests, with a 15 cm board.43 (Figure 11)

43 “The Japanese Tea Ceremony,” The Japanese Tea Ceremony, http://japanese-tea- ceremony.net/ceremony_process.

Figure 11 Tatami Mat Layouts. Adapted from Sen Tanaka, The Tea Ceremony

There are also different kinds of ceremonies. The Chaji is a full length tea gathering

that includes a meal. This gathering may take between two to three hours to complete. The

sequence of events in this ceremony is as follows: First, guests arrive and enter the Machiai

waiting arbor. Next, they enter the tea garden following the stepping-stone path to the

Koshikake and wait until the Teishu comes out to exchange greetings. The guests then

proceed to the Tsukubai to rinse their hands and then enter the Chashitsu through the

Nijiriguchi. The meal is then served. When finished, guests leave the tea room and wait at

the Koshikake again. A bell is rung and the guests are called back into the room for Koicha,

a thick tea. Finally, Usucha is served and Aisatsu greetings and thank-you’s are exchanged before the guests exit from the Nijiriguchi, being seen off by the host.44

The Chakai tea ceremony is much like the Chaji but welcomes everyone to join versus a selected group of people. There are usually several servings of green tea during the day and the tea room is filled with guests lined up along the wall. Only the first three guests are served a bowl of tea by the Teishu. The rest of the guests receive a bowl of

Macha from the Hanto after the Shokyaku has been served. During the day, guests can attend several different rooms where teachers display and use their tea utensils.45

Lighting in the tea room is also an important aspect. Lighting in the garden was placed by the side of the washbasin, and other smaller lanterns were placed around the garden. Light had to fall on the washbasin. The lights were meant to inspire beauty and admiration of the beholder.46 The lighting inside the tea room is subdued (Figure 12). As

44 “The Japanese Tea Ceremony,” The Japanese Tea Ceremony, http://japanese-tea- ceremony.net/ceremony_process. 45 Ibid. 46 Sen Tanaka, The Tea Ceremony, 115-116.

Okakura states, “Even in the daytime the light in the room is subdued, for the low eaves of the slanting roof admit but few of the sun’s rays. Everything is sober in tint from the ceiling to the floor, the guests themselves have carefully chosen garments of unobtrusive colors...”47 Simplicity in design is important, and believed to affect how one feels in the tea room. “The simplicity of the tea-room and its freedom from vulgarity make it truly a sanctuary from the vexations of the outer world. There and there alone can one consecrate himself to undisturbed adoration of the beautiful.”48 The structure of the tea house today is based on the soan structure. In early times, the soan structure was generally made from natural materials or from old timbers of the main house, usually built with several kinds of timber. Tea houses should be designed in accordance with the size of the garden.49

47 Kakuzo Okakura, The Book of Tea, Tokyo: Fox Duffield & Company, 1906,55 48 Ibid., 64. 49 Sen Tanaka, The Tea Ceremony , 108.

Figure 12 Subdued Lighting in a Tea Room Interior. Source: Decoholic Interior Design. www.decoholic.org/2015/01/08/add-japanese-style-home/

III. Inter-religious Dialogue and Spirituality Today

The French sociologist Emile Durkheim referenced the transcendent time that

spiritual and religious practices offer, calling it “sacred time”. Sacred time provides time

apart from “profane time,” which is what we live most of our lives in. Daily meditation,

weekly attendance of worship services or religious rituals, annual retreats in isolated,

quiet places of solitude all provide rest and respite from the demands of daily live.

Transcendent spiritual and religious experiences have a positive, healing, restorative

effect, especially when incorporated into daily, weekly, seasonal and annual cycles of

living.50

While statistics on religion and spirituality differ, in general, religion or some

form of spirituality are still very much important to people, today. Approximately 5.8

billion people in the world are affiliated with a religion. Some of the largest world

religions include Christianity, Islam, Hinduism, Buddhism, and Judaism (Figure 13).

According to a Pew Research study conducted in 2012, forty-six million people in

America are unaffiliated with any particular religion, but fifty-eight percent of Americans said that religion is very important in their lives. However, out of these forty-six million people, thirty-seven percent consider themselves spiritual and twenty-one percent said they pray every day.51 One-third of the unaffiliated polled in America said that religion is

50 Ellen Idler, “The Psychological and Physical Benefits of Spiritual/Religious Practices,” Spirituality in Higher Education Newsletter vol. 4, issue 2 (2008). 51 “‘Nones’ on the Rise,” pewforum.org, last modified October 9, 2012, http://www.pewforum.org/2012/10/09/nones-on-the-rise/.

at least somewhat important in their lives, and two-thirds believe in God. The majority of the unaffiliated described themselves as religious or spiritual but not religious.52

While the majority of the world still considers themselves religious, current

statistics show that younger generations are becoming increasingly unreligious. “Among

the youngest Millennials (those ages 18-22, who were minors in 2007 and thus not

eligible to be interviewed in Pew Research Center surveys conducted that year), fully

one-third (34%) are religiously unaffiliated, compared with about one-in-ten members of

the Silent Generation (9%) and one-in-twenty members of the World War II-era Greatest

Generation (5%). Older Millennials (ages 23-30) are also substantially less likely than

prior generations to be religiously affiliated.”53 These struggling numbers, and the benefit

of spiritual or religious practices, provide even more reason to give students a space to

explore their own spirituality or religion during the college years.

52 Ibid.

53 “‘Nones’ on the Rise,” pewforum.org, last modified October 9, 2012, http://www.pewforum.org/2012/10/09/nones-on-the-rise/.

Figure 13 Number of Religious Adherents per Largest World Religions Diagram. Source: By Author

Finding commonalities between religions is helpful to achieving spiritual

pluralism. Each of the world’s religious traditions believe in concern for others less

fortunate and the deliberate turning of attention away from ourselves and toward others

who are in need.54 Ritual practices such as private prayer, group worship, reading of

sacred texts, purification, and those involving sacred objects are common across most

religions (Figure 14). Peace and tolerance between the adherents of different religions is

an extremely important issue in society, today. While, the fact that religious groups are

rated more positively by their own members than by people of other religious

backgrounds, is not surprising, it is a much larger issue than simply ratings.55 Religious

intolerance, defined as the practice of keeping others from acting in accordance with their

religious beliefs is not a new phenomenon, but is becoming a growing concern.

Worldwide, this issue is not only increasing in amount but is becoming increasingly

violent in nature.56 Actively working towards understanding one another is important for

religious peace and tolerance. Knowing someone from a religious group is linked with

having relatively more positive views of that group.57 Immigration has changed the

religious landscape of the United States and people today encounter different religious

54 Ellen Idler, “The Psychological and Physical Benefits of Spiritual/Religious Practices,” Spirituality in Higher Education Newsletter vol. 4, issue 2 (2008). 55 “How Americans Feel About Religious Groups,” Pew Research Centers Religion Public Life Project RSS, July 16, 2014, Accessed December 18, 2015, http://www.pewforum.org/2014/07/16/how- americans-feel-about-religious-groups/.

56 David Basinger, "Religious Diversity (Pluralism)," Stanford University, May 25, 2004, Accessed December 18, 2015, http://plato.stanford.edu/entries/religious-pluralism/.

57 “How Americans Feel About Religious Groups,” Pew Research Centers Religion Public Life Project RSS, July 16, 2014, Accessed December 18, 2015, http://www.pewforum.org/2014/07/16/how- americans-feel-about-religious-groups/.

traditions taking place within their own cities and neighborhoods.58 Islamic centers,

mosques, Hindu and Buddhist temples, and meditation centers can be found in every

major American city.59 The rise in religious diversity has posed new issues for nearly

every public institution in the United States, including all of the educational ones.60

58 “The Pluralism Project at Harvard University,” The Pluralism Project at Harvard University, Accessed December 6, 2015, http://pluralism.org/.

59 "The Pluralism Project at Harvard University," Mission, Accessed December 18, 2015, http://pluralism.org/about/mission.

60 Ibid.

Figure 14 Shared Elements of Religions, Diagram. Source: by Author

There are currently many organizations and groups seeking to promote religious

tolerance. Learning about current and past initiatives to promote interfaith dialogue helps

to understand its importance. Harvard University’s “Pluralism Project” began in 1991 as

a pioneering study of America’s changing religious landscape. They document the shape

of America’s multi-religious society, exploring new forms of interfaith engagement,

study the impact of religious diversity in civic life, and contextualize their findings within

a global framework.61 The project believes that how to appropriate plurality to shape a

positive pluralism is one of the most important questions Americans will face in the

upcoming years, and that this cannot be done with the knowledge most have about the

current religious landscape.62 According to the “Pluralism Project,” there are several

things that define pluralism. Pluralism is not only diversity, but an energetic engagement

of diversity. Diversity has led to the creation of religious ghettoes with little traffic

between or amongst them and today religious diversity is a given. Pluralism, however, is

not, and the project believes it should be considered an achievement and that diversity

without real encounter and relationship will only yield increasing tensions in our society.

The project states that, “Pluralism is an active seeking of understanding across lines of

difference.” While tolerance is a necessary public virtue it does not require those of

different faiths or for secularists to learn about each other. Pluralism is also not

relativism, but instead an encounter of commitments that does not require leaving behind

one’s identities or commitments but holding deepest differences, even religious ones, in

relationship to one another. Those involved in Harvard’s project believe that pluralism

61 “The Pluralism Project at Harvard University,” The Pluralism Project at Harvard University, Accessed December 6, 2015, http://pluralism.org/. 62 "The Pluralism Project at Harvard University," Mission, Accessed December 18, 2015, http://pluralism.org/about/mission.

needs to be based on dialogue of encounter, give and take, criticism and self-criticism.

Everyone participating at the “table” does not need to agree with one another, but be

committed to being at the table with their own commitments.63

The Global Ethic, deriving from the final publication of the 1993 Parliament of

the World’s Religions, is an ideology articulated by the Catholic Theologian Hans Kung

and is agreed upon by leaders of all faiths and none. It has served as a basis for education

and dialogue among people of various backgrounds, allowing them to reach consensus on

important issues despite differing personal beliefs. The Global Ethic focuses on an ethical

framework of fundamental principles shared by all peoples and that are present in all

religious and philosophical traditions. Those principles include non-violence, justice,

tolerance and equality.64 According to Kung, “Anyone interested in seeing human rights

fully respected and more effectively defended throughout the world must surely also be

interested in achieving a change of consciousness concerning human obligations or

responsibilities. These need to be seen in the context of global challenges and efforts to

establish a global ethic, an ethic for humankind.”65 Kung writes about how the world is

experiencing a fundamental crisis amidst the backdrop of social disarray, marginalization

of much of the world’s population, the tensions between sexes and generations, religious

strife and political collapse. He believes that there is a dire need for a mechanism to

63 “The Pluralism Project at Harvard University,” The Pluralism Project at Harvard University, Accessed December 6, 2015, http://pluralism.org/. 64 "A Global Ethic,." A Global Ethic, Accessed December 18, 2015, http://berkleycenter.georgetown.edu/resources/a-global-ethic.

65 "Global Ethic and Human Responsibilites," Global Ethic and Human Responsibilites, Accessed December 18, 2015, http://www.scu.edu/ethics/practicing/focusareas/global_ethics/laughlin- lectures/global-ethic-human-responsibility.html.

counter global distress and that a common ethic existing within all religious teachings of

the world can supply the moral foundation for a vision to lead humanity away from

despair and society away from chaos. Promoting this common ethic can bring about a

change in the inner orientation, the mentality and hearts of people so they find direction,

values and meaning in their lives. The World Parliament meeting where the Global Ethic

was presented, and subsequently endorsed by over ninety percent of the participants,

served as a place for dialogue and launching.66

In dealing with more specific interactions between religions, A Common Word,

seeks peace between the Muslim and Christian communities. Beginning with the

publication in 2007, titled, “A Common Word Between Us and You,” an open letter from

Muslim clerics and intellectuals to the world’s foremost Christian religious leaders, the

initiative promotes dialogue between Muslims and Christians in order to foster global

peace and interreligious understanding. Since its inception, A Common Word, has proved

to be a leading force in advancing Muslim-Christian dialogue through numerous

interfaith conferences.67 Their website states, “Muslims and Christians together make up

well over half of the world’s population. Without peace and justice between these two

religious communities, there can be no meaningful peace in the world. The future of the

world depends on peace between Muslims and Christians.” A basis for peace and

understanding already exists within these two religions which share in a monotheistic

theology. Both of the faiths principles are based on love of One God and love of thy

neighbor, found throughout sacred texts of Islam and Christianity. Common ground

66 “Hans Kung: in search of a global ethic,” Share Iinternational, http://www.shareintl.org/archives/religion/rl_dhHansKung.htm. 67 “Common Word,” Georgetown University Berkley Center for Religion, Peace & World Affairs, http://berkleycenter.georgetown.edu/resources/common-word.

38 between the two religions include the Unity of God, the necessity of love for Him, and the necessity of love for one’s neighbor.68 Creating such projects and promoting shared commonalities can help create peaceful relations while remaining committed to individual beliefs.

The Interfaith Observer is an electronic, monthly, free journal dedicated to exploring interreligious relations and the interfaith movement as a whole. It inquiries into shared core values, various perspectives on the religious diversity in the world, and reflects on theological and spiritual issues. Its long-term goal is to increase connectivity between large interfaith ventures and stakeholders and the rest of society, engaging both the major institutional players and smaller initiatives. The website provides current and historical perspectives on anything regarding the interfaith mission. The Interfaith

Observer notes that the word “interfaith” is everywhere today, in major media, social media, blogs and in thousands of different organizations, which can ultimately be overwhelming for a newcomer. The online journal is an excellent example of a way to promote peace and tolerance between religions using a socially relevant platform such as the internet.

Harvard’s Pluralism Project, the Global Ethic, A Common Word, and the

Interfaith Observer, are only a few of the academic, religious and independent initiatives that promote religious pluralism and an increase in understanding and tolerance of various religious beliefs. Creating an interfaith center where those from different religious backgrounds, or none at all, can visit to explore their own spirituality, or learn

68 “The ACW Letter,” A Common Word, 2007, http://www.acommonword.com/the-acw-document/.

about others, will contribute to the positive advances so many groups have already

spearheaded. Including a space for the sharing of tea, an activity that promotes some of

the common values of differing religions, will only serve to benefit the participants by

reminding them of these common values as they engage in them together.

IV. Religion and Spirituality on College Campuses Yves-Jean Lacoste’s views on ritual non-space are summed up by Wedig, stating,

“Hence, religious formation is found in places where reality, community, and divinity are

joined in an unusual configuration; where the most unlikely associations of people gather

for religious purposes; where their humanity is opened to the absolute and sacred by

means of having been emptied out meaning by post-modern life”69A college campus is

the ideal place to both bring people together to learn about each other’s faiths, as well as

encourage spirituality amongst students and those of a younger generation and provide

sacred space for them apart from the secular aspect of the university. Since religious

affiliation amongst younger generations has somewhat declined recently, providing a

non-exclusive and welcoming place on college campuses for students to learn about

different faiths or embrace spirituality, whether or not the student identifies with religion,

will facilitate meaningful encounters with themselves and others.

The University of California Los Angeles’s Higher Education Research Institute

created the Spirituality in Higher Education Project which examines the spiritual

development of undergraduate students during the college years.70 According to their

69 Mark E. Wedig, “Ecclesical Architecture and Image,” in Transcending Architecture: Contemporary Views on Sacred Space, ed. Julio Bermudez (D.C.: Catholic University of America Press, 2015), 133-135. 70 “Project Background,” Spirituality in Higher Education, Accessed October 17, 2015, http://spirituality.ucla.edu/background/.

website, “Assisting students’ spiritual growth will help create a new generation who are

more caring, more globally aware, and more committed to social justice than previous

generations, while also enabling students to respond to the many stresses and tensions of

our rapidly changing technological society with a greater sense of equanimity.”71 In her

essay, “The Psychological and Physical Benefits of Spiritual Religious Practices,” Ellen

Idler examines how different religions and their spiritual beliefs can help shape people’s

lives. She found that rituals and rites of passage that are practiced by many of the major

world religions play an important role in assisting individuals with passing from one

phase of life into the next with success. These include baptisms, circumcisions,

confirmations, coming-of-age rituals, and marriages, all which often occur in the early

part of life.72 Those working on the project believe that the findings provide a powerful

argument for the proposition that education should attend more to students’ spiritual

development because spirituality is essential to students’ lives.73

The project has researched both spirituality and religion in students’ lives. By the

project’s measures, spirituality is defined by five main attributes. One, a “Spiritual

Quest,” defined by an active quest for answers to life’s “big questions.” Two, an

“Ecumenical Worldview” that is a global worldview that transcends ethnocentrism and

egocentrism. Three is the “Ethic of Caring,” involving a sense of caring and compassion

for others. Four, “Charitable Involvement,” means a lifestyle that includes service to

71 “Overall Findings,” Spirituality in Higher Education. Accessed October 17, 2015, http://spirituality.ucla.edu/findings/.

72 Ellen Idler, “The Psychological and Physical Benefits of Spiritual/Religious Practices,” Spirituality in Higher Education Newsletter vol. 4, issue 2 (2008). http://spirituality.ucla.edu/docs/newsletters/4/idler_final.pdf 73 “Overall Findings,” Spirituality in Higher Education. Accessed October 17, 2015, http://spirituality.ucla.edu/findings/.

others. Lastly, they define “Equanimity” as the capacity to maintain one’s sense of calm

and centeredness, especially in times of stress.74 Idler states, “A core belief of each of the

world’s religious traditions is that of concern for others less fortunate and deliberate

turning of attention away from ourselves toward others who are more in need.”75

The project also found that while religious engagement declines somewhat during

college years, students’ spiritual qualities grow substantially.76 Some spiritual practices

may have started early in life and date back to one’s childhood, but others may be sought

out in adolescence and young adulthood, representing new paths.77 Certain experiences in

college can contribute to this spiritual growth, such as exposing students to diversity

through diverse people, cultures and ideas. Studying abroad, interdisciplinary

coursework, service learning and other forms of civic engagement can help students

value multiple perspectives as they confront the complex social, economic and political

problems of the time. Meditation and self-reflection were found by the Spirituality in

Higher Education Project to be the most powerful tools for enhancing students’ spiritual

development. They believe that, “providing students with more opportunities to connect

with their ‘inner selves’ facilitates growth in their academic and leadership skills,

contributes to their intellectual self-confidence and psychological well-being, and

enhances their satisfaction with college.”78 A survey done by the University of Michigan

74 Ibid. 75 Ellen Idler, “The Psychological and Physical Benefits of Spiritual/Religious Practices,” Spirituality in Higher Education Newsletter vol. 4, issue 2 (2008), http://spirituality.ucla.edu/docs/newsletters/4/idler_final.pdf, 3. 76 “Overall Findings,” Spirituality in Higher Education. Accessed October 17, 2015, http://spirituality.ucla.edu/findings/. 77 Ellen Idler, “The Psychological and Physical Benefits of Spiritual/Religious Practices,” Spirituality in Higher Education Newsletter vol. 4, issue 2 (2008), http://spirituality.ucla.edu/docs/newsletters/4/idler_final.pdf 78 “Overall Findings,” Spirituality in Higher Education. Accessed October 17, 2015, http://spirituality.ucla.edu/findings/.

that included 135 high school seniors across 48 states found that religious involvement

had a positive impact on students who say religion is important in their lives and that they

attend services frequently. The survey found these students to have lower rates of

cigarette smoking, alcohol use, marijuana use, higher rates of seatbelt use, eating fruits

and vegetables and breakfast, as well as lower rates of carrying weapons, getting into

fights and drinking while driving.79

Not only will providing students a place for personal prayer and meditation equate

to beneficial outcomes in their lives, but providing it within the context of an interfaith

center will have greater positive outcomes on society as a whole. Many public school

educators agree that increasing students’ understanding of diverse religious perspectives

is important and will bring about positive social outcomes. Helping students to better

understand the increasing religious diversity of society will help them better prepare to

live in a peaceful, productive manner with those who have differing cultural and/or

religious values. Having students directly experience religious diversity in some form is

necessary or, at least, desirable, more so than having them merely think about it.80

Creating an interfaith center for spiritual wellness and understanding that

inherently facilitates interaction amongst a diverse group of people will contribute to

students’ spiritual growth and development, as well as help them to better navigate their

way in the complex world. According to Karla Cavarra Britton, author of “The Risk of

79 Ellen Idler, “The Psychological and Physical Benefits of Spiritual/Religious Practices,” Spirituality in Higher Education Newsletter vol. 4, issue 2 (2008), http://spirituality.ucla.edu/docs/newsletters/4/idler_final.pdf, 2. 80 “Religious Diversity (Pluralism),” Stanford Encyclopdedia of Philosophy, 25 May 2004, http://plato.stanford.edu/entries/religious-pluralism/.

the Ineffable,” “The active role of religious thought and experience in our societies is

central not only to contemporary debates in moral philosophy and theology. Disciplines

such as law, medicine, and environmental studies are engaged as well in how religion as

a significant social fact is shaping today’s cultural and personal identities in surprisingly

complex and powerful ways.”81 Religious thought permeates a variety of other

disciplines in academia besides theology and, therefore, creating a space where people

can learn about different religions and have spiritual encounters will also help students in

their personal and professional lives.

81 Karla Cavarra Britton, “The Risk of the Ineffable,” in Transcending Architecture: Contemporary Views on Sacred Space, ed. Julio Bermudez (D.C.: Catholic University of America Press, 2015), 74.

Chapter 2: Design Conditions

I. Case Studies

Three case studies were selected to inform the final design, including two

different centers dedicated to inter-religious space as well as a contemporary tea room

design. The examination of the purpose, programs, and overall design of each space

provides the essential framework of what will be necessary in designing an interfaith

center that utilizes facilities dedicated to religious study and spiritual exploration, as well

as incorporating a contemporary tea room based on traditional values within the space.

Case Study #1 – Multi-Faith Centre, University of Toronto, Ontario, Canada

The University of Toronto’s Student Life website states, “The Multi-Faith Centre

supports the spiritual well-being of everyone on campus and provides opportunities for

people to learn from each other while exploring questions of meaning, purpose and

identity. Our facilities and programs accommodate a wide variety of spiritual and faith-

based practices and encourage interfaith dialogue and spiritual development as part of the

learning experience for all students.”82 The university faces the challenge of

accommodating spiritual pluralism within the framework of its secular mandate, while at

the same time creating opportunities for interfaith dialogue and study.83

The Multi-Faith Centre’s programming creates opportunities for students, staff,

chaplains and faculty to explore religious and spiritual pluralism, personal and

community development and interfaith cooperation for social justice. They enable

82 “Multi-Faith Centre,” University of Toronto, https://www.studentlife.utoronto.ca/mf. 83 “Multi-Faith Centre, University of Toronto, Ontario, Canada,” DesignBuild-Network, http://www.designbuild-network.com/projects/multi-faith/.

students to develop their critical thinking, ethical decision making, and become socially

responsible citizens for a multi-faith society. Programs include: a Leadership

Development Program, Reading Abrahamic Scriptures Together (RAST), Eco-

Spirituality, Free Yourself through Improv, Muffin Madness, two, 4-Week Arts-Based

Program for Students, Massage Wednesdays, Spirituality and Social Justice Film Series,

Queering Religion, and a Jewish-Muslim Women’s Dialogue.84 Meditation, yoga and Tai

Chi classes are all offered weekly on campus, including in the meditation room at the

Multi-Faith Centre. The centre also supports the Campus Chaplains Association who

offer spiritual support to the community. All of these programs take place within the

centre, and therefore the design needs to accommodate their different needs.

Moriyama & Teshima Architects faced the challenge of creating a ‘faith-neutral’

space with a design aesthetic that is universally perceived as a sanctuary and retreat for

all, while at the same time, creating innovative elements that allow all faith groups to

adapt spaces quickly to suit their particular needs.85 Students and leaders of all faiths

need to feel equally welcome and equally valued when using the space.86 In order to

create a ‘faith-neutral’ space, the choice was made to avoid icons and symbolism, and

instead, ‘light’ (spiritual and metaphysical) emerged as a common theme amongst all

faiths. The architectural expression of light is the central feature to the space. Light

became the central feature of the main facility hall, including a ceiling and front wall

84 “Multi-Faith Centre,” University of Toronto, https://www.studentlife.utoronto.ca/mf. 85 “Multi-Faith Centre, University of Toronto, Ontario, Canada,” DesignBuild-Network, http://www.designbuild-network.com/projects/multi-faith/. 86 “University of Toronto Multifaith Building,” E-Architect, 28 Apr 2008, http://www.e- architect.co.uk/toronto/multifaith-centre.

made of back-lit translucent white onyx panels (Figure 15).87 The onyx panels were

designed using sacred numerology and geometries to create a ceiling mosaic that subtly

references the religious structures of all faiths.88

87 “Multi-Faith Centre, University of Toronto,” Moriyama & Teshima Architects, http://mtarch.com/projects/multi-faith-centre-university-of-toronto/. 88 “Multi-Faith Centre, University of Toronto, Ontario, Canada,” DesignBuild-Network, http://www.designbuild-network.com/projects/multi-faith/.

Figure 15 Main Hall at the University of Toronto Multi-faith Centre. Source: e- architect, www.e-architect.co.uk/toronto/toronto-architect

Figure 16 Meditation Room at the University of Toronto Multi-faith Centre. Source: designbuild-network.com, www.desigbuild-network.com/projects/multifaith/multi-faith3.html

The incorporation of nature into the space was also an important aspect to satisfy the spiritual desire for a connection to nature. A green bio-wall featured in the meditation room works to enhance the humidification and air quality, reducing the mechanical loads on the building (Figure 16). Water quietly drips down the wall, with the hopes that it will evoke a connection with the living word and reflection on all forms of creation. The living wall is also meant to cleanse both air and the human spirit. This connection with nature is also reinforced by the university’s “Eco-Spirituality” program which is an interfaith group whose goal is to link environmentalists, theorists, and activists who care about the Earth and who bring a particular faith perspective, spirituality or religious commitment to ecological work.89

The Multi-Faith Centre has five rooms of varying size available for prayer, worship and other spiritual practices, as well as educational events including meetings, conferences, panel discussions and forums. The Main Activity Hall is the largest configurable space in the centre and includes the marble onyx ceiling and wall facing east. The space is available for weddings, conferences, lectures, meditations, socials, retreats and other ceremonies (Figure 17). The space is designed with a ventilation system to accommodate ceremonies with smoke and/or fire. According to the Student

Life website, the space seats up to 160 people. In lecture style it seats 160; dinner style,

70; boardroom style, 40, and meditation style, 30-60 people. The university has made screens, rectangular tables and chairs available for the space. Next, the Multi-Purpose room is the second largest space in the building and has an adjoining kitchen. This room is available for meditations, prayer, reflection and sessions for up to ten people. The

89 “Multi-Faith Centre,” University of Toronto, https://www.studentlife.utoronto.ca/mf.

Meditation room includes the bio-wall and seats up to 20 people including formats for lecture, dinner, boardroom and meditation style seating arrangements. Mats, cushions, table and chairs are also available for this room. The Quiet rooms are the third largest configurable space in the Multi-faith Centre and are dedicated to small meetings, lectures, breakout sessions, meditations, socials, retreats and other events. Similar to the other rooms, various style seating arrangements can be accommodated. A boardroom style meeting room is available for small meetings, workshops, lectures and breakout sessions, which seats twelve to fourteen people. A second floor kitchen has a large catering style kitchen (no stove), dishwasher, stainless steel prep and cleaning areas with a large fridge.

Ablution facilities are also included in the space, a necessary ritual of purification for some religions (Figure 18). In addition to these main spaces are offices and a resource center.

Important elements drawn from this case study include the programming of rooms in an interfaith campus center, as well as material choices used that are faith-neutral, yet still evoke the transcendental qualities of spirituality that connects with all religions. It was also a reuse of an existing building on the university’s campus, which set a precedence for an adaption of a previously used building to an interfaith building (Figure

19). The location on a university campus also further justifies reasoning for locating an interfaith center within a campus community. This case study provides an example of a space for educational programs, meditation classes and ablution facilities which all inform necessary and beneficial program elements.

Figure 18 Ablution Facilities at the University Figure 17 A Celebration at the University of of Toronto Multifaith Centre. Source: e- Toronto Multi-faith Centre. Source: e-architect, architect, www.e- www.e-architect.co.uk/toronto/multifaith-centre architect.co.uk/toronto/multifaith-centre

Figure 19 Exterior of the University of Toronto Multifaith Centre. Source: Leading Edge Seminars INC, www.leadingedgeseminars.org/directions/university-of-toronto.html

Case Study #2- Interfaith Peace Chapel, Philip Johnson/Alan Ritchie Architects, Dallas,

Texas

The Interfaith Peace Chapel’s website states, “The chapel is our visible

proclamation to the world that we must all be committed to peace. It stands as a

monument to the cause of peace for all who believe in it, seek it, and work for it. In an

environment where people are repeatedly excluded from communities of faith, we are

called to build a campus where all will see and feel our welcoming spirit.” The chapel is

committed to affirming encounters with the Divine, especially in crowded cities where

people are too busy to pause and notice the Divine around them. Their goal was to create

space where the sacred could be encountered by everyone. 90 The chapel’s mission is to

orient the hearts and minds of people away from conflict and division and toward

cooperation and community.91 In attendance of the chapel’s opening there were

representatives from seventeen of the world’s religions, further showing the dedication to

inter-faith community.92

The chapel is located across from the Cathedral of Hope’s main sanctuary (1992),

in a commercial neighborhood of Dallas, Texas. Plans for the campus include a large

park area around the chapel with signage and enough parking for visitors and ease of

accessibility for newcomers (Figure 20). The chapel includes over 8,000 square feet, is 46

feet tall at its highest point, and measures over 106 feet long (Figure 21). The chapel seats

175 people and is designed for conferences, seminars, small interfaith services, weddings

90 “About Us,” Interfaith Peace Chapel, http://interfaithpeacechapel.org/about-us. 91 “Architecture,” Interfaith Peace Chapel, http://interfaithpeacechapel.org/art-a-architecture. 92 “Interfaith Peace Chapel opens on COH campus,” Dallas Voice, 08 Nov 2010, http://www.dallasvoice.com/interfaith-peace-chapel-opens-coh-campus-1051424.html.

52 and memorial services (Figure 22). Future additions to the site will include a 12,000 sq. ft. open-air gathering space and a grove of trees that arch around the north side, offering a park-like setting for a meditation garden. A water feature including a bronze statue of St.

Francis will possibly be included in that location. Additionally, a prayer labyrinth will be installed in the landscape design.93

93 “Architecture,” Interfaith Peace Chapel, http://interfaithpeacechapel.org/art-a-architecture.

Figure 20 Site Plan of the Interfaith Chapel, Dallas, TX. Source: Cargo Collective, www.cargocollective.com/rizawanfaruqui/interfaith-peace- chapel.com

Figure 21 Exterior View of the Interfaith Chapel, Dallas, TX. Source: Cargo Collective, www.cargocollective.com/rizawanfaruqui/interfaith-peace-chapel.com

The building was designed to serve many functions for many different groups

(Figure 23). The design of the walls in the space are reflective of the chapel’s mission.

The warping walls are without right angles or parallel lines, the intention being to slightly disorient visitors and prepare them for the reorientation of their souls (Figure 24). Natural light filters through a window on top of the chancel at the far end of the building, meant to draw the visitor in (Figure 25). The floors throughout are industrial, yet polished, concrete. No art is inside, but the minimalist design is meant to invoke a serene spirituality, focused on meditation rather than doctrine. According to Gary Cunningham, the project’s co-designer, Philip Johnson got the idea for the rounded organic shaped windows form from Frank Stella.94 The walls are all white, altering the light depending on the climatic conditions. No ornamentation is inside. In place of an altar is a raised bamboo platform under the skylight, for which anything can be placed, including a piano.

94 “No Typical Texas Church,” The Wall Street Journal, 22 Dec 2010, http://www.wsj.com/articles/SB10001424052748704369304575633332577509918.

Figure 22 Plan of the Interfaith Chapel, Dallas, TX. Source: Cargo Collective, www.cargocollective.com/rizawanfaruqui/interfaith-peace-chapel.com

Figure 23 Hindu Prayer Mats in the Interfaith Chapel, Dallas, TX. Source: Interfaith Peace Chapel. http://interfaithpeacechapel.org/galleries?spgmGal=Hindu_Prayer_Sitting &spgmPic=6#spgmPicture.

Important elements from this case study include the programmatic elements such as the main chapel space, which holds up to 175 people and is designed for multi-purpose use. The use of design to evoke a transcendental or spiritual experience by using warping walls can further inform design decisions in this thesis, as well as incorporating in natural light and minimalism to create a serene spirituality. The location in a busy urban area of

Dallas, TX is also important, showing that such a space can emerge from the urban landscape and act as a place of quiet and peace amidst the busyness of urban life (Figure

25).

Figure 24 Interior View of the Interfaith Chapel, Dallas, TX. Source: Cargo Collective, www.cargocollective.com/rizawanfaruqui/interfaith-peace-chapel.com

Figure 25 Light Shining into the Apse Area of the Interfaith Chapel, Dallas, TX. Source: Cargo Collective, www.cargocollective.com/rizawanfaruqui/interfaith-peace-chapel.com

Figure 26 Aerial View of the Location of the Interfaith Chapel, Dallas, TX. Source: Cargo Collective, www.cargocollective.com/rizawanfaruqui/interfaith-peace-chapel.com

Case Study #3- Tea Houses, Swatt|Miers Architects, Silicon Valley, California

“Tea Houses,” includes three individual tea houses located on a private residence in California, created as a place to retreat into nature (Figure 27) .Each tea house is designed as a transparent steel and glass pavilion, meant to hover over the natural landscape like a lantern (Figure 28). The architecture and landscape serve to connect the tea houses with the native California landscape.

The tea houses vary inside, and each has a unique purpose. The smallest tea house is 270 square feet and dedicated to ‘meditation’ and is a place for individual contemplation. The ‘sleeping’ tea house is 372 square feet and is used for overnight stays.

Lastly, the ‘visioning’ tea house comes in at 492 square feet and is meant for intimate gatherings and creative thinking. The visioning and sleeping tea houses are joined by a sky-lit bathroom, bridging the two houses (Figure 29). Quiet simplicity is a constant theme throughout each tea house, with the exclusion of phones, televisions and audio systems.

Figure 27 Model of “Tea Houses” by Swatt/Miers Architects. Source: Photograph by Tim Griffith. Arch Daily, www.archdaily.com/201014/tea- houses-swatt-miers-architects

Figure 29 Exterior of “Tea Houses.” Source: Photograph by Tim Griffith. Arch Daily, www.archdaily.com/201014/tea-houses-swatt-miers-architects

Figure 28 Bathroom Adjoining the Visioning and Meditation Houses. Source: Photograph by Tim Griffith. Arch Daily, www.archdaily.com/201014/tea-houses- swatt-miers-architects

There is also a sustainability component to the design. Steel framed doors and

awning windows provide access and high-low ventilation. Custom-modified aluminum

framing sliding doors dissolve the barrier between the inside and outside spaces.

Landscaping was strategically placed to enhance natural cooling through shading.

Landscaping includes evergreen redwood trees and bamboo, as well as deciduous maple

and gingko trees. Floor heating is provided by a radiant hydronic system below flooring

and electricity is produced by a photovoltaic array mounted on the main house roof.95

The tea house pavilions retained some elements of traditional tea rooms/houses

but in a non-traditional usage and modern architectural style (Figure 30). Remaining true

to one of the main focuses of the traditional tea ceremony, the pavilions promote

meditation, contemplation and time apart from the busyness of the world (including

technology, in our modern era). The use of sustainable design elements further promotes

a respect and incorporation with nature, as well as carefully selected landscape, such as

the gingko trees. One important element involving landscape is the use of both native

species to California, as well Japan (Figure 31). This connects the design with its current

context but also respects the heritage of the tea ceremony. This case study is useful to the

project because of its non-traditional tea house design, which is reflected in the design of

the interfaith tea house. The landscape design is both native to Japan but also

incorporates While having individual tea houses dedicated to the three specific functions

is not useful to this thesis, the theme of quiet simplicity and promotion of meditation and

95 “Tea Houses / Swatt|Miers Architects,” arch daily, 08 Jan 2012, http://www.archdaily.com/201014/tea- houses-swatt-miers-architects.

63 contemplation, as well as the small scale of the houses, should be reflected in the tea room design of this project.

Figure 30 Interior of the Meditation House from “Tea Houses.” Source: Photograph by Tim Griffith. Arch Daily, www.archdaily.com/201014/tea-houses-swatt-miers-architects

Figure 31 Bamboo Lending Shade to the “Visioning” House from “Tea Houses.” Source: Photograph by Tim Griffith. Arch Daily, www.archdaily.com/201014/tea- houses-swatt-miers-architects

II. Site Original site options included three locations in Buffalo, NY. The chosen location is in Buffalo, in order to enhance the community there. The first two buildings were chosen as options for their location in a very busy part of the city, as well as for the accessibility to them from the cancer institute and medical corridor. Guests, visitors, or workers in these places may need a respite from the stressfulness of a hospital and could you a place for quiet contemplation or to connect with their spirituality, that is not in a hospital. Also being downtown could be a good location since many people visiting the city spend time in nearby locations and an interfaith center could enhance their visit to the city, as well as bring more people into the city through conferences or meetings. The first site option is located at 743 Main Street in downtown Buffalo (Figure 32 and 33).

The building totals 33,000 sq. ft. and includes three floors with approximately 6,600 sq. ft. per each floor. Large front windows allow in natural light, which would be beneficial for the main hall of the interfaith center in order to create a spiritual atmosphere. While this location is good and the square footage is enough, it ultimately does not serve the depth of purpose that can be explored on a campus interfaith center.

66 Figure 32 Site Option 1: 743 Main Street, Buffalo, NY, Aerial View. Source: Google Maps, www.google.com/maps

Figure 33 Site Option 1: 743 Main Street, Buffalo, NY, Exterior Façade. Source: LoopNet, www.loopnet.com/Listing/15552924/743-Main-Street-Buffalo-NY/

67 The second site option, located at 38 North Street in Buffalo, is in a similar location to site option one and thus features many of the same surrounding attributes

(Figure 34). This building totals a similar amount at 33,839 sq. ft. and is a currently vacant office building, formerly home to the Bryant and Stratton Institute and the

Tapestry Charter School (Figure 35). The building has access to outdoor natural space, which would be beneficial to incorporating garden space into the tea room design. While the size, once again, is appropriate, the location does not provide the same benefits that a college campus will. Another reason for not choosing this site is the architectural style of the building. The building is already decorated with a pediment on the top, and, ultimately choosing a building that is somewhat more non-descript will be an advantage in the re-use of the space to incorporate both historic and modern elements..

Figure 34 Site Option 2: 38 North Street, Buffalo, NY, Aerial View. Source: Google Maps, www.google.com/maps

Figure 35 Site Option 2: 38 North Street, Buffalo, NY, Exterior Façade. Source: Plaza Group, www.plazagroup.com/units/view/suite_101_40_north_st._buffalo_ny_14202

The final, and ultimately chosen location, is Townsend Hall at the University at

Buffalo South Campus. Townsend Hall is 25,077 square feet, built in 1903 by George

Metzger (later worked on by E.B. Green in 1931), and was originally part of the Erie

County Almshouse and Poor Farm (Figure 36). The building is currently vacant on the campus. The university’s south campus is 154 acres and features 51 buildings, including two residence halls. Located on the campus are five schools: the School of Architecture and Planning, School of Dental Medicine, Jacobs School of Medicine and Biomedical

Sciences, School of Nursing, School of Pharmacy and Pharmaceutical Sciences, and

School of Public Health and Health Professions (Figure 37). Overall, the university has

29,850 students. 54% of them are male, 46% are female. 92% of the students are 18-24 years old. The university has no religious affiliation. Nearby to the campus is Veteran’s

Hospital, and the community is a mix of residential and commercial that caters to both students and faculty.

70 Figure 36 Townsend Hall, C. 1920’s, Source: Photograph by Hare Photography Studios

71 Figure 37 University at Buffalo South Campus Map, Source: by Author

72 Finding this location helped to develop the idea further of creating an interfaith center for a campus location. The University at Buffalo does not currently have an interfaith center but does have a Campus Ministry Association that is affiliated with 31 active ministries. According to their website, the ministries all have their own individual meeting places and there is no one place on campus where the groups meet within the same space.96 While the university does have a Newman Center, serving the Campus

Catholic Ministry at UB, the main location is at the North Campus, and the location on the South Campus is in a church adjacent to the campus. Creating an interfaith center would provide a dedicated campus location for all of the campus religious organizations to meet. Furthermore, locating the interfaith center on the south campus, which is closer to the city, as well as adjacent residential neighborhoods, will provide more visibility for the goals of religious pluralism and engage the local community (Figure

96 “UB EPIC,” UB Campus Ministry Association, http://ubcampusministry.com/epic/.

73 Figure 38 Site Diagrams. Source: By Author

74 Further benefits of this location include the historical architecture dating from the turn of the century, which will contrast with modern additions in the building design, reinforcing the modern vs. historic elements of the tea ceremony and religions in a visual way (Figures 39-41). The location includes green space which can be expanded upon to incorporate the garden space of a tea room into the design (Figure 42). Choosing to create the interfaith space on the college campus will also provide an opportunity to create some space for religious education which can be connected to the university’s small religious studies program.

75 Figure 39 Townsend Hall, Front Exterior Façade. Source: By Author

Figure 40 Townsend Hall, Exterior Side Approach Path. Source: By Author

76 Figure 41 Townsend Hall, Exterior Side from Parking Lot. Source: By Author

Figure 42 Townsend Hall, Exterior Side. Source: By Author

77 III. Methodology

In order to design an interfaith campus center for students to embrace their own spirituality and religion, as well as to facilitate understanding and communication between those with differing beliefs, shared elements of both the tea ceremony and religion will be considered. Three main components of the design include the tea room, religious and spiritual space, and education. These elements will be brought together to create a cohesive and new interpretation of an interfaith center that provides a place for students, religious or non-religious, to explore spirituality and learn about their own and other’s religions A modern tea room, based on the principles of the Japanese Tea Ceremony, will be the framework for a space where those with diverse religious beliefs can come together and focus on shared values through sharing tea. An important theme that emerged from both the tea ceremony and religions was the creation of sacred versus profane space and the concept of a threshold serving as a transition between the two (Figure 43). This threshold takes the form of a “gap” between the outer masonry wall and the interior of the building.

This diagram of an abstract glass box being placed within the building provides a negative space- a gap, or the broken connection between the interior (sacred) and exterior (profane) worlds (Figure 44). This concept is carried throughout the design in key transitional parts of the program, marking moments or transitions from the profane to sacred worlds. This is representative of both an internal, spiritual journey, as well as a physical transition within the space.

Figure 43 Parti Diagram, Source: By Author

Figure 44 Threshold Diagram. Source: By Author

The design is informed by minimalism in both materiality and architecture, nature and light, which all help communicate the essence of both spirituality and the tea ceremony principles. Through designing the interfaith center based on these concepts, the user will experience feelings of ethereality, connection, intimacy and awe.

IV. Design Research

There are three important juxtapositions throughout the space, which include secular vs. sacred, individual vs. group, and historic vs. modern. These juxtapositions will help to further understand the use of each space and also how the spaces relate to each other.

1. Secular vs. Sacred

Figure 45 diagrams the breakdown of secular versus sacred space in the interfaith center. The tea room is an example of space that is intended to be both secular and sacred space. The spiritual principles of the tea ceremony enhance interaction with one another, but do so in a secular setting that helps remove the visitor from a specific religious ritual and focuses more on shared aspects of spirituality. A classroom provides a place to bring sacred, or religious, education into the secular setting of the university. The main worship hall and private meditation pods, create a sacred time apart from the profane, or secular world.

Figure 45 Secular vs. Sacred Space Diagram. Source: By Author

2. Individual vs. Group

Figure 46 diagrams a breakdown of individual versus group space. The lobby of the building is intended to provide a threshold between the outer world (secular) and inner world (sacred). Through the use of light and scale the lobby should provoke an individual awakening of spiritual senses that transitions one from the busyness of campus life into the spiritual realm of the interfaith center. Student educational space, such as a classroom and multi-purpose room, will provide a place for sharing of both individual and group experiences, which reflect a student’s life in college. The main worship hall will be a place for students to embrace their own spirituality and religion through group worship.

Figure 46 Individual vs. Group Space Diagram. Source: By Author

3. Historic vs. Modern

The design of the building is meant to transcend time through engaging the ancient past in a modern way (Figure 47). The theme of historic versus modern reflects both the historical basis of both tea and religion. Both tea and religion have evolved over time and today are still being embraced in the modern world. Both things have remained and are shared across cultures. These elements can be reinforced through the use of a historical building that is renovated in a modern way that also preserves historical features.

Likewise, religious intolerance and misunderstanding is a contemporary theme in our increasingly global and complex world, which can be dealt with on a college campus, somewhere that is rooted in educational tradition yet also embraces modern advances in thought, science and technology.

Figure 47 Historic vs. Modern Inspiration. Source: By Author

According to Pallasmaa, “The experience of sacredness implies a feeling of

transcendence beyond the conditions of commonplace and the normality of meanings. A

sacred space projects experiences in which physical characteristics turn into

metaphysically charged feelings of transcendental reality and spiritual meanings.”97 The

architect Louis Kahn believes that light is the giver of all presence. 98 Light can be used in the interfaith center to evoke these feelings of transcendence as visitors approach the building, and then as they enter through the lobby. Light will become even more important as they transcend through the building, up to the spiritual space where light will be used to fully indicate spiritual transcendence. Not only does this reflect transcendence associated with the spiritual and religious, but with the enlightenment rooted in the tea ceremony, as well. An enlightenment of mind, as one becomes more educated, and then back to the same spiritual feelings evoked when stepping into the building through the threshold that divides the interfaith center from the secular world of the university. Before one enters the tea room, they must first journey on the path through the outer and inner waiting area, where there is time to reflect and have quiet contemplation. The tea room will, furthermore, promote intimacy, humility through scale and light, and simplicity of design, being smaller and subdued. Classroom and multi-use space will be used to promote education and a sense of connection, including moments where students can connect with their books, or each other. Space for spiritual or religious use, once again, through light and scale, will allow

97 Juhani Pallasmaa, “Light, Silence, and Spirituality in Architecture and Art,” in Transcending Architecture: Contemporary Views on Sacred Space, ed. Julio Bermudez (D.C.: Catholic University of America Press, 2015), 19. 98 Ibid., 23.

86 the user to feel a sense of the ethereal and assist in connecting with their own spirituality

(Figure 48).

Figure 48 Spatial Experience Diagram. Source: By Author

The four principles of the tea ceremony that will be addressed through program and design include harmony, respect, purity and tranquility. Communication and etiquette will be fostered by communal seating and awareness of others. Seasonal changes, which dictate themes of the tea ceremony, will be reflected in the program through an outer garden, which will look different depending on the four seasons present in Buffalo, New York: spring, summer, fall, winter. Water is symbolic of ritual purification and cleansing both internal and external, for both the tea ceremony and religions. Its use throughout the space will promote feelings of tranquility and connection with nature.

V. Program

Townsend Hall currently consists of four stories and is approximately 25,077 sq. ft., with roughly 6,270 sq. ft. per floor. The proposed design will include demolishing the existing third floor of the building to expand current ceiling height of the second floor

(Figure 49). The design of the building will be broken down into three main parts, which provide space for a tea room, including a meditation garden, educational and religious/spiritual space (Figure 50). These parts are all informed by both the case studies and further research into necessary elements of an interfaith educational space and

Japanese tea rooms. These elements all work together to complete the entire design and provide a place for personal spirituality as well as a platform for religious pluralism.

A bubble diagram of special adjacencies helps to further clarify the relationships between each overall space and individual areas within them (Figure 51). Detailed program elements and the square footage can be found in Figure 53.

Figure 50 Townsend Hall 3rd Floor Plan, Not to Scale. Source: University at Buffalo

Figure 49 Programmatic Section Diagram. Source: By Author

Figure 51 Spatial Adjacencies Diagram. Source: By Author

Figure 52 Program. Source: By Author

VI. Design

Since the basement level of Townsend Hall is below grade, the visitor enters on the entry level of the building which includes a lobby, the tea houses, offices and a conference room (Figure 53). When entering the lobby, one must pass through a vestibule, and the threshold is emphasized through the space created between the exterior and interior glass wall (Figure 54). The lobby provides access to stairs or an elevator to ascend upwards to group worship and personal meditation space, or down to the first level (Figure 55). Circulation will revolve around creating a flow through the building that leads people from the lobby and into the outer waiting area downstairs, which takes the form of a meditation garden (Figure 56). Here, similar to the traditional Japanese tea ritual, the guests can sequentially travel through the both the outer waiting room (garden) and inner waiting room (meditation steps) to transition them into the correct mindset before entering the tea room. These moments both outside and inside will give the visitor time to meditate and reflect, invoking a sense of calm and peacefulness that nature can provide before engaging with others. The garden will feature plants native to both Japan and New York to connect the space with its current context. The meditation steps, configured in stadium style seating, provide a place for pause either individually or as a group (Figure 57). The last phase of the tea room sequence will be on the entry level with two tea houses.

Figure 53 Entry Level Floor Plan. Source: By Author

Figure 54 Lobby View. Source: By Author

Figure 55 Lobby Stair View. Source: By Author

Figure 56 Meditation Garden View. Source: By Author

Figure 57 Meditation Steps View. Source: By Author

In addition to the individual tea houses, there will be a room for the tea master and for storing utensils such as tea pots, cups and a place to steep the tea. A traditional tea room that is configured to fit a large number of guests can vary greatly in size, depending on the amount of people using it. These tea rooms are non-traditional in style but incorporate the core principles behind the tea ceremony and design that applies to the interfaith center. To create a variety of intimacy levels in the space, there will be seating configurations that promote intimacy between small groups of people. This ranges from space for two up to eight people varied between the two tea rooms. In both tea houses there will be seating at a communal table, using custom designed raised tatami style floor seating, which will incorporate traditional tea room elements into the space in a modern context. The large group tea house will have a communal table that will serve as a space for a larger group to come together (Figure 58). In the smaller tea house, there will be seating arrangements for a pair of two and will promote a greater sense of intimacy and understanding on a one-on-one level. The small preparation room will provide enough space to prepare and serve tea and very small meals, such as dessert. The threshold/gap will be incorporated before entering into these tea rooms, as one must walk across water surrounding each tea room before entering. A large stone also represents the traditional stepping stone before entering the tea room. A sequence of stones from the top of the meditation steps wrap around the tea rooms and are representative of the stepping stones used in traditional tea gardens (Figure 59).

Figure 58 Tea House (Large Group) View. Source: By Author

Figure 59 Tea Room Circulation View. Source: By Author

Adjacent to the garden will be an exterior staircase, which provided another opportunity to create the threshold. A catwalk from the stairs to the building emphasizes this transition space before entering the sacred interior on the third level. Also included on the first floor will be a classroom, men’s and women’s bathrooms and a student lounge area for students (Figure 60).

Figure 60 First Floor Plan. Source: By Author

100

The third floor of the building will be dedicated to spiritual and religious space

(Figure 61). This includes a large, non-denominational worship hall in the north corner of the building, which allows those of Muslim faith to face east for prayer. Different types of prayer formations will be used in these rooms, as well as different mats and/or chairs for different religions (Figure 62). Examples of these includes Muslim prayer rugs, meditation mats, or standard chairs for group worship.

Ablution facilities for both men and women to use for ritual purification, as well as bathrooms, will be adjacent to the worship room. Privacy screen, whose design was inspired by traditional Japanese woodwork prints, provide privacy for those entering and exiting the ablution facilities before entering the worship hall (Figure 63).

The main worship hall includes an abstracted, geometric altar design which allows all faiths to be angled towards it regardless of their prayer format. A laser cut screen covers the glass ceiling of the space and extends down behind the altar. This screen provides both shade as well as fractures the light, creating a modern, faith-neutral stained glass effect in the room (Figure 64). A southeast and northeast facing section illustrate the programs adjacencies to each other within the space (Figure 65 and 66).

101

Figure 61 Third Floor Plan. Source: By Author

102

Figure 62 Group Worship Layouts. Source: By Author

103

Figure 64 Worship Hall Entry View. Source: By Author

Figure 63 Worship Hall View. Source: By Author

104

Figure 65 Southeast Facing Section. Source: By Author

Figure 66 Northeast Facing Section. Source. By Author

105

Three meditation pods will be attached to the building and accessed from the third floor. Inspired by Buffalo’s industrial heritage and grain elevators, the pods are a reminder of Buffalo’s unique sense of community. The pods will provide space for individual prayer, meditation and contemplation (Figure 67). Before entering the pods, one must again cross through the threshold into the sacred space, which will be incorporated through a catwalk feature that crosses the gap between the outer wall and interior wall. Comprised of concrete, steel and glass, a glass ceiling and window allow light to flow in. A gap, or threshold, between the steel and inner glass allow rain water to fall through the pods and into a basin below, providing a sense of calm and spiritual renewal (Figure 68).

106

Figure 67 Meditation Pod Interior View. Source: By Author

107

Figure 68 Meditation Pod Diagram. Source: By Author

108

VII. Materials Materials chosen for the building help to support the main principles of the tea

ceremony and spirituality, such as minimalism and purity within design. The introduction

of modern materials within the historic building starts on the exterior with the visible

juxtaposition between the concrete pods, laser cut screen and the original masonry

(Figure 69). The design will feature minimal decoration and create a place of serene

spirituality that is conducive to introspection. Lack of art and decoration relevant to

specific religions will create a faith-neutral space that focuses on spirituality versus

specific religious doctrine. Doing so will help support a focus on shared spiritual values.

For example, the pattern on a selected travertine, which will be used heavily throughout

the building, is reminiscent of clouds and hearkens to the ethereal (Figure 70). The

threshold/gap that appears throughout different program elements creates spaces between

the masonry façade and the interior of the building, separated by a glass curtain wall, in

order to place emphasis on both the modern and historical elements both physically and

metaphorically. Glass used throughout the space will support the threshold concept but

also help to create a sense of ethereal with its reflectiveness and it will create connectivity

between the inner and outer worlds.

109

Figure 69 Exterior View. Source: By Author

110

Nature is brought in through materials such as the wood, water and plants. The first level features a grass wall, which will not only connect the interior with the exterior garden space, but will also help with air quality within the building. The tea houses and garden space will draw from traditional and modern Japanese design and the wabi aesthetic, which focuses on minimalism and design elements in their most basic form to assist in the tea room ceremony experience. Locally sourced pine will be used for the tea houses, meditation steps and other design features such as a trellis and the exterior staircase (Figure 71). Stones used throughout the space will be small white pebbles, inspired by the Zen gardens of Japan. Larger, concrete stepping stones, will be inlaid in the floor before entering the tea rooms, reminiscent of the stone sequences used in tea gardens. The meditation pods will be made of white concrete, which also nods to the minimalist aesthetic.

111

Figure 70 Travertine. Source: Artisans of Devizes,www.artisansofdevizes.com/product/ant ique-white-travertine-honed-filled-finish/

Figure 71 Locally Sourced Pine. Source: Autodesk Revit

112

Chapter 3: Results I. Final Reflections

By introducing the elements of a modern tea house into an interfaith center, the opportunity is provided for those of diverse faiths to come together and share in an experience that places emphasis on community with each other. Through the creation of a physical threshold between the outer world and inner building, the transition from secular to sacred is emphasized, thus helping visitors transition internally to a spiritual state. Both elements that tie the building to its site location, such as the meditation pods, and the incorporation of a modern Japanese aesthetic, make the design of the building transcend its historical origin, similar to how the tea ceremony and religion have transcended time.

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