University of Nigeria

Research Publications

EDOKPIA, Ehizele M. Denis

Author Author PG/M.Sc/0031205

Benedictine Monastery Calabar Title

Environmental Studies

Faculty

Architecture Department Department

May, 2004 Date

Signature Signature

BENEDICTINE MONASTERY CALABAR

MSc. (ARCH) PROJECT

SUBMITTED TO THE FACULTY OF ENVIRONMENTAL STUDIES IN PARTIAL FULFILMENT 07 REQUIREMENT5 FOR THE DEGREE OF MASTER OF SCIENCE (M.Sc.) IN THE DEPARTMENT OF ARCH lT€CTUR€, UNIVERSITY OF NIGERIA, ENUGU CAMPUS.

MAY 2004. CERTIFICATION

BENEDICTINE MONASTERY CALABAR

EDOKPIA EHIZELE M. DENIS

SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE, UNIVEEITY OF NIGERIA, ENUGU CAMPUS, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE (M Sc.) IN ARCHITECTURE.

MAY 2004

S~GNATUREOF AUTHOR: EDOKPIA EHlZELE M. DENIS

.. -*-- +-----I

CERTIFIED BY: ARC. UZUEGBUNAM PROJECT SUPERVISOR.

ACCEPTED BY: 0

T OF ARCHITECTURE. DEDICATION

To the entlre Edokpra famrly and to all those who have contributed to my formation thus far. ACKNOWLEDGEMENT

I am using th~sopportunity to expre5s my profound grat~tudeto all who have contributed to my education. t acknowledge the almlghty God for the g~ftof Ilfe. My parents, late Mr. /Mr5 James Edokp~a,my brother5 and 515ters,my superv~sor,the head and members of staff of my department, my beloved fr1end5and well-w~sher-5. CITATION

"THE TRAGEDY OF LIFE I5 NOT SO MUCH WHAT MEN SUFFER, BUT RATHER HOW MUCH THEY MISS" - CALYLE PREFACE

"An architect, should create spaces, In whrch the poet w~thoutloslng any of h15 prerogatives, that would become lmmedlately accessrble to people of dlstlnct format~ons".

Thls project work 15 d~vrdedmto three marn parts. part a, whrch contarns chapters I - 3, cons15tof motrvat~onfor chorce of toprc, alms and 0bjectlve5, an overvlew the fa~th whrch the monk profess, the hrstory of monast~clrfe as well as the development of monast~carchitecture through the ages.

whereas, part b entarls chapters 4-7 and covers studies of exlstrng cases and a study of arch~tecturalrequrrements of a monastery . Wh~lethe last part deals wrth the development of formatrve Ideals here referred to as desrgn synthesis.

.0 Llghtlng...... 93 . I Day Irght~ng...... 93 .2 Factors lnfluenclng day Ilght~ng...... 94 6.8.0 Safety ...... -95 6.8. 1 Structural safety ...... 3G 6.0.2 Factors affecting structural safety ...... 97 6.8.3 Flre safety ...... 96

CHAPTER SEVEN

7.0.0 Descr~pt~onand analysls of she ...... 102 7.0. 1 Calabar cap~talterntory ...... I02 7.0.2 Phys~ograph~c...... I02 7.0.3 Vegetation...... I03 7.0.4 Cllrnat~cstudies...... 103 7.0.5 Geology and so11type ...... 105 7 .0. 6 The project slte ...... I OG 7.0.7 Crlterla for s~teselect~on ...... I OG 7.0.6 Basic pr~nclples...... I07 7.0.9 Envlronmental features ...... I07 7 . 1 .0 Cost ~rnpllcat~on...... 108 7 . 1 . I Summary of major pomts ...... 109 7 . 1 . 2 Cond~t~onsfor select~nga site for a monastery...... 109 7 . 1 .3 S~teAnalys~s ...... I I I

CHAPTER EIGHT

8.0.0 Concept and cholce of arch~tecture...... 116 8 . I .0 Deslgn concept and phdosophy ...... 116

CHAPTER NINE

9 .0.9 Space and concept development ...... 121 9 . 1 .0 Space development ...... 12) 9 . 1 . I The foreground landscape...... 122 9 . 1 . 2 The general landscape...... I23 9 . 1 .3 Servlce space...... 124 9.2.0 Concept development ...... 1 30 9.2. 1 Organlc factors ...... I 30 9.2.2 Dlvme factor ...... 132

References ...... I 34 Blbl~ography...... 135

CHAPTER ONE

1.0.0 PROJECT MOTIVATIONS, OBJECTIVES AND GOAl5

I . I .O MOTIVATIONS:

As we approach the higher realms of life, words cease and creatwe s~lencetakes over. Every project has its motivating factor or factors and so does th~s manastery. The factors that motivate projects may be pollt~cal,economic, educational, social, cultural or reltgious. All these factors may equally combme but the overr~dingfactors are regarded as motwators for any project. In th~sproject educational, social, cultural and relig~ousfactors combme In its mot~vat~on.Its educat~onalfactor hlnges on the fact the mona5tery 15 not only meant for worshlp but to form the monk and teach those who come In contact with the monastery better ways of going about thew faith. It IS like a spiritual ~nstltut~onof a kmd. Equally, any activity that brings two or more people together has some amount of soc~alundertones; after all what is the fundamental of sociology ~f not the science of relationshy of peoples In the cultural mtlieu. Furthermore, rellg~onhas a very great impact on the soc~aloutlook of any soc~ety.Thus, any re11~16usactiv~ty that goes into the format~onof people's consc~ousnessIS a social action a5 much a5 a re11~1ousaction.

If soc~alfactor has th~samount of ~nfluence,it 15 not surprising that ~t15 the major motivation of thi5 project wkh cultural and relig~ou~factors. Thts does not mean that there 15 no political ~nfluence.The fact is that the mfluence 15 not s~gnif~cantenough to be considered here. In concrete terms the three major factors of mot~vat~onare dependent on the three major needs that underscored the justlflcat~onof thls project. These needs include:-

(a) Need to optlmlse and balance the tour~smpotent~al of the local~ty;

Th~sIS a cultural rnot~vatmgfactor;

(b) Need for planned places of sp~r~tualretreats;

Thls IS a rellg~ousmot~vat~ng factor and

(c) Need to further establ~shArch~tecture as a ventable tool In organ~sedcomrnun~ty I~fe;

Th~sIS a soclal motlvatmg factor. All these needs combme to mot~vatethis project.

1.2.0 GOALS

It may be better d~scussmgthe goals of thrs project before the objectlve5. It may equally be pertment to define what goals and objectwe5 mean In this context. Goals m th~scontext mean the end results th~sproject work antlc~pates.It refers to the achievement or contr~butlonthe project alms at attalnlng or mak~ng.Objectives refer to the set of decls~onsto be made. These are the guldlng pr~nclplesor objectlve des~gnconslderat~ons that would be made and which would lead, ultmately, to the reallsatlon of the goals. In summary, the goals of this project are to prov~desolut~ons to the three bas~crnot~vatmg needs of th~sproject. The log~cIS that bemg the force behtnd the, conception of the Project, a successful attempt would have been made when these needs are satlsfled to some extent. Thus, th~sproject has as ~tsgoals. I. To prov~dean environment that 1s conduc~vefor the real~sat~onof the hlgher self. 11. To provide a planned monastery for spiritual retreats and recollect~ons

111. To provlde a planned environment to meet wlth the socio-economlc needs of the communky and the environs.

It should be observed here that these are Ideals set for thls pro~ect.They are the bas~cfactors that would determine the objectives to be used and the space form and aesthetic requ~rements.Space, or rather, Form, Function and aesthetics would be considered ~nthe light of meetlng these objectlves and goals. Fqr purposes of recollection, ~thas been noted ~nprevious chapters that there 1s need to make archltecture homely. Making archltecture homely contemplates maklng the cultural values of people, ~nth~s Instance, N~geria,the cardlnal factors determlnlng the language of therr architecture. it does not, however, suggest rejection of positive foregn cultural influence. These previous dlscusslons equally brought out the fact that ex~stlngrnonastenes are spiritually oriented. This does not allow for full utdlzatlon

1.3.0 OBJECTIVES

Arch~tecture1s a veritable tool In mass communicat~on.Everybody 15 lnvolved ~n arch~tecturethough the degree of ~nvolvementmay d~ffer.As an aspect of mass culture, it is expected that whatever messages that are transmitted through ~t would reach the people. One characteristic phenomenon about architectural influences 1s that ~tseffectiveness lies ~nits sdence. Arch~tecture~nfluences silently by elther formally suggesting an Idea of functionally ~nducingacceptance of values. The extent to whlch thls 1s achleved determines the degree of sllent ovat~onthe archltecture rece~ves.Somet~mes thls ovatton becomes loud and clear. Negattve combmatton of these powers can equally el~cltvlolent cr~t~clsm. The very many cultural attr~butesof monastlc hfe, espec~allyher rel~glousI~fe, can be communicated architecturally. Th~sproject has as one of its objectlves the use of some relig~ousand cultural symbols. Th15 1s because ~tmakes the plece of work more authentic ~nN~ger~a. N~ger~an culture touches on Nigerian I~fe.The symbols should not only be concewed a5 formal objects, but also they should be a5 well belng funct~onal.The symbols may be equally ~deolog~cal.There are varlous ways cultural values of people can be used. For 1n5tancethe use may derwe from the people's concept~onand use of space - thew spat~alorgan~sat~on. The use may be derived from the ava~lablelocal materials, thew use, techn~que,durabhty and aesthet~cqualit~es. This suggests that, ~nthe use, for instance, of bullding mater~alslocally available ~nN~ger~a, the technology avallable and their su~tab~l~tywould also be

consldered. Marrlage of culture and technology 15 ~mperat~ve~n th~s case because

even "ln this c'entury there have been several occasions when sclence, technology and human emanc~pat~onhave colnclded ~na way that ha5 caused arch~tectureto explode."

Architectural perfection 15ach~eved when the best technology 15 used to

translate the best cultural value ~ntousable form, space and beauty. This trend 15 re-ernerg~ngafter so many years of util~tar~anarchltecture - a tlme many arch~tects turned into 'boff~n-des~gners'at the detr~mentof the art~st-designer.Granted that the "boffln work methodically, accrulng and ~nventlngwhen necessary, and by almost myoplc devotion, he frequently arr~vesat h15 objectlves", th~sprlnc~ple almost always produce5 mechanized spaces that do not cons~derthe sp~r~tof man who has a natural lncllnatlon to beauty. Whatever culture 15severed from technology ~tproduces ugly Ilfelessness,especlally In rellg~ousarchitecture. The human cultural tendencies always resisted that move and so "wh~lewe

accept the potential of the new technology, there 15a part of us that rebels at its domlnance and at the thought of 1ts dictates", and especlally, when this domlnat~on

and dlctat~on1s outs~dethe affected cultural mlheu. Thls rebellton 15founded on the fact that though we all form parts of the element In an evolv~ngof humanlty, we at the same tlme feel ourselves to be unlque. We recognlse ourselv& as unlque lndlv~dualwhose personal splrlts requlre the chance of lndlvldual expresslon as well as communal expresslon. Thus, tens~onexists between the necessity to structure and organlse the whole of soc~etyup the scale of all humanlty and the equally powerful need for each culture to have the freedom to reallse itself; to dlscover an afflrmatlon expresswe of 1ts Ilfe. The combmatton of culture and technology is possible only with clear

understanding of thelr Importance and funct~onalrelat~onshlp. One 15used to ach~evethe other. Technology 1s a means with wh~chcultural values are achieved, manifested and through whlch, architecturally speaking, human spatial needs are answered, On the other hand, culture 15a means of expressing technolog~cal lnventrons and developments. Technology evolve out of people's way of dolng thlngs; people's way of Ilfe. It manifests thew rnater~aloutlook and the methods they employ In assembl~ngand use of these materlals. It 15 ev~dentthat separation will leave humanlty ~ncornplete. Cautlon has been advocated In this dlrectlon. In his contr~butlon,Metheslus argued for "an archttecture that should be conticlous of ~tstime and should strive to typtfy ~t".This, he went on, should be "an archltecture founded on purpose, materlals and functton, yet not slavishly dependent on them but rather crowned and justifled bv the strlct disclplme of form by the spiritual". This asskrtlon a very

relevant In the 0bjectlve of thts Project, for this worthy injunction, wherever it IS obeyed, has produced wonderful architecture as is evident in what we today call contemporary architecture. This has been the rebrth of an architecture that Integrates both culture and technology. The search for th~scontemporary architecture started when des~gnerswere In need of a better archttectural

orlentatton looked backwards, as it were. The same story should apply here as rt IS one of the 0bje~tl~e5of this project work to combine available technolog~cal

developments w~thcultural values. Thls IS following the example of contemporary architecture which has been very careful and thoughtful in ~tsreconclliatlon of both technology and cultures. Cultures because, it must be observed, contemporary

arch~tecturehas moved beyond the front~ersof particular cultures. It IS also

character~sedby acculturation; that 15, the mtegratlon of cultures into one new

culture. Acculturation IS poss~bleas a result of the gains of technological innovat~onsthat have narrowed the world and made ~tin such a .way that the receiving or accommodating culture is paramount. It may then be pertinent maklng an elaborate quotation that summarises the general sp~rltof contemporary archltecture wlth reference to technology, peoples and places. Thus, accordtng to the Archltectural Revtew of March 1987, "when some future historian of arch~tecturelooks at the 1970s and '80s he may flnd lt strange . that so much printers' ink was wasted on translent Western fashlons when llttle was done to report archttecture of genulne depth and human value emerging at the same time in developlng world'. It went further to state that 'during the last twenty years a mood had been gathering momentum, which rejects the facile and thoughtless reproduction of accidental models and seek out a, more accommodating solution to local cl~mateand patterns of life often reverting to tradltlonal gulde'. Thls 1s a resistance to total and lrrat~onal~mpos~t~on of cultures and techniques on one another. Th~squest was as a result of the search for root whlch In turn arose out of the need to deflne cultural ~dent~tyafter colon~sat~onand In the face of the oppresswe sameness that threatens the bulk env~ronment.

However, cautlon 15 to be taken because 'reglonallsm that pretends nothlng has changed dooms Itself to a fos5111seduse of old ~magesthat fad to crystall~zenew cultural myths and are often madequate to modern bulldmg programme. This project, therefore antlc~patesopenness to arch~tecturaldevelopments and other cultures whlle makmg the Nlgerlan culture ~tsfundamental pnnaple. It has been undertaken to discuss th~spartrcular objectlve In order to eluc~datethe varlous cultural perspect~vesto be considered In the deslgn process. Th~s15 very Important to avo~da mlsunderstandlng of the cultural lnput to be expected and to expla~narch~tectural enculturat~on of thls project as not meanlng arch~tectural t~m~d~ty,crudlty or, worse st~ll,narrow-mmdedness. Th~s15 the aspect of cultural objectlve to be seen In th~sproject. The second objective of ths project relates to the spaces to be prov~ded~n terms of the~ruses to produce a space that 1s flex~ble,a space or spaces that have the potentla1 of aclaptmg to changes and sltuatlons. Thls can only be posslble when there 15 ~n-bulkmechanism for convert~blllty. The reason for flex~blllty1s hmged on the many advantages of such arrangement and optlmum utlllsat~on.Flex~b~llty for non-permanent deslgnat~onof spaces for particular actlvhes. Even where such deslgnatlon occur5, a flex~ble space has that abll~tyto be used for other purposes w~thoutappearing e~ther lnapproprlate for the new funct~onor a destruction of the purpose for whlch ~twas made. It should be noted that whde cons~der~ngflex~b~l~ty of spaces, there are some areas, I~kethe devot~onchurch, where set rules of organlsat~onare expected to be obeyed. For Instance, ~ns~deof churches are not used for non l~turg~caland non sp~r~tualact~v~t~es. Th~s demands for spec~alspaces for such funct~onsand ~t1s w~thmsuch spaces that the prlnc~pleof flex~b~l~ty1s best appl~ed.Th~s does not suggest r~g~d~tyof devot~onal spaces. It only suggests some level of d~versttyto be mvolved In space cons~derat~onand des~gn.

It 15equally an objectlve of th~swork to desqn w~ththe pr~nc~plesunderlying Church arch~tecture.Th~s ~nvolves the use of Chrlst~ansymbols and sqns where necessary. It IS hoped that these qns and symbols would create an atmosphere conducwe for worsh~pand reflect~on.Part of th~screat~on may be In the prov~slonof spaces that speak of hlstorlc Chr~st~antrad~t~ons and spmtual cum B~bl~calstones. Th~saspect of the des~gnprocess and of the project 1s very ~mportants~nce it partly contr~butesrn fa5htonlng of user's dlspos~t~on.b already establ~shed, d~spos~t~onIS very ~mportantIn worship In general and splntual retreat ~npart~cular. In dlscusslng d~spos~t~on,the recreat~onalfac~lrt~es are also under cons~derat~on.Th~s too has ~tsown Influences on the user's mmd and comfortab~l~ty and acceptance whlch are lnd~cesof success of a monastery. Thus, another objectlve of th~sproject 15to prov~dea monastery that IS homely; splr~tuallyand corporally bear~ngIn mmd that a healthy mmd needs a healthy body for a res~dence.

The env~ronmental0bjectlve 1s obv~ous.Th~s IS because parts of arch~tectural dut~estake form on cons~derat~onof the local env~ronmentalfactors. Anyth~ngshort of thls requrement would produce a piece of arch~tecturethat would be env~ronmentallyuncomfortable. The problem of such arch~tecturemay not I~mkto comfort but even to mamtenance. Any buddy that neglects env~ronmentalfactors stands the chance of not serv~ng~ts expected hfe span before ~t15 thrown mto the garbage of hlstory.

1.4.0 STATEMENT OF ARCHITECTURAL PROBLEM

The fundamental d~fferencebetween modern arch~tectureand the h~storlcstyles he5 ~nthe nature of matenals. The great arch~tectureof the past was based upon natural mater1al5and upon handcraft methods of construct~on.By evolutionary stages, these were developed mto remarkably d~fferentarchltectural forms,

/ reflect~ngthe unlque sp~rltof each of the age. But the even flow of style to style was Interrupted In modern tlmes. Wlth the lndustnal revolution, manufactured materlals were devlsed w~thcharacterlst~cs quke different from the natural mater~alsof wood, brick, and stone used so beautifully ~n the great perlods of the past. These new matenals Included structural Iron and steel, plate and other structural types of glass and eventually, remforced concrete. Of themselves, these new mater~alswere inert and meanlngless. Indeed, w~th some notable except~ons,they were used at flrst ~n unlmaglnatlve attempts to reproduce the character~st~csof the tradltlonal matenals. But h~ddenwlth~n them were structural potent~alsthat were to create a new arch~tecture. W~thoutan understand~ngof these matenals, and the structural systems wh~chhave evolved from them, much of the ra~sond'etreof modern arch~tecture15 1ncomprehen51ble.Th~s sectlon, therefore, concentrates on examples of churches and other arch~tecturalrequlrernent5 of the project that Illustrate the most appropr~ateuses of one of the most lmportant of modern materials: remforced concrete. Remforced concrete IS the unlque masonry materlal of our contemporary era. It was developed as a result of the fortu~tousd~scovery that steel and concrete

have the same coefflclent of expansion. The lay~ngof steel rod4 or mesh wlth~nthe concrete aggregate at the t~meof pourlng creates a masonry of tremendous tensde as well as comprehens~vestrength. Unl~ketrad~t~onal stone and bnck, it can be cast as columns or a5 one large, cont~nuousslab, folded Into th~nshells, or curved lnto paraboloids, arches or nbs, thus opening up a whole new range of deslgn posslbtl~t~esundreamed of by past budders. . Although re~nforcedconcrete was ~nventeddur~ng the n~neteenthcentury, ~ts potentla1 was largely unrealized unttl the flrst quarter of the twent~ethcentury. At that tlme, the French arch~tectand budder, Auguste Perret, adopted thls neglected mater~alas h~sspec~al provlnce and began explormg ~tsstructural poss~b~l~t~es. Perret recognlsed early that the character~st~csof re~nforcedconcrete were the oppos~teof br~ckand stone, and that ~tshould be handled ~n a new way to explolt ~tsunlque charactenst~cs. An exammat~onof tradlt~onalmasonry construct~onmakes th~sclear. Because of the relatwe weakness of brlck and stone ~nrelatlon to welght, plus the~rlack of coheslveness, bu~ld~ngscomposed of these matenab were of necessity masswe and monol~thlc.Walls usually acted as both support and enclosure ~norder to ach~evestab~llty. In tall bulld~ngs,such masonry walls had to be of lncred~ble thtckness - somettmes as much as 6m at the bottom - ~norder to carry not only the weqht of the roof, but also the ~mmensecumulat~ve welght of the courses of br~ckor stone of whlch they themselves were made. The only way large wlndows - such as the famous Gothlc stalned glass - could be incorporated into such structures, was by means of ~nterlorcolumns and vault~ng,coupled w~thexter~or fly~ngbuttresses, whlch balanced each other and worked together to remove the major load from the walls. In the Romanesque style, similar problems had been encountered. Domes and vaults, bulk out of separate block of masonry, requlred a tremendous thrust and counterthrust from massive lnterlor plers and exterlor walls, to support and stablhze them. Reinforced concrete, on the other hand, comblnes strength and stablllty with comparatwely lght weight. Ferret's stroke of genius lay ~nhis recogn~t~onthat these characterlstlcs were more like wood than llke traditlonql masonry. The technique he chose for most of h~sbuild~ngs, ~ncludlng the Church of Notre Dame du Raincy (No. I ), was the class~cpost-and-lmtel system: columns (posts) supportlng a horizontal member (Imtel) that in turn supports a superstructure (a roof or upper story). Thls IS the most anclent of bulldlng methods, its orlgin tracing back to the use of unsown logs of wood as a frame for thatch or other materials. Frst employed In primitwe huts, ~twas copied ~n marble by the Greek temple budders and 1s titill used in modlfled form today in wooden houses, steel-framed skyscrapers, and other buddlngs. By adaptlng this system to relnforced concrete, Perret developed the then- revolutionary concept of the relnforced concrete framen. He was able to bu~ld structures that had the lightness and openness of wood, but were far larger than any wooden structure could be - since wood does not possess the strength of reinforced concrete. Moreover, because load bearing supports were kept structurally separate from non-load bearlng walls, the latter acted solely as enclosures, supportlng nothing. As a result, the walls of even Perret's largest bulldlngs could be extremely thln and glass could be lnserted almost at w~ll.W~th thls system, Perret revealed relnforced concrete as a new material, capable of deslgns that heretofore had been structurally ~mposs~ble.No longer was concrete a mere substitute for massive stone and bnck, to be used for copying trad~tional styles. As w~thrnost ploneerlng efforts, Perret's development of the reinforced concrete frame at frst went unappreciated. In fact, hts "brutal" buildmgs, whlch exposed the bare concrete, caused such controversy that scorn and r~diculewas heaped upon the arch~tect.Auguste Perret also incurred the enm~tyof h~s professtonal colleagues by acting, with h~sbrother, George Perret, as budding contractor for h~sown des~gnsto ensure that h~s~nnovat~ons were properly executed. Perret survlved these storms to become In later years the rnost mfluentlal and most honoured architect In Prance: chef d'ateher at the Ecole des Beaux Arts and the Ecole Spectale d'Archttecture; Grand Off~cerof the Leg~onof Honour; president of the Ordre des Arch~tectes;Honorary Inspector General of Bulldlngs and after World War II, chief arch~tectfor the reconstruction of the cities of Le Havre, Amiens and Marse~lles.Before h~sdeath In 1954 he received also the Gold Medal of the ~o~allnst~tute of Br~tlshArch~tects, the h~ghestaccolades that these professional soc~et~escan bestow. The Church of Notre Dame at Le Ramcy, Prance was probably Auguste Perret's

most sign~ficantexperment In the use of remforced concrete. Erected between the years of 1 922 and 1 925, it is considered such a masterp~ecethat contemporary churches are stdl compared to ~tas to a touchstone. Churches around the world echo its structural system. Its wall pattern and ~tsroof form. As cr~t~cHenry-Russell H~tchcockhas wr~tten:When Perret erected the church of Notre Dame at Le

Ra~ncy... concrete came of age a5 a buddmg material." It 1s ~ntevestingto note, however, that by the m~ddleof the twent~eth century, Perret's reputat~onhad changed from that of a radical movator to that of the 'mo5t conservative of moderns.' This change was due to one fact. Perret l~m~tedhis work, w~thfew exceptions, to the class~cpost-and-llntel system descr~bedIn these pages. He left to later and more rad~calinnovators the full explorat~onof the plast~cquahty of reinforced concrete - a qual~tythat makes ~tthe most versatile of any known building material, and still today the'newest and most challenging med~umIn the arch~tecturallex~con. Perret was content also to retam old forms wherever these did not contradict his budding system. The fagade of the ploneerlng Notre Dame du Raincy, fov. example, appears today almost trad~t~onalIn des~gn.Perret would not object. In h~sbook, Contr~but~ona une theorte de l'archttecture, he wrote: "He who, w~thout betrayinq mater~alsor modern proqress, would produce a work whlch seemed to have always ex~sted. .. I say that he could cons~derhmself satisfled.

CHAPTER TWO

2.0.0 CHRISTIANITY IN HISTORY

2.1 .O THE BIRTH OF CHRISTIANITY

Chr~st~an~ty15 one of the most important rellg~onsof the world. It 15, ~nfact,

the rellg~onwlth the largest mernbersh~p,and 15 pract~cedworldwide. Chr15tianlty

has one thlrd of the world's population a5 1t5adherents; ~thas 33% of world's

populat~onand IS only seconded by lslam~crellg~on w~th 16%. Out of the Chr~stlan populat~on,the Catholics const~tute18% while the rest of other Chr~stlanrellg~on contmues to Increase, desplte the fact that ~tstarted very humbly.

Jesus Christ IS the founder and centre of Chrlst~anrellg~on In as much as He

15 both man and God to the Chnstian5. The Romans were the authorlt~esat the t~meof Jesus' blrth. Prior to th15 penod, there were pol~t~calcr15es withln the Roman Empire. The empire conmted of both the coastal terr~tor~esand the hinterlands and was 'bounded by the ocean and by the Mediterranean; North Afr~caand Egypt and stretched In the East to the borders of Armenla and of the Pewan Empire'. Th~swas the geo-polit~calmap of the Roman Empire at the b~rthof Jesus Chrlst. At the per~od,the authority of the

, Roman Senate and people extended even to Gaul, Spam, North Afr~ca~n the West . and the Hellen~st~cnionarchles In the East. Th~slast monarchy succeeded Alexander the Great's Empre. Th~swas the t~methe great Roman emperor, Julius Caesar was assassmated by h15adversar~es for fear of dommance. HE death was followed by civd stnfe and war5 that was brought to an end w~ththe 'final triumph of Octav~a,Caesar's nephew and adopted son, whose task it became to reconstitute the Roman sate and to reform the admin~strationof ~tsprovidences'. He was later, officially, named Augustus in 27 B.C. and had all effective power concentrated in his hand and w~th ~the was able to order and achieved relative peace in the Empire. Jesus Chr~stwas born at th~st~me to the humble fam~lyof Joseph and Mary. HIS conception, however, according to B~blicalaccount was supernatural as he was 'conceived of the Holy Spirit'. He was born ~nBethlehem and grew up ~nthe town of Nazareth. At the age of thrty, He started HIS Salvlflc mlsslon ~nthe world. He went about preaching repentance, and healing, and warning people about the coming kingdom of God; a kingdom for lovers of nelghbours. He proclaimed himself the Messlah and the Son of God He taught the people on the new and best man- God relat~onsh~p. Most of his teachings, however, were antagonistic to both the political and rel~giousleaders of his time. It was hmted that even though 'Most of Jesus' teach~ngshave parallels ~nthe religious thought of his age, yet their total effect was disturbing and revolutionary - apparently by reason of the style in whlch he taught'. 'This was because 'he taught them as one that had authority, and not as the scribes' (Mk 1.22). These authorit~esconsp~red and decided to e!~mmatehlm, and f~nallyhad him crucif~ed.

, 2.2.0 THE GROWTH

Prior to h~scrucif~xion and during the time of h~spreach~ng, Jesus had chosen twelve close followers as h~sapostles; the number 'twelve symbollzlng the fullness of the tnbes of Israel'. Because of Jesus' short actwe mlntstry, and the mysterious nature of h~s teachings, comblned w~thhard precepts demanded of h~sfollowers, the Apostles remamed confused about the real meanlng of Jesus and h~smlss~on. Th~s doubt was he~ghtenedby h~sdeath. They scattered but had to convene when they were 'vlndlcated by h~sbelng ra~sedafter death to the l~feof the klngdom wh~chhe had procla~med'.Thus they had a rlsen Lord '~nwhom the real~tyof God's k~ngdomwas already fulfdled and whose present glory they could, ~na prehm~naryway, share even wh~lethey wa~tedfor its unwersal manlfestat~on'. They started bemg conv~ctedof the real~tyof Christ's nature and mlsslon. They started be~ngconvinced ~nwhat he taught them. 'These conv~ct~onswere

depended on the experience of the eschatolog~calg~ft of the Holy Splnt'. The twelve apostles and later converts hke St. Paul contlnued w~ththe propagat~onof Chr~st~an~tyhavtng been strengthened by the descent of the Holy Splrlt. Thls propagat~onof Chr~st~anfa~th was not w~thoutpersecut~on. The flrst of such persecut~onswas exempl~f~edIn the stonlng to death of Stephen. Th~s, however, turned advantageous for the spread of Chr~st~an~tyas the 'Hellen~sts leaders whlch the persecut~onproduced turned out to be the beglnnlng of a new phase ~n the l~feand mlss~onof the Church'. In fact, the stonlng to death of Stephen started the movement whlch entrenched Chr~st~an~tyIn the c~tlesof the Jew15hD~aspora; Samar~a, Phoenlcla, Cyprus and Antloch where the adherents were . flrst called Chnst~ans. The spread of Chr~st~an~tycontlnued and reached such a level that by the year 100 A.D., ~twas to be rooted ~n 5yr1a,Asla M~nor,Greece, Macedonla and the c~tyof Rome. The mfluence of the rellglon was such In Asla Mmor, for example,

that ~naround I I I - 1 13 A.D, Phng the Younger, governor of Blthyn~ahad to report to the emperor Trojan that 'the contag~on.ofthe superst~t~on(1.e. Chnsttanlty) has penetrated not only the ches but also the v~llagesand country places; and ... that

untll he took step to combat ~tsspread, pagan temples had been, deserted'. Th~s was the sltuatlon In the known world then. The growth of Chr~stlan~tycont~nued am~dstoppos~tlons, persecutions and outrlght k~ll~ngas was dramatized durrng the per~odof Nero who made lur~dentertamment out of murdermg Chnst~ans.

2.3.0 METAMORPHOSIS OF THE CHRISTIAN CHURCH

The church IS the people of God. Wherever the people of God are, there IS the Chr~st~anChurch. The church, whlch,. Started with the apostles and d~sc~pleswent

through tmes, places and troubles to become what ~twas and 15. A better descrlptlon of the church cannot be better than what Em, G. Jay sa~d;that the 'Church does not mean the sum of ~nd~v~dualswho have a pr~vaterelatlonsh~p wlth

Christ and a prlvate lnsplrat~onof the Holy Spmt. It 15 a communlty of behevers ~ncorporatedInto Chr~st'sfll~al relatlonshy w~thGod by the adopt~ng~nhatlve of God hlmself who 'has sent the Spmt of His Son ~ntoour hearts' (Gal. 4.6)'.

2.4.0 CONTEMPORARY CATHOLIC ARCHITECTURE

Rehg~ousart and archltecture today have reached a degree of matur~tythroughout the Chr~stlanworld. Twenty-flve years ago architects were barely emerglng from the conf~nesof archeolog~sm,whlch had so hampered creatlve work. The 1930's were the turnlng polnt In that excltmg perlod of l~berat~onfrom outworn cllchts and nostalg~cexercises. Llfe cannot ex~st~n a bygone age nor can rellglous art and archltecture f~ndlnsplrat~on In a hfeless recall of past glor~es. Museums are a constant reminder that men have produced an lnflnlte number of artefacts, comparatively and equal ~n perfection, but of the utmost varlety of form and material. If a student wlshed to follow these venerable teachers, mere reproduction of thelr works and the relearnmg of their sk111s would not make him thelr leglt~matesuccessor. The splnt of thew tlmes would have to be rellved as well. For the works of prev~ousmasters were funct~onaland real; they were never or~gmallyIntended for mere exh~bltlon~n a museum. Nineteenth century revlvallst chose to adopt the med~evalcathedral as the apogee of Chr~stlanarchltectural form. But we must reallse that ~ncontemporary bu~ldlng,h~storlsm cannot be leg~tlmate.'Our bulldlng materials are different from those of the old masters, The play of vault agalnst buttress, the darlng orlgmallty of thm walls and large openings - makmg posslble the marvellous flowermg of stained glasses - became ~nour tme the dead welght of steel columns, plaster vaults palnted to stimulate stone, buttresses that buttressed nothlng . Indeed, they were themselves buttressed by the steel columns. This m~serabledeceptton ~na place where truth reign supreme! An architect bulldlng a church must be sensltlve to the rld~culous. But even tf we could duplicate a medleval cathedral exactly, stone by stone, we would still be unable to rellve the splr~tof its age. Our copy would be no more than a curlosky, a museum plece rather that llvlng architecture. It must be kept ~n

, mmd that the Church ever brlngs forth new and old treasures, the sacramental and llturglcal l~feare old, but v~taland dynamlc. The presentation of th~sheritage,

however, IS dated by the 'new' and the 'now' of the contemporary stage of development of the clty of God. Thus the 'new' treasures of Romanesque, Gothlc, Renaissance, and Baroque could be expressed by the archltectural styles of each of these succeeding penods; whereas these same styles are now 'old' and 'trad~t~onal'.The maln thlng to be understood IS that new archrtectural treasure must be authent~cand genulne. If ~tIS so, l~vlngpeople w~llembrace it as the~rs.

Smce the particular concern IS w~ththe archltecture and plannmg of a Cathohc Church, let me clar~fymatters at once by removmg the'dlscusslon from the level of art to the hqh level of Ilturgy. As a deflnltlon: the llturgy IS a service or task, an act of homage and reverence. In thls respect, ~t1s the characterlstlc act of rehg~on~n the offlc~alworshlp of the Church. It IS a soclal act because ~t1s a prayer offered by the commun~tyin all and for all. Insofar as architect and artlsts are concerned, the llturgy may be taken as meanlng an atmosphere, a cl~mate,given s~gn~f~canceby the fact that ~tIS the offlc~alworsh~p of the Church.

The word "liturgy" IS der~vedfrom the Greek lelton, meanlng "people" and ergon, meanlng "work". If a Greek c~tizenaccomplished some work that contributed to the welfare of the commun~ty,he was sa~dto have performed a lelturgla or I~turgy,and he himself was termed a le1turgo5 or l~turg~st.It was'a work that he had done at h~sown expense for the good of the people as a whole. In the course of tme the words "l~turgy"and "l~turgist"gradually became restricted ~nmeaning and were apphed only ~nthe sphere of religion. They stdl slgnlfled rellglous acts that possess the d~stlngu~shlngqualltles of "Ilturgy" In the or~glnalsense: they were works done by an ~ndlv~dualfor the good of the people, ~nthelr name and w~ththew collaborat~on.

In reference to archltecture, th~scommunity element IS lncreaslngly stated ~n the "D~rect~vesfor the Bu~ld~ngof a Church" drawn up by the llturglcal commlsslon establ~shedby the Cathol~cB~shops of Germany:

The church ed~f~cetoday IS Intended for the people of our tlmes. Hence it must be fashioned In such a way that the people of our times may recognlse and feel that ~t1s addre5sed to them. The most slgnlf~cantand most worthy needs of deslre for what 15 true and genume, the w~hto advance from what IS peripheral to

I what 1s central and es~entla'l,the demand for clanty, luc~d~ty,~ntelllg~b~ty, the

longing for quiet and peace, for a 5en5e of warmth and securtty. "

Prom th~sit surely follok that many of our bu~ldlngproblems can be solved

by a return to flrst pr~nclplesbaged upon the llturgy - that 15, art ~n ~tsrelat~on to, and ~nthe servlce of, the llvlng llturglcal community. In th~ssense, we can clam that ,p .. the formula "form follows tunct&** takes on a reasonable meaning. . Slnce the defln~t~onof l~turgyas ~tapplles to the plann~ngand bu~ldlngof churches, ~tmqht be well to have one also of Chrlst~anart. Here 1s offered one by the French philosopher, Jacques Mantam. "By Chrlstlan art I mean art bearlng on the face of ~tthe character of Chrlstlan~ty.Chr~stlan art, ~nth15 sense, 1s not a part~cularspec~es of the genus art; one does not talk of Chr~stlanart done of p~ctor~alor poet~cart, of Goth~cor

' Byzantme art. The def~n~t~onof Chr~st~an art IS to be found In ~tssubject and ~n

qmt... . It 15 the art of human~tyredeemed. It IS Implanted ~nthe Chr~stlansoul under the 5ky of the theolog~calvirtues.. .. Chrlst~anart. .. . Is dlfflcult, doubly dlff~cultbecause ~t15 d~fflcultto be an art~stand very dlff~cultto be a Chnstlan.. . . ."

In the hght of these two deflnltlon5 (of the liturgy and of Chnst~anart) I may add that the character~stlcof all great art durmg the past centuries was ~tslove

, and free acceptance of the hfe that produced ~t.It 1s a never-endlng search for truth ~nall of ~tsaspects, natural and supernatural. Such a llvlng art can be profoundly Chr~stlanbecause of the objectwe slncenty of the art~stface to face wlth reallty, wlth nature, wlth hfe

The pract~calappl~catlon of these defln~tlonsand prlnc~ples,however, 15 that whlch most often baffles dlocesan comm1551onson bulldlng, I~turgy,and art. The members of such commlsslons often feel that they are techn~callyand artlstlcally unprepared to ass& the~rblshop In spendlng church funds. A natural tendency,

fostered commercially by the merchants 15 to escape lnto the protectwe cloak of "trad~tlonal"med~ocnty. Plann~ng 1s virtually surrendered to a "conservative" arch~tecturalf~rm; the furnlsh~ngsare catalogue selected on the frrghtened

assumption that people may be shocked at anythlng new, meaning any object that IS personally made by competent, I~v~ng,human artrst. Thrs t~mrd- and by the way,

very snobb~sh- conservatlsm 15 a strange phenomenon among people who l~ve~n a dally atmosphere of progress and change. Pastoral and liturgical requ~s~tesoffered the only escape from th~sv~clous clrcle of mediocre. D~ocesancommlsslon would be asslsted ~f they reallsed that the h~stor~callytrad~t~onal norms set forth ~n pont~flcalr~tes for I~turg\calfunct~ons gives suff~clentmd~cat~on for architecture baslc to the express~onof the c~vltasDel w~thoutthereby determ~nlngany particular type or style of bulld~ng.The directives of the German B~shopsmake thls clear. The plans of the ~nter~orof the church should be determined chiefly by the requirements for the Euchanstlc sacnflce, not, as one somet~mesf~nds, prmarlly for the sake of devotlon to our Lord's Eucharlst~cpresence with spat~alarrangements made to serve chlefly for adoration or contemplation. Thls latter procedure IS

~ncorrect,because In the gradatron of purpose that of Euchanst~cadorat~on 15 not fmt In order. The problem presented by this gradat~onof purposes can best be Euchar~sticadorat~on and for the adrnlnlstrat~onof the sacraments of baptlsm and penance distlnct from that wh~chIS requ~redfor the Euchanstlc sacnflce. These several areas could then be gwen thew appropriate arch~tecturaltreatment. , The most anclent tradrtlons of the Church conceive the arrwal of the people In process~onfrom a statlon shepherd, who represents Chrlst among them, follows them In their places In a grouping about the altar. Through the midst of h~speople the shepherd passes to the altar, wh~chrepresents the body of Christ, and then continues to h~sproper place at the extreme focal pomt of the apse, fac~ngaltar and people. Above him ~conographersfrequently d~splayedthe Chr~stof the

parousla. Mass at the altar then becomes the joy and nourishment of Chrlst~anl~fe in th~sworld, and the promlse of future l~few~th Christ in eternky. The shepherd ~nstructshis people, fac~ngthem from the throne; he then comes before the altar at the offertory and acts as their med~atorwith the heavenly Father dur~ngthe mass of sacrifice.

The bapt~stery,a5 seed and beg~nnlngof supernatural I~fe,15 located withm every pastoral church, cathedral and paroch~al,as the opposite focal po~nt,so to speak, to the altar. It 1s usually circular In form and descend~ng,~nd~cative of death to the world and resurrect~onInto the grace of Chr~st.Confesslonab, placed rather at the side of the nave, serve as refreshy po~ntsof grace along the way; and the chapel of the Eucharist where the reserve 1s retamed and adored by the fa~thful d~ouldbe emphasized as the chapel of the way, of v~at~cum,just as communion In

the sacnf~ce15 the promise of the reward of eternal light and life. The l~turgical serv~ceof the vql of Easter ind~cateseven more po~gnantlythe funct~onof the church bu~ld~ngfor l~vingpeople of all ages. Can art, then, be anyth~ngbut an evldence of th~sl~fe that we lead here and . now? Should anyone assume that those who accept the tmes and try to work out

their ~alvat~onin tme are therefore contemptuous or ~gnorantof trad~t~on?On the contrary, we have long been convmced that the art~stor architect who 1s modern (that 15,Ilving) In his approach to problems of rellglous art is prec~selythe one who knows a great deal of the history of past ages. If we read medieval h~storyar~ght (for example, Emlle Male's heavily documented and illustrated tomes on rel~g~ousart ~n France durmg the twelve, th~rteenth,and fourteenth centuries, and after the Counc~lof Trent) the master budders of those days would be modern today as they were modern In thew t~mes.They accepted and controlled the dynam~smof thew day. Why should ~tbe odd ~f arch~tectand artlst today w~shto do the same? If the veritable trad~t~onsof the l~turgyare not warped by exaggerated elements of devot~onnor by m~sunderstand~ngof the splr~tof the norms set forth by the Church, art~stand arch~tectswdl once more feel the joy and l~bertyof beq

the chlldren of God, and the Church w~llfulf~l her mark of un~versahty.It IS at th~s pamt that conslderat~onsof arch~tecturalstyle and the temporallt~esof hlstory are melevant: the archkect and the art~stare left totally free In they expression of the house of God according to the materials currently available, the spmt of the people, and the time In wh~chthey I~ve.Such freedom hes w~th~n.the bounds of d~sc~pl~neand purpose.

2.5.0 BRIEF HISTORY OF MONASTIC LIFE

From the early days of Chr~st~an~ty,f~rst In Egypt, groups of PIOUS people gathered about the dwell~ngof one or another person renowned for exalted hol~ness,bu~ldlng thew cells near h~shab~tatlon and subject~ngthemselves to th~sd~sclpl~ne of hfe. In tlme, these rel~g~ouscommun~t~es organ~sed and ded~catedthew hves to the fulfilment of some worthy rel~g~oustasks. Most of them, for example, mmstered to p~lgrlrnswho came them- way thus becom~ngplaces of shelter and refuge. The first European monastlc orders, the Bened~ctmes,had a rapld growth ~n Italy as early as the Gthcentury and by the athcentury; thew- mona5tenes were establ~shed throughout Western Europe. By the openlng of the twelfth century, many Abbeys possessed much wealth and wlelded great power. They admlnlstered extenswe landed estates and erected elaborate churches whlch were ~n turn, matched by other abbatlal structures. For long perlods of t~me,the arts were largely In the hands of the monastlc orders; the churchmen emerged as art patrons as well as leaders In relqlon and statecraft.

2.6.0 Architectural Development

Whde monast~c~nst~tut~ons were organ~slngdurlng the Gth century ~nItaly, the

. arch~tecturalarrangement d~dnot defme itself. However, because of unsettled , cond~tlonsof the mlddle ages, ~twas necessary that such ~nst~tut~onsshould contam wlthln ther walls all that was essent~alto the support of the chapter. The abbey thus appears as a fortifled rellg~ousc~ty ~ncludlng gardens, mdls, stables, workshops and other adjuncts necessary to the domest~ceconomy of the establlshment. S~nce,the occupants of these relqous houses were both nov~clatesand fully professed monks, arch~tecturalarrangements were so conce~ved as to prov~desegregation between the two. As monast~csystem' developed, the monastery gradually became well planned arrangement of monks' houses, ~nflrmarles, refectories (d~n~nghall), I~brar~es,chapter houses and lnc~dentalstructures, grouped about a clo~sterand carefully related to the church. The abbot llved ~na separate

house. All about were In the landed estate of the establlshment. Of course arrangements were done to su~tthe d~sc~pl~neof the abbey, and particular plan arrangements and arch~tecturaltra~ts are dlstmgu15hablefor varlous orders. CAREY, GRAHAM. "Llvlng Stones of Architecture," Cathol~cArts Quarterly, -. Chr~strnassupplement 1 955. "D~ocesanBu~ldrng Drectlves," L~turg~calArts, November 1957 and February 1958. "Drectwes for the Bu~ldtngof a Church (by the Llturg~calComm~ss~on of the Cathohc Bishops of Germany)," Llturglcal Arts, February 1950. MARITAIN, JACQUES. Art and Scholast~c~srn.Sheed and Ward, New York (1 930).

CHAPTER THREE

3.0.0.HISTORICAL REVIEW OF ARCHITECTURE

3.1 .O.WHAT IS ARCHITECTURE?

The story of arch~tectureIS the story of man. It 15 the story of man and ~ts env~ronment.lmpl~c~t In th~s story are records of h~ssuccesses and fallures In relat~onto h~ssoc~al, pol~t~cal, economlc and rel~g~ousdevelopments. Whde engaglng h~mselfw~th the challenges posed by these I~fe'svar~ables, man 1s necessar~lyobl~ged to wage another war of surv~valw~th h~s env~ronment. These have been the major problems of man slnce the beglnnlng of human ex~stence.These have, largely, determmed the successes and fallures atta~nedby man, and have ultmately become the bas15on whlch the c~v~l~zat~onof man IS measured.

Architecture, largely, has been a partner to man ~nth~s struggle. Th~sIS because 'whether we are aware of ~tor not, archltecture 15 part of everybody's personal h~story'.Th~s assert~on 15 proven rqht when we remember that 'the chances are that ~tIS ~na bu~ld~ngthat we are born, make love, and d~ethat we work and play and learn and teach and worsh~p;that we thmk and make th~ngs;that we sell and but, organlse, negot~ateaffalrs of state, try cr~mlnals,Invent things, care for others. Most of us wake up In a bu~ld~ngIn the mornlng, go to another bu~ld~ngor serles of bu~ld~ngsto pass our day, and return to a budding to sleep at night'.

Such IS the mportance of burld~ngsto man ~nparticular and l~v~ngIn general. Sometmes, due to the~rmportance, bu~ld~ngshave apparently been used as a measure of soc~ety'scultural development. Th~s15 the frst lnstlnct one experiences on enterlng a modern c~tyor v~llage.

The s~gn~f~canceof bu~ld~ngs 1s further h~ghhghtedwhen ~t15 observed that

not all bulldlngs can be sa~dto be arch~tectural.Arch~tecture 15 more than mere

bu~ldlng.Wh~le bulldlng 15 nothlng but organ~sat~on:soc~al, techn~cal, economlc ...'

arch~tecture15 of a h~ghervalue. 'Arch~tecture15 sp~ntualorder, real~sedthrough

bu~ldlngs'.Th~s 15 because arch~tecture15 an Idea that 15bulk Into the space absolute. It man~fests'man's splrltual energy and power, the mater~alform and

express~onof h~sdestlny, of h15 I~fe'.It 15equally the expresswe med~umfor the

most subtle emot~ons,and 'a sensltwe record of the most ref~nedsensat~ons, a mater~al~zat~onof the splrltual'. The foregoing ~llustrat~onof the mandate of arch~tectureto human~tyv~v~dly ~nd~catesthat arch~tecture,as an art-technology, operates w~thlnthe amb~entof space. Arch~tecturehappens, ex~stsand acts In space. Arch~tectureshapes space

wh~lebelng defmed by space. If th~s15 wonderful, then, much more wonderful 15the

mstrument that evokes such wonder. Arch~tecture15 wonderful.

If the prlmary funct~onof archltecture 15 w~thspace, ~t15 a funchon that has three Important var~ablesof funct~on,form and f~tness- the 3fs.

A plece of arch~tecturemust be su~tablefor the WNCTION for wh~ch~t 15 Intended. It must have abhty to del~ghtor at least to evoke the ~ntended

, psycholog~calfeeling - aesthetics.

Inadentally, what 15 beaut~ful15 subject to particular ~nd~v~duals,groups, soc~et~es,cultures and t~mes.There may be beauty In the ugly and vlce versa, depend~ngon who 1s on the aesthet~cjudgement throne and the dominant mood at the tme. Thlrdly, any plece of arch~tecturemust be safe. It must have strength to w~thstandboth self and Imposed loads. Archltecture truly depends on facts, but the centre of its concern IS ~n the realm of signlflcance. This IS Important because before any beholder of an architectural piece uses or think of the stability, the significance IS called to question. such questions as; what IS thls. What is it for? Come to mmd. Thls is the problem of form. Form ~nthis context does not llmlt to physical look alone. But, form, as has been observed, IS dependent on man's spirit whlch IS Influenced by tlme, place, etc. It should, however, be hlnted here that 'archltecture has nothlng to do wlth the inventions of forms'. It IS equally not a playground for children,

/ young and old. On the contrary, 'architecture IS the real battle-ground of the splrlt' .

Archltecture IS what llvlng is. It IS as dynamlc as life. '~rchltecturewrote the hlstory of the epochs and gave them thew names. Architecture depends on ~ts tme. It 15 the crystallization of its form. That is the reason why technology and arch~tectureare so closely related'.

Architecture IS the meeting ground for reallty and fantasy of the artlstlc rnlnd. It IS the product of art and technology. The balance between artificial and natural. Llttle wonder then why not all that IS artful IS archltecture, but all that IS architectural must, of necessity, be artful to some extent. Such IS archrtecture.'

3.0.0.ARCHITEflURE THROUGH AGES

Archltecture has always been a close ally of history. They defend, propagate and conserve each other's fames and ~nflrrnltles.Whlle history narrates the event through epochs, lncludlng man's struggle wlth h~senvlronment, his dwellings and hls soclety, architecture puts history rn a permanent physical form for the present and the future to see, appraise or crltlclse. Architecture 15 ~n 1t5elfa three dlmenslonal hlstory of man's struggle In and with h15envlronment. Llke all h~storles,therefore, archltecture encompasses all human actw~t~es.Clols E. K~ckllghterputs th~saptly when he sa~dthat 'the world of archltecture 1s all around us'. The h~storyof archltecture has been that of man's constant and persistent

quest for a comfortable envlronment and l~veablespace. The pre-h~stor~cman was a wanderer whose abode was the trees and shades these trees could prov~de.Man

~n tlme, moved from that stage to l~v~ngIn caves. The caves provlded hlm the necessary shelter from wdd an~malsand the v~c~ssltudesof the natural env~ronment- sun, ram, high wmd and cold. Man has been undergoing developments. The developments have been consequent upon h~sd~spostt~ons and reactions towards the challenges posed by h~sneeds. Thus, man a wanderer he was, had to dlscover that not all sectlons of h~s world was strewn wlth h~sbaslc necess~t~esof shelter - caves. He d~scoveredthat h~smovements and forest manoeuvr~ngswere restr~ctedto certa~nlocations ~fhe must enjoy the free shelter provlded by nature. The problem of man d~dnot stop at thls. He was later to dlscover, unfortunately, that the spread of frult-bear~ngtrees sultable for h~mand huntable anlmals for h~sproteln needs were equally l~m~tedand requlred h~smovlng beyond the frontiers of h~slrnmedlate humble abode. The cholce was hls; to cont~nuew~th h~s natural shelter and stand the chance of starvation; to . break through the frontiers and lose h~snatural shelter. It was pure d~lemmabut the latter opt~onwas lnevltable and so he chose it. Sad enough for man, he was again to d~scoverthe ever-d~m~n~sh~ngprospect

of gett~nga ready-made food out of h15 forest. The anlmals to be hunted were

depleting and becom~ngmore aggress~ve,coupled w~ththe hazards of the untamed ' weather that were all comblnlng to make h~sllvlng uncomfortable. He had to thlnk of a permanent solut~on. The domestlcatlon of man was consequent upon these needs. These are the factors that combmed and brought about the blrth of man-made dwelhngs - arch~tecture.It was no surprlse then, that the domest~cat~onof man, whlch further enta~ledthe pract~ceof agriculture, carrled wlth ~tthe need for a launch~ngbase and place of retirement - bu~ld~ng- arch~tecture; espec~ally where there was no natural shelter l~kecaves. Thls aroused the lnvent~vespmt of man In burldlng whlch ha5 passed through many stages. Thls architectural spmt has passed from the early h~stor~cbuddmgs of stick, leaves, and an~malskm, through mud houses, tlmber houses, stone bu~ldlngsof the Palaeollthlc and llthlc ages, brlck bu~ld~ngsof the M~ddleAges to the modern arch1tecture of cement, concrete, glass, plastlc, steel and even pneumatic structures. 51mplyput, arch~tectureshould be seen as a phenomenon of man's I~fe,

that 15, 'as the product of particular men at part~culartlmes and places; employing the knowledge, materlals and technology of ther day' to meet thelr shelter needs. Architecture has developed from bulldlngs ach~evablew~th crude implements such as sharp stone, axes and hammers, to the present day mach~ne- powered world. These developments were never smooth and lmmedlate. They passed through so many cnses, crltlc~srns,doubts, fallures and had taken thousands of

, years and genluses to arrlve at the present. It 15stdl on ~tsever constant march lnto the future; Into the world of tomorrow wlth the ever changlng man. It may be pertinent to proffer some reasons for th~sdynam~c nature of man,

v~s-2-VISarch~tecture. One reason IS the nature of the chang~ngman, h~mselfthe

moulder of h~senv~ronment. Another reason 15 on the cultural values of man, Itself

dynamlc ~n tlme, space and people. The constant development of new technques and skrIl5 15another factor that has made ~tpossrble for man to achleve certart? needs of h~swhlch, hitherto, were rmposslble. The flrst and second reasons are

results of the cultural attrrbutes of man as a ratronal belng. The thrd 15 consequent upon the mater~alman rn a materlal world and the resultant medrym of lnteractlon - technrque - technology.

Architecture through the age5 15not complete w~thoutment~on~ng some orders, eras and movements that have come and gone. However, to mentron all would demand an arch~tecturalencyclopaedra. When we talk about orders ~narchltecture, the Greek come to mlnd. Th15 1s because the three most important orders of archrtecture have thew roots rn Greece. These rnclude the Dorrc, lon~cand Corrnthlan orders of archrtecture. Those baslc differences ~nthese orders are malnly on ther calumnlatron detarls. The d~fference~,are on the treatment of the caprtals and the bases and the desrgns of entablatures employed. There are so many eras of arch~tecturalhrstory. These Include the Pre- hlstorlc era, Roman era (4thC B.C. to 5thC A.D). Early Chr~stlanand Byzantrne era (.lt"to 5thC.A.D), the Romanesque era (9thto 12thC. A.D), lslamlc era(7thto 2OthC. A.D), Gothlc era (1 Zthc. to I GthC. A.D.), Renarssance era (ISthC. to

17thC. A.D.), Baroque and Rococo era5 ( 17thC. to I8thC. A.D.),and f~nally,the

modern era that 15characterrsed by the lnternatronal Style, and the Post-

. Modern~smmovement.

The la5t 1s a movement ~n as much as a verslon of the Modern era berng propagated by a particular 5chool of thought. There are other movements ~n arch~tecturaldevelopment. These rnclude the Arts and Crafts, Expresslon~sm,the Bauhaus, Functronalrsm, Formalrsm, Organrc archltecture, Construct~v~sm,etc. The

movements are as numerou5 as there are d~fferentschools of thoughts ~n arch~tecture.Development ~narch~tecture IS cont~nuousand break-through unlmagmable.

3.3.0. MYSTICISM IN ARCHITECTURE

Mystlclsm IS a phenomenon of fa~thor behef. It operates ~n the realm of the splnt. It has been defmed as a bellef that teaches that 'knowledge of God and of real truth may be obta~nedthrough rned~tatronsof spiritual lnsqht, mdependently of the mlnd and the senses'. In myst~clsrn,h~dden meaning or spiritual power that causes feel~ngsof awe and wonder IS expenenced. Th~s1s the meetlng polnt of arch~tectureand mystlclsm -the level of the splrlt. Th~spomt was put succ~nctlyby Wdliam Lethaby when he polnted out that 'the maln purpose and burthen of sacred arch~tecture- and all architecture, temple, tomb or palace, was sacred in the early days - 1s thus mextricably bound up w~tha people's thoughts about God and the un~verse'. ~~stlclsrnIn arch~tecture, unhke rellg~on,does not stop In the total abstract~onof God and the universe. It goes mto that ocean of ultlmate meanings and draws from the fountam of real truth. Th~struth is crystallized into form for more human understanding. Thls 15 because, 'wherever a new saving truth, a new rellg~ous~dea IS born, there too the swing to art IS most l~kelyto take place, for art 1s none other than the transformat~onof super mundane thoughts ~ntoobject5 of sensory percept~on'. However, one bas~crule In myst~c~sm,even In arch~tecture,1s that of self- abandonment. A myst~c,whether of rehglon or of architecture, renounces himself and abandons h~sfacult~es mto the hand of belief and utmost faith. He relaxes ~nto med~tat~on.In fact, the teachlng practices in the past can be ~llustratedIn Johannes Itten's prellmlnary course at the Bauhaus where the emphasls was lald on

renunclatlon of self. Th15 IS because ~n the eyes of mystlcs, acqulsltlon of dlvlnlty requlres emptylng of oneself and sllence. Taut made this very eypllclt when he quoted Melster Eckhart who asserted that 'were I empty and pure, God would have to come to me out of HIS own nature and be enclosed wlthln me'.

It IS thls naturallsatlon of the Supernatural In archltecture, the materlallsatlon of the non-material, whlch gave vent to varlous archltectural behefs ~nmaterials. One

of such bellefs IS ~n the crystal form, trees and archltecture a5 a supreme art.

. In archltectural mystlclsm, the crystal IS seen as an lnsplrlng and Ideal form wlth almost a connotation of dlvlnlty. Thls was put aptly by the playwright, Lothar Schreyer, who taught on occaslon at the Bauhaus when he described a whole lot of

objects that IS brought to h~slmaglnatlon and mlnd by the prlsmatlc dlssect~on.of crystalllsed natural appearances. It means 'annunclatlon of the world of symbol, the landscape of the soul, brldge to the Supernatural vessels of the dlvlne'. H whole lot of both archltects and archltectural correspondents alluded to I the ecstatlc value of the crystal. They Included such great archltects llke Bartnmg, Behne, Groplus, Von Sydow and Taut. The mystlclsrn of crystal reached such a heqht that even as recently as 1924, the well known Dutch Magahne - the Wendlngen, had to devote two of ~tsIssues to d~scuss~ng,analyslng and appralslng the qualltles of the crystal. The summary of the views of the magazlne was echoed In the edltor's (Theodorus Wlgdeveld) proclamation 'of the crystal's property of showlng ~tsInner core ~nthe facets of lts external form: the core, he rnamtalns, cons~stsof no more than lts form. The crystal conceals nothlng. Its secret lles In ~ts transparency. Its surfaces reflect the light of the external world'. Reflect~ngfurther, he opined that 'we want to crystallize the lnflnlty of the cosmos and glve expre&lon to ~tIn form'. Th~smyst~fymg of crystal IS not acc~dentalbecause there were precedents In

history. The crystal manlac expression was present In the Grad revwal of the nineteenth century. Th~sform In most of the eplcs then was p~cturedas a

'mysterious, m~racleworkmg stone'. Th~sp~cture IS not as s~mpleas ~tappears because the Grad legend enjoyed a lot of popularity, espec~allydurmg the Art Nouveau movement. At that t~mesuch Grad soc~et~esas Grad league, Grad . soc~et~es,Grad foundat~onsand Grad press ex~sted,such that Grad was In the notable Jungers T~turel,'as an enormous, cosmlc, c~rculartemple. . It has been hinted that 'every key applled to custom and mythology unlocks

some of thew secrets, and ... that to a large extent what IS now mythology was once explanat~onof nature'. Th~sstatement embod~essome truth. One, ~taff~rms that myst~calmeanlngs are also determmed by customs, cultures and, particularly, t~me.Th~s means that what may be myst~caltoday may turn out to be a phys~cal mater~altruth tomorrow. Examples abound in h~story.For example, the supposed s~nsof Galileo and Bruno that carried them death sentences and execut~onshave today turned out bas~csc~enttf~c truths that even prompted the respected Cesar Daly to ask if there are 'symbols wh~chmay be called constant proper to all races,

all soc~et~es,and all countr~es'.Of course, the answer to th~squest~on IS on the negat~vebecause situations are not the same.

Th~sIS why ~nsome cultures, certaln objects, lmg thmgs hke trees, . torto~se,eagle, etc, have certain myst~calmeanings. For ~nstance,~n Afr~can mythology the torto~sehas such as promment pos~t~onthat almost no story 1s told

w~thoutthe torto~se.The reason for th~sIS that man's att~tudeto nature and h~s amb~t~onto ~m~tatethe natural order and subl~m~ty;and In an attempt as to how they should be, '. .. the tendency has been universal to embody the natural order; not a plan of the world for sclence, but as a religious mystery and symbol; as magic amulet, charm, fetish.'

Mystlc~smis powerful in man's relation to and percept~onof his universe. The Norseman on h~sperception of h~sworld vlew fash~onedout a p~ctureIn whlch the earth w~ththe heaven for a roof was, to him, a mqhty space with great supporting tree passing through the middle and branches upwards lnto the clouds. He went

further to note that such was the house of h~sNorthern ancestor and that 'all thls 15 mere prosalc fact, but soon we pass on to the region of belief and mythology. Thls

pract~ceIS sim~larto what IS obta~nable'among people who live In woody lands ... the hab~tof uslng a tree trunk for the main pillar of the house, of bu~ldlngcircular walls around that tree, and sloping the roof down to them from ~t.

Thus 15 the mystical value attached to the tree? Th~s15 a representation of

the sp~ritualbelief. Th~sspiritual belief 15 summarized In W~lliamLethaby's statement , that ; bu~ld~ngto the world, and When the world was a tree, every tree was in some sort ~tsrepresentation when a tent or a budding, every tent or bu~ldlng,but when the relation was firmly establ~shed,there was act~onand react~onbetween the symbol and the reality, and ~deastaken were transferred to the other, untd the symbolism became compl~cated,and only particular build~ngswould be selected for the symbol~cpurpose; certain forms were reasoned, from the building to the world and conversely certa~nthoughts of the universe were expressed in the structure thus set apart as a little world for the House of God. , . It was equally held that the Idea of art In itself, content and extent, abr~dged the gap or boundary between l~feand death. Th~swas related to speafic experience of an inspired artist or arch~tectwho limits not himself to the present, the mundane and never loses sight of these too. In negative theology, the concept of nothlng aims at 'describing the Absolute, the totality, other than eludes all positwe assertion'. For Taut this particular, other IS also the New. Agaln it IS thls New that the inspired art~stand arch~tectaspire to. This consequently, to the insp~redarchitect means that 'Death as the end of hmltation is the true Ilfe. 'Art seeks to be an image of death, to furnish the threshold at, which means preoccupation with earthly thlngs dlssolve in contemplation of that whlch opens beyond death. Beyond this mean pre-occupat~on wlth earthly thlngs the artist was granted the vlsion of a union with each and all. The artist assigns everything to its place . . . Light casts its radlance over all . . . the earth Itself sparkles with the New, as the impossible becomes possible, hard reality yields up miracles'. Taut, thus, showed that he had a reasonable insight lnto the thoughts in the creative mmds of architects. The truthfulness of this statement was such that even Pollzig, who disagreed with Taut in most things, concurred in this by asserting too that 'form arises out of the Mystlc abyss. Lauwerik carried architectural mysticism to the level of nationality. He had . the same idea of art as the express~on~sts.However, In h~sown case, the expression 15separated from the subjective and personal creative instmct of the art15tor arch~tect.Thus, 'he regarded the work of arch~tecture'as~asymbol of a harmony that was not to be experienced by sensory perception but rather through sptntual phenomenology.'

His number - symbolism pictures the objective world order then. This came to terms wlth the cosmic affirmation of art-arch~tecturethat asserted and strongly too, that 'art is a representation of the cosmlc drama: ~tembodies cosmic events symbol~callyconvincing acts. The history, the drama, the Image, the architecture, In short the harmony of the cosmos as a whole concentrated ~na single statement, rather as a small photograph reproduces the ent~rep~cture.' Thus, for Lauwenks,

'art 15rel~g~on become percept~bleto the 5enses'.

CHAPTER FOUR

CASE STUDIES

CASE STUDY I ;

Art Resource, NYIGlraudon Duke William of Aqu~tainefounded the Bened~ct~nemonastery at Cluny, France, In 9 10. The monastery was highly regarded throughout Europe and acquired great wealth. The abbey, whose floor plan 1s shown here, was bulk primarily between 1088 and 1 130 and was the largest church In Europe in the M~ddleAges. SCALA, Florence

The Abbey of Monte Cassmo has been a renowned centre of culture and scholarsh~pthroughout ~tsh~story. In the M~ddleAges, In part~cular,the Bened~ctmemonks worked here on anc~enttest~mon~es and cod~ces.The Abbey was rebu~ltand expanded many t~mes.The photograph shows deta~lsof the central galler~edclo~ster In the Rena~ssancestyle, set agamst a pleasant surround~ng landscape. CASE STUDY 3;

8 ---- *T;..+a- -&&

s-:

- -- Robert Hardlng Plcture LtbrarylSurrey Stud~os

The Church of 5a1nt-~ttennea part of the Abbaye-aux-Hommes in the northern Trench town of Caen. Bulk from 1 060 to 1 065 in a Romanesque style, the abbey church was designed to contaln the tomb of Wtll~arnthe Conqueror; Gothtc addltlons were made In the 13th century. CME STUDY 4;

An 1 6th-century house stands In the ru~nsof an I I th-century Bened~ct~neabbey ~n Bury St Edmunds, England. The abbey, bulk on the shrme of St Edmund, an East Anghan k~ngk~lled by the Danes, wa5 founded by Kmg Canute II In 1020. Case study a

Corbis/Eye Ublqultous . Crowland Abbey, In the southern Llncolnshlre town of Crowland, has its orlglns In a church established by the rnlsslonary St Guthlac In the 7th century on what was then fenland. Its act~vel~fe came to an end In the 1 530s after Henry Vlll's d15solut1onof the rnonaster~es,and In the 1820s the poet John Clare, after a rnoonl~tvmt to the rums, wrote of feellng "awful and sublme/To gaze by rnoonlqht on the shattered plle/Of th~sold Abbey, struggl~ngstdl w~thTlrne." Case study 6;IDunferrnl~ne Abbev Church. F~fel

. Constructton of the Abbey Church began In the 12th century, when Dunfermlme frst came to prominence as the seat of Malcolm Ill of Scotland. The abbey's wealth and status tncreased when it replaced the ~slandof lona as the off~c~albur~al place of the Scott~shmonarchy. The tombs of 22 Scott~shkmgs and queens are found In the church, ~ncludtngthat of Robert Bruce. Case study- 7;

Andy W~lliarnsPhoto Library Eff~gyof a Knqht, . This effigy of a knqht, wearlng cham mall and captured In the act of drawlng h~s sword, 1s unique In English sculpture of the period. It was carved In about 1300 when the pract~cewas for static, cross-legged effq~es,and not the dynamlc,

powerful f~gureshown here. It 15 found In Dorchester Abbey In Oxfordshire. Case study 8; 81-15j1edelr1Abbev Chorch. Sw~tzerland

The central 5w1sstown of E~ns~edeln15 the most Important pllgrlrnage ske In the country. The Baroque Abbey Church (pictured here) was budt between 1 7 1 9 and 1735. P~lgrmscome to v151t~ts statue of the Black Madonna, but the church's frescoes and stucco work are also Impresswe. CASE STUDY 9; -a

Robert Hardrig P~ctureL~brary/Adam Woolfkt Fountams Abbey Founta~nsAbbey, In North Yorkhlre, founded In 1 1 32, became the nchest C~sterc~anmonastery In England. Although a rum, tt 1s also one of the best preserved; the ground plan ~rv~ves~ntact and the system of water supply and dramage can stdl be seen. Fountams Abbey, the best-known monasttc rum In Bntam, located close . to the cathedral ctty of R~pon,North Yorkhre. The abbey was founded In 1 132 by monks from York, who were seek~nggreater sol~tudeand a stncter monasttc rule. W~ththe approval of St Bernard of Cla~rvaux,they adopted the Ctsterctan way of I~fe.The monastery was d~ssolvedIn 1539 and, follow~ngthe collapse of plans to reuse the church as a cathedral, the ent~recomplex fell mto rums. Not only the church but most of the other butld~ngssurvwe, roofless but largely intact. Begun c. 1 135, the church was gwen a new east end In 1 205- 12 10. The tower

dates from the early 16th century. The monast~cbu~ldtngs, ranging In date from the late 1 2th to the 14th centunes, ~ncludea magn~f~centvaulted undercroft. In the 18th century, the abbey became a focal po~ntIn the great landscape garden of Studley Royal, created by John Atslab~eand his son W~ll~am,and was w~dely ceiebrated by Romantlc art~stsand writers. The remalns of Fountalns Abbey, together with the Studley park, were designated a UNESCO World Heritage Slte in 1 986.

CASE STUDY 1 0; -

Spectrum Colour L~brary

Sltuated close to the cathedral c~tyof Ryon ~nNorth Yorkshlre, Fountalns Abbey 15 the best-known monast~crum ~nBr~ta~n. The bulldlng was founded ~n 1 I32 by monks from York, who were seeking greater solltude and a str~ctermonast~c rule. They relocated three mdes away from R~ponon the Rlver Skell and, wlth the approval of St Bernard of Cla~rvaux,adopted the Clsterclan way of I~fe.The mtroductlon of lay brothers enabled the monastery to develop ~tsherds of 5heep and holdings, and to mme lead and quarry stone. Bad harvests and flood ~nthe 14th century, combined

5 3 w~ththe arr~valof the Black Death, took 1t5toll on the monastery, and Henry Vlll's dlssolut~onof the monasteries In 1539 brought llfe at Fountams Abbey to an end. Thereafter the bu~ldlngfell Into rum. In the 10th century, the abbey became a focal point In the great landscape garden of Studley Royal, created by John Alslab~eand h15 son Wllham, and was w~delycelebrated by Romantlc art~stsand writers for ~ts ldylllc settlng. It rema~nsone of the most magn~flcentexamples of Cistercian rnonastlclsm In England.

olv Cross Abbey, Thurlt

1; Holy Cross Abbey was founded by the Benedlctlnes In 1 169, who bulk ~tto house a t supposed rellc of the true cross. It was refounded by the Clsterclans In 1 182. In the 1 980s ~twas comprehenswely Irestored after a long period of neglect, and has re- I The Shde Flle

establ~sheditself as a centre of p~lgnrnage. 12:; CASESTUDY 12:; 0 A ..

CorblsIJeremy Horner

Westmlnster.Abbey In London 1s the oldest and most famous of the c~ty'sgreat churches. Many Br~tlshmonarchs have been crowned In the abbey mce Harold 11's coronat~onIn 1066. The abbey honours poets, poht~aans,and war heroes, lncludmg the Unknown Sold~erwho fought In World War I. CASE STUDY 13;-

Hulton DeutschlJ.Allan Cash

Sltuated on a r~dgeby the Avon, Malmesbury IS one of the oldest towns In England. The abbey orlglnated as a hermitage In the 7th century. Although the slte was In use for much of the Saxon era, most of the abbey's remams date back to Norman rule. From the 15305, wlth the dlssolutlon of the monasterles, the abbey has had a chequered hlstory. Used br~eflyas a cloth mdl, ~twas given to the townspeople for use as a church, but was later abandoned. Malmesbury, also the birthplace of the philosopher Thomas Hobbes ( 1 588- 1 679), IS today a small agr~culturaltown wlth a population of approxmately 3400 people. CASE STUDY 14; -1 .~evdulxAbbev, North York.jh~r

The Nat~onalTrust tor Place5 ot U~storlcInterest or Natural Beauty/Joe Cornish

R~evaulxAbbey, near Helmsley, North Yorkshre, was founded ~n 1 13 1 . It was the base from wh~chSt Bernard of Cla~rvaulxChr~st~an~zed northern England ~nthe 12th century. The abbey was d~ssolvedby Henry Vlll ~n 1 538. R~evaulxAbbey, one of the most romant~cmonast~c s~tes ~n Europe. The abbey, close to the Yorksh~remarket town of Helmsley, was founded ~n 1 13 1 , w~th C~sterc~anmonks sent by St Bernard from Cla~rvaux,~n north-eastern France, colon~z~ngthe narrow valley of the Rye. The church wa5 probably complete by c. 1 150 but the eastern end was rebudt after I225 ~nGothlc style and ~ncludesa chor of seven bays. The transepts retam ther Romanesque character but the nave ha4 completely disappeared. 5ubstantial parts of the monastic quarters survlve, though the cloister ~tselfhas been lost.

The sue of the chapter house and refectory indicates the scale of the foundation. In the 1 2th century there were 140 monk and around 500 lay brothers. The abbey was dissolved by Henry Vlll In 1 538 but the ruins were later incorporated Into the Georg~anlandscape created after I758 as an adjunct to nearby Duncombe Park. The great terraces overlooking the abbey termmate at each end in classical temples, the lonlc and the Donc, used as summer houses and prettily decorated.

CASE STUDY 1 5; I)

=l The royal abbey church at 5t Dents, near Paris, is the first major example of Gothic architecture. The building was the work of Suger, the abbot of 5t Denis, who I completely remodelled an older church. The church was designed to permit the entry of A light, which was cons~derednecessary to

I create an atmosphere conducive to prayer. I

1 Art Resource, NYIG~raudon uln.~of Wh~tbyAbbey Overlook Tow

Tony Stone Images/Joe Cornish

The flshmg port of Wh~tbyflourished durmg the M~ddleAges. Its harbour still brings In money, but mainly as a result of tour~srn,whlch has taken over as the town's pr~nc~pal~ndustry. The 13th-century Bened~ctineabbey can be seen In the background. CASE STUDY 1 7; -1 tntern Abbe,

The rutt15 of Tlntern Abbey stand on a promontory overlookmg the valley of the Rwer Wye. The abbey's romant~clocat~on was celebrated by W~lhamWord5worth In h15poem fintern Abbey, The rums are the most extenswe In Wale5. Parts of the abbey date back to the orqnal C~sterc~anfoundat~on In the 12th century, but mo5t of the remalnlng buddlngs date from rebuddlng In the 13th century. CASE STUDY 1 8;(

Photo by author

Thls 1s the reception to the Bened~ctme monastery,Ewu in Edo State. Thls

monastery IS not yet an abbey but a priory. It 1s stdl afflhated to the monastery at Glenn stone, England. Facll~ties~n the monastery has reached advanced stage. They are; Chapel

Refectory Large herbal hosp~tal Dormltory for monk and guests

Large arable farmland reception Photo by author Th~sp~cture shows the brck wall that envelopes the recept~odwa~t~ng.On the left, partly seen 15 the chapel. Photo by author

Interlor of troplcal rned~clneIn the monastery. This herbal hosp~tal15 speculated be the largest In Afnca. Photo by author External view of chapel with Rev. Fr. AIIoy5ius working towards the photographer

CASE STUDY 19; Llsterclan Monastery, Awhurn, ~wjer~al

The Ctstercian monastery at Awhum, near Nsukka In Enugu state nlgeria 15another

local case study. Th~smona5ter-y however 15a prtory. The monastery has a chapel, book shop, a large poultry, f~shpond, library, guest's and monk's residence, water processing plant,-and a feed m~ll. A Above; the church at the Clsterclan monastery, Awhum. Below IS the grotto of our lady, some apostles at the foot of the cruc~f~edChr~st. Photo by author

The p~ctureabove shows the f~shpond run by the C~sterclanmonb at Awhum. Th15

15only one of the f~shponds In the monastery. CHAPTER 5 CHAPTER FIVE 5.0.0 A BRIEF STUDY OF FACILITIES IN A MONASTERY 5.1 .O Church Church (bulld~ng),a bulldlng deslgned as a place of worshlp for Chrlstlans. In slze and des~gn,churches range from the small par~shchurch of slmple construction- just large enough to hold a small vlllage congregation-to the huge and complicated church. Community llfe In the rnonastery centres on the church. In other

words, ~tIS the focal polnt of a monastery. The church can also be used by non monk. The deslgn of churches also vanes according to the architectural style

- Art Resource, NY/O 2003 Artlsts Rghts Society (ARS), New York / ADAGP, Parts IFLC. Photo: Glraudon Notre Dame du Haut, Ronchamp The pllgrlmage church of Notre Dame du Haut ( 1950- 1954) ~nRonchamp, deslgned by Le Corbusler, IS one of the most or~ginalchurches ever bulk. Shaped hke a great sh~p,the church ~ncorporatesthe Idea of Noah's Ark, St Peter's ship, and the architect's own love of the sea. at the per~odIn whlch they were built; styles of the past have often been revlved and reinterpreted. Some congregatlons and Church off~c~als,however, took the plunge, and by the end of the 19th century churches of an untrad~t~onaldeslgn began to be bulk In Europe and the United States. They bore no resemblance to past des~gns.Plain geometr~cshapes, free of all h~stor~calassociat~ons, were ~ngen~ouslyassembled mto houses of worsh~p.Partly because of lncreaslng famil~arityw~th machlnes and machme-made ob~ects,the new churches became accepted by many. The technology of build~ngwas changing rap~dly,and steel and concrete made new shapes poss~ble.The centralized church was revwed, w~th~ts altar placed In the m~ddleof the congregation. By the end of the 20th century, churches in contemporary arch~tecturalmodes had become commonplace. Thls acceptance has ~ncludeda new mterest ~n church art, and modern sculpture, mssa~cs,stamed glass, and weaving (see Tapestry) have taken thew places ~n the new bu~ld~ngs.Outstand~ng examples of contemporary church arch~tecture~nclude the P~lgr~mageChurch of Notre Dame du Haut ( 1950- 1955) ~n Ronchamp, France, by the 5~15s-Frencharchitect Le Corbusler; Coventry Cathedral ( i 954- 1 962), in England, by 51rBasil Spence; and St John's Abbey Church ( 1 953- 1 967) ~n Collegev~lle,Mmnesota, by the Hungarian-Amencan arch~tectMarcel Breuer.

The l~brary15 another very mportant requirement of a monastery as study 15 one of the stands of a monastery. The room where a collection of books or other research materlals 15 kept. But ~n recent t~mes,the monastery library now allows for computers w~thaccess to mternet faallties to meet up w~ththe technology of the era 515t1neHall of the Vat~canLibrary. The Vat~canL~brary was des~gnedby Italian arch~tectDomenlco Fontana between 1 587 and 1590. An ~mpresslveexample of Renaissance arch~tecture,the l~braryhas one of the f~nestcollections of books and manuscripts In the world

5.3.0 Work6hop Place where manual work 1s done, espec~allymanufacturmg or repalnng. Work is the thrd stand of the monastery since, according to St. Benedlct, the monks are expected to work and produce ther food and other needs ensure the self rehance of the monastery. The monks are expected to also meet needs of the poor In the spmt of charity. Thus the workshops ~ncludefarmland and space5 for art and crafts. One of the most valuable funct~onsperformed by monk In med~evalEurope was the preservat~onof learning. Book were reproduced by monks who 1d~llgently copled ent~retexts In a monastery room called a scrrptorrum, which was desrgned for this purpose.

-Monk In Scr~ptorrum

5.4.0 Refectorv.

Refers to the drnrng hall In the monastery usually with a long narrow drnrng table wkh stra~ghtheavy legs

[ 1 5th century. make'.] 5.5.0 Chapter house

Chapter house ~na monastery refers to a bu~ldlngor a space des~gnedfor meetlng by a communlty of monks. The sue of the chapter house and refectory ~ndlcatesthe scale of the monastery.

[ 1 5th century. Yrom medieval Latin lnflrrnarla , from Latm mflrrnu5 (see ~nflrm).].Area w~thlnthe monastery where the 51ckand lnj~redare cared for. In med~evaltlmes rellglous centres, such a5 the Bened~ctmemonastery dep~ctedhere, were major

I - I I- prov~dersof health care and Cl I med~calknowledge. Early \ 1 med~evalEurope suffered from complete d15organ1zat1onof the lay med~calfraternity. To supply

the pressing need for med~cal care, a form of eccles~ast~cal med~cmearose; orlglnating in the monastlc ~nfrmary,~t spread rap~dlyto 5eparate chantable ~nstltutionsdeqned to care for the many sufferers of leprosy and other d~sorders.The Benedlctmes were espec~allyactwe ~n thls work, collect~ngand studylng anc~entmed~cal texts in thelr l~braryat Monte Cassmo, Italy. St Benedlct of Nursia, the founder of the order, obligated 1t5members to study the sc1ence5, e5pec1allymedlcme. The abbot of Monte Casslno, Bertharlu5, was himself a famous physlc~an. Thrs 1s the area where guests sleep. The monks spend thew nqht in s~mplerooms referred to as cells. Th~sarea 15 mostly drv~delnto three; the fully professed, the part~allyprofessed, and the novrc~ates.

5.8.0 fWXEATIONAL ROOMS

The recreatron room 15 meant for the followrng; 1 . Refreshment: the refreshment of the mmd and body after work, espec~allyby engagrng In enjoyable actrvrtres After-work recreatron 2. Amusement: an actrv~tythat a person takes part In for pleasure or relaxatron rather than as work

3.9-0 Guest house

House for vmtors: a small house used to accommodate vrsrtors to a maln house r-CHAPTER z

6.2.0.MATERIALS FOR CON5TRUCTION--

CHAPTER SIX

6.0.0 CLIMATIC CONDITION

An area over whlch there IS, more or less, un~formcllmate IS def~nedas a

Cl~maticreglon. On the other hand, weather IS the word used to descr~bethe day

to day changes In the atmospher~ccondlt~ons. It IS then evldent the Cllmate IS the average or mean condition of weather changes in a region taken ,over a long period. Prmary elements of weather, and consequently Clmate, are ramfall or preclpltat~on, wlnds, temperature, pressure, hum~d~tyand cloud cover. There are two major seasons ~nNigeria. These are the dry and the wet seasons. There are also four maln clmat~czones In N~ger~a.These mclude sub- equatorial, Troplcal hinterland, High altitude and the Troplcal cont~nental.Calabar,

the project s~tefalls with~nthe sub-equatorial zone. Th~szone IS character~sedby

high temperatures and hum~d~tyand IS Influenced by sea breezes, espec~allyat the Coastal rnarg~ns.This accounts for ~tshigh preclpitat~on.

6.0.1 PRECIPITATION AND RAINFALL

Precipitation has a strong relat~onshipw~th temperature, pressure and wmd. As has '

, been pomted out, Calabar hes at approxmately 15 degrees east of the Greenw~ch and North of the Equator. Th~smeans that the sun path has great Influence over ~t.

It is also close to the Atlant~cOcean whlch IS just about 4 degrees South of Calabar. Durmg the wet season, the sun moves towards the North of the Equator and passes over the land mass. Because of the almost perpendicular heat~ngeffect on the areas around and near the equator the pressure 1s reduced.~tthe same t~me the atmospherrc pressure of the Atlant~cOcean 1s very h~gh.Thus, th~sd~fference of pressure enables wind to flow mto the land area w~thlow pressure: Inadentally, the

wrnd flowmg from the Atlant~cOcean 15 mo~stureladen and so carries th~smo~sture

mto the land. The land area 15 relat~velyh~gher than the sea level. A5 the wlnd moves h~ghere~ther by convect~onor convent~on,the mo~sturecondenses and the atmospher~chum~d~ty reaches 1 00%.

Th~scauses prec~p~tat~onand ramfall. Ramfall, In th~ssub-equatorla1 zone 15 always heavy, It falls nearly throughout the year In this zone. The sub-equatorial

zone has an annual total of 1500mm of ramfall. It 15charactensed by a wet season

of two peak penods. Th~szone 15 sard "to have 'double max~ma'ramfall" as agamst those ~nthe north that "have mgle maxlmum ramfall". The d~v~d~nglme between

these areas 15 referred to as the double maxlma ramfall Ime. Throughout the wet or

ralny season ~nCalabar, the average humld~ty15 always very h~ghand d th~s15

ev~dentin 5011 and env~ronmentalwetness at th~sseason. In fact, ~ttakes longer kme to have laundered mater~alsdry-up durmg th~sseason than durmg other

seasons; and In th~szone than In other zones north of sub-equatorla1 reglon.

6.0.2 TEMPERATURE

, In March, the sun 5h1nesd~rectly over the Equator whde In its apparent trans~t~on

towards the northern pole or hem~phere.It IS apparent because the real truth 1s that the earth revolves around the sun whtle rotatmg round its ax~s.These two c~rcularmovements of the sun determme seasons and chmates. On ~tscourse towards North, the sun reaches the Trop~cof Cancer In June. It,then "turns round on ~tsapparent journey southwards untd ~tpasses the Equator again In 5eptember and performs another turn in December over the tropic of Capricorn". This movement of the sun between these Trop~cs- Cancer and Capricorn, determine the cl~maticenvironment of West Africa of which Nigeria in general and Calabar in part~cular1s a part. As the sun journeys northwards from the Equator to the Tropic of Cancer, successwe latitudes of the region are traversed. Accordmg to N.P. Ileje, this is when this region "has its highest temperatures because the sun at March and April

IS hottest during th~sper~od ~n the places nearer to the Equator while May and June 1s. hottest ~nplaces nearer the Trop~cof Cancer. It should be observed here that the area between the Trop~cof Cancer and Tropic of Capr~cornif known as the Tropics. They have their tropical environment characterised by such climatic factors hke heavy and torrentla1 rainfalls, hum~d~ty,hqh temperature and dense evergreen vegetat~on.The sun normally reaches the Cancer In June with full effects in July. During th~sper~od, the landmass close to the Tropic of Cancer is hottest with an average of 30' C while those closer the Equator has an average temperature of

%elow 25OC. Th~slast 15 where Calabar town falls into. Thus Calabar, like all tropical towns, 1s a land of abundant sunshme. In N~ger~a,it is one of the Or~entaltowns. Abundant insulat~onhas ~tsadvantages and disadvantages. some of the advantages include suff~ctentnatural l~ght~ngof bu~ld~nginter~ors, reduct~on in wall-moisture content and growth enhancement of vegetation among others. Architecturally, the . d~sadvantagehes in over-heating of inter~orswhen not appropr~atelyprotected.

Th~senta~ls d~xomfort for users. In as much a5 the high insulation 15 a source of abundant free energy, ~tincreases people's fatigue when they are over exposed to it. The people inhab~tingth~s zone are prone to over perspirat~onwhich reduces body temperature and energy. Th~sIS area arch~tecturecomes mto focus as regards ~tsrelat~onsh~p to

nat~onalenv~ronment. In th~szone, the archrtecture that works best IS that wh~ch takes ~ntoaccount the hlgh temperature as well as the h~ghprec~pltat~on. Anything contrary will suffer the rough hands of the env~ronment.

6.0.3 VEGETATION

Vegetat~onIS a term that covers both trees and grasses that grow on the land.

Vegetat~onIS largely mfluenced by ram, temperature and so11components. Because these elements vary ~nthe~r mfluences from place to place, so does vegetat~onas

well as clmate than any other country ~nthe West Afr~canSub-reg~on. Th~s IS due to ~tslarge expanse of landmass that spread from the Atlant~cCoastlmes on the South

to the Sahara desert fr~ngeson the North. It IS further compounded by the mountamous ranges l~kethe Jos Plateau, Adamawa ranges, the ldanre h~lls,Udl hdls and the Obudu Mountam. The veietatlon of N~genachanges from swamps and forests at the south to the savannahs or grasslands ~nthe m~ddlebelt and to desert ~nthe extreme north. These zones are dotted by montane vegetat~on,espec~ally on the h~ghplateaus l~ke

Jos. Th~schange IS rather gradual than abrupt. The lme of change IS not eas~ly' defmed as they grow or flow ~ntoeach other and th~nsout gradually. However, . general d~fferencesex~st wh~ch categor~se the vegetat~onof N~ger~a~nto salt water swamp. Fresh water swamp, the Hlgh Forest, Gumea Savannah, Sudan Savannah and

the Sahel savannah. The montane vegetat~onIS represented ~nJos Plateau and ~n

the Adamawa and Obudu ~n north eastern N~ger~a.Montane IS characterlsed by changes ~nvegetat~on from gumea savannah at the foothdls to poor savannah m~ngledw~th hedges and herbs or shrubs above. Th~sphenomenon has been attributed to the fact that wlth Increase ~n attitude, the temperature falls because the landmass IS exposed more and consequently the 5011 IS thlnner. Calabar, the thesls pro~ecttown, falls wlthln the h~ghforest vegetatlon zone.

Thrs vegetatlon zone IS full of varletles of plant species rangrng from parasrtlc * plants, chmbers and creepers to glant evergreen trees. These var~etlesare class~fledrnto three based on their vertlcal levels of growth. They lnclude; I . the lower storey, 2. the mlddle storey, and 3, the top storey.

Whlle the lower storey IS made up of dense - undergrowth plants of 3 to 5 metres hlgh, and comprlse such plants hke shrubs and ferns, the mlddle storey comprises of plants 20 to 30 metres hqh. These have dark-green dense fohage branching out from very thlck woody trunks that are covered by thlck barks. The top storey comprises of very tall, strarght trees. These trees are characterlsed wlth buttressing roots, lrttle follage and greylsh trunks. They measure between 40 and '60 metres tall. Obeche, Iroko, Mahogany and Walnut are examples of trees found under thls storey. It should be observed that the vegetatlon ~nCalabar, llke most places ~nthe high forest belt, has been tampered wlth. Th~swas as a result of lumbering. Thls has reduced the vegetatlon to what generally referred to as '011palm bush'. Thls IS the case especially ~nthe eastern part of Nlger~awhere a lot of 011 palm trees exlst and whlch are normally not cut due to thew economlc potentials. Thls 'does not Imply total destruction of the orlgmal vegetatlon as the area IS stdl relat~velyforested. 6.0.4 WIND PRESSURE

There are two major wmd mfluences over the s~teas In other places w~th~nthe west Afrlcan sub-regron. The hrgh temperature exper~encedIn the Sahara reduces the

pressure of the area. Th~s15 In contrast to the hqh pressure obta~nedover the

Atlant~c.The d~spar~ty15the major factor ~nfluenclngwmds over the area. This enables the trop~calmar~t~me a~r-mas5 to be drawn In from the South-West, through

the ma~nlandand Into the low pressure zone of the North. This wmd 15 prevalent In m~d-Juneand largely determ~nesthe cl~mat~ccond~t~on of the zone. A5 already

explamed, thrs wmd 15 mo~sture-ladenand consequently, the cloud cover 15 apprec~able. Th~s1s a complete reversal of the per~odbetween the months of March and June the sun passes over the latitudes of the zone on ~tsway towards the

hemsphere. Th~sproduces a hlgh temperature but whlch 15 equally tempered by the prec~p~tat~onsand cloud cover. In October, however, the temperature becomes very hqh and th~slasts till Aprrl of the following years. Now, because the sun and

1t5effect are on the southern hem~sphereand over the Atlant~c,the pres5ur-e up falls and becomes lower than the pre5sure up North. Th15necessitates the wmd be~ngdrawn from the North-eastern zone, through the Sahara mto the ma~nlandand subsequently mto the Atlant~creglon. At this perlod the temperature of the

, Northern hem~sphere15 below 20'~.Thus, cold air combmes wtth the desert dryness to generate what 1s referred to as the harmattan wmd. Th~swmd 1s dry and chilly, especially dur~ngthe nlghts. The l~ttlecloud cover obtamed th~sper~od accounts for th~sas heat 1s rapldly lost due to radlat~on.

One other important w~ndthat blows over the project s~te I; the equatorla1 , coaster Iles dwes down and undercuts whatever prevalent wmd found In the front. The prevalent wmd can e~therbe the troplcal marltlme alr mass or the trop~cal

cont~nentalalr mass. If the v~ctlmof the coaster lies IS the troplcal rnar~tlmeair mas5, "rap~dupward air currents are formed, the molsture in them suddenly condemes and sets free electr~c~tycharges In the atmosphere. These gwe rlse to a combrnat~onof thunder, Iightlng, strong wmds and brief but torrential downpour of ram". Th~s1s known as hesquall and th~sexplalns the fact that both the beginning and end of rainy seasons are character~sedby br~efheavy thunderstorms. On the other hand, ~f the v~ctim1s the tropical contmental alr mass, whlrlwlnd results. Thls

blows up sp~rallyand 15dust laden. Thls wind 1s known as "dust-devll" and 15 frequent durlng harmattan. It may be pertment to explam here that boundary or the line at whlch the exchange of influence occurs between the mo~sture-ladentrop~cal mar~t~me air mass and dust-laden trop~calcont~nental alr ma55 fluctuations northwards and

southwards. Th~sd~v~d~ng zone 15 the inter-trop~calfront. In the troplcs, orlentat~onof buddlngs has a very strong ~mpacton the comfort of ujers. Th15 15 because ~tdetermmes the degree of hat~onalventllat~on of

the mterior spaces. Consequent upon the wind's path over the slte, that 15, south- west to north-east and vice versa, a good orlentation is that whlch allows the larger part of the buddrng area to be swept by these prevalent winds. Cross ventdat~onIS ~mperatlveIn troplcal arch~tecture. Th~sproject ant~clpatesthe vent~latlonof the space naturally, except where ~t1s absolutely necessary to do otherw~seand where natural vent~lat~on1s

~mposs~ble.One way of ach~ev~ngth~s objectwe 15 by orlentatlng the bulldmg against the w~ndsIn such a way that they sweep across the mter~orspaces. One other fact that should be noted IS that the project s~te,whde be~ng

heavily mfluenced by the trop~calmar~t~me due to prox~m~ty,IS l~ttlemfluenced (relat~veto the northern towns) by the trop~calcont~nental wmd.

6.1 .O SOIL

N~ger~a15 made of 12 physical rel~efreglons. These are the north-central highlands of volcan~cand gran~terocks and w~thapproxmate heqht of 900 metres (Jos plateau 1 200 - 1 500m); the western uplands of gran~teand ~nselbergs(Idanre, Aseke h~lls);the north-east highlands of the Mandara mamtalns hth gran~te composit~onand about 1 500 metres h~ghand north of Benue, valley; the eastern highlands south of Benue composed of about fwe gran~temassds 'Alantika, Shebsh~, Adamawa, Obudu and Oban, w~thaverage height above sea level of 1800 metres), the Sokoto plam below 300 metres and dramed by Rma, Sokoto and Zamfara Rivers; the N~ger-Benuetrough with thousands of tonnes of alluv~umdepos~ts; the

Chad Basm in 'the north-east fed by Hadej~a,Gana, Yobe and other mlnor Rivers and streams; the western coastlands of relat~velyyoung sedimentary rocks

about 100 - 160 metres above sea level and transverse by both Ogun and Oshun R~vers;the southeast coastal pla~nsof 1 60 to 200 metres above sea level and meandered by both Qua lboe and Imo Rwers; the Cross Rtver pla~nsthat stretches

, from Obudu h~ghlandsand IS made up of sedmentary and gran~terocks that are now exposed to d~smtegrat~on;the South-eastern scarp land of sandstones and clays and dra~nedby Anambra, Imo and OJI Rivers and; the fan-shaped mangroves Nqer Delta w~thabundant sand, clay, mud and silt depos~ts.' T~mehas been taken to descr~bethe entire Ntgenan rel~efbecause they are closely related and mfluence each other. H~ghlandsdetermme lowland features as they too determme the pattern of dram - Itself a major factor tn 5011compos~tlon and landscape. However, Calabar falls wlthin the South-east coastal plalns. It has been 5hown that thls zone is characterlsed by alluvial 5011s mixed with clay and some silt. There is l~ttledramage problems here slnce the slope towards the coastal terminus 1s gentle and the vegetation does not allow for excesslve abraslon that encourages erosion.

6.2.O. MATERIALS FOR CONSTRUCTION

Materials for construction abound In the 1ndu5try. It ranges from the l~thicmaterlals to plastlc materlals and even recently, pneumatic materials that utilizes gases. These materlals have been developed mto very complex and slmple uses. Technologies have also mcreased ~nthe bullding Industry such that whole bu~ldlngs can be factory made, transported to bulldlng slte and coupled and uncoupled at will. However, a lot of factors determme cholce of materlals and technque. These .

bulldlng type (1s it res~dent~al,publlc or relqous) the capacity ut~llsattonexpected climatlc conditions of locallty local materlals avallable local labour and technology avallable economlc conslderatlon of alternat~vematerials and technique budding Ilfe-expectancy

Span volume and area. These are some of the many determmants of burldrng matenals and techniques alternatwes. However, th~s15 too much of a generalrzatlon as drfferent components of buddrng demand appropriate matenals and technques relevant to therr use and functrons. The materral compo51tronhere plays an important role a5 ~tdetermrnes ~ts performance and combmatron w~thother rnatenals.

6.3 .O. FACTOR5 AFFECTING COMPONENT MATERIAL5

The substructure comprrses all the buldlng parts from the foundatron foot~ngto the Over s~teconcrete. These are summar~sedIn the requ~rementfor good foundat~on and whlch rnclude:- to transmrt loads to the ground to prevent not~ceabled~fferent~al settlement of buddmg To effect un~formsettlement where prevent~on1s ~mpractrcable.

The foundat~onor substructure 15 determmed by: 5011bearrng capac~ty Structure system bemg used Type of foundat~onberng used

Econom~cconsrderat~on Avarlable labour and techn~que.

Some of materials for substructure ~nclude: Stones Concrete Reinforcing bars Sandcrete block Mortar Blind~ngmaterials

Damp proof membranes Brlcks, etc.

6.5.1 WALL

Wallmg 15 l~kefleshlng of the budd~ngstructure frame.

It def~nesthe spaces It prov~desthe encapsulation of the spaces It shlelds the mternal spaces from chmatic ~nfluences It transmtts both lateral and roof loads to the substructure.

Sometime5 wall5 are clas51freda5 external or ~nternal;load-beanng or non- load beanng. Load bearmg walls are those that combine both the funct~onof enclosing space and the structural weqht and Imposed loads. Non-load bearlng ' walls do not support mposed load. They support self-wetghts whtle enclostng space. They are 50rnetme5 called part~t~onsas most mternal walls are. Since wall funct~onsto protect and enclose space, ~trequlres that ~t possess such charactenstics as:- Stabrhty To exclude ram Strength Durabll~ty

F~reres~stance

Thermal resistance

Acoust~ccontrol

Wall~ngmaterials include:- Brck Stone

Sandcrete blocks

Concrete T~mber

Metal

Pla~t~c(very recently In pneumatic structureti).

Normally, wall thickness 15 relat~vely5mall compared to ~tsvert~cal he~ght and w~dth. It can be constructed hollow or 5ol1d. 6.5.2.BUILDING FENESTRATION

All openmgs In burldmg are class~f~edunder fenestrat~on.These lnclude wmdows, doors, sl~tsand others. Fenestrat~on1s determmed by:-

Durab~hty

Dulldlng type Natural vent~lat~onrequred

ACOUS~ICS L~ght~ngof rnter~orspaces Aesthet~cs Econorn~ccons~deratlon

Such rnater~alsas tmber, alurn~n~umand other metals, glass, plast~cand l~thlc materials are used In fenestrat~on.Most rrnportant In fenestrat~on1s the sealing of

openings In order to exclude rno~stureeffect~vely, hence varlour methods are .employed. he length, heqht and factor requred and mternal temperature range ant~c~pated.

. A floor 15 the hor~zontalsurface on wh~chact~v~t~es take place and whlch support people, furn~ture,machmery and other equ~pments.A funct~onalfloor should posses5 the follow~ngqual~t~es:-

8 Stab~l~ty Strength

8 lrnperrneab~l~tyof rno~sture Durablllty F~reres~stance Thermal propert~es

Acoustlc propert~es.( As related to ceding sound reflecttons and absorption)

Mater~alfor roof construct~oninclude:- Tlmber

Metal ( Alumln~um,Iron sheets, etc) Concrete Tlles (states, asbestos slates, etc) Cement

Plastlc ( A5 In roof I~ghtlng)

F~bres( As In celotex celllng boards, etc) Roofs not only serves as coverlng but also structurally, roofs support thew .dead weight as well as llve loads consequent upon ~mpactor imposed loads l~ke wrnds, am water, etc.

6.6.0 ACOUSTICS

The fundamental funct~onof architectural acoustrcs 15to provide an environment that

15acoust~cally satisfactory and sultable for whatever use the space 1s Intended for. The acoust~crequrement vanes from space to space. Thus, the level of, for example, qu~etnessrequ~red In a stadlum Is almost tend~ngto zero whde that requred for a llbrary or monastery 1s almost that of a dead-sdence. In th~ssplrrtual retreat centre the ~ssueof acoustics 1s ~mportantsrnce ~twrll accommodate a lot of people who may be mvolved In e~thermed~tat~ons or revivals or both s~multaneously. Acoustic problems are associated with three factors, or on the other hand, with two var~ablesand a constant. These factors rnclude the source, the path var~ableIn as much as they can be rnfluenced. The constant 1s the Rece~verwhich happens to be the human person sens~ngthe acoustic problems. ~tshould be observed, however, that science and psychology has proved that the recetver can be mfluenced relatwely. This happens where background sound 15 mtroduced rn ant~c~pat~onof some level of acc~dentalmachine may be a source of acoustic worry to an off~ceuser who receives the noise. Now the quest~onIS on how to determrne what should be done about;

Reducmg the norse at the source (select~onof the qu~etestequ~pment access~ble,proper mount~ngs,etc.) Reducmg the transmisston path by use of ducts or structurally (res~lrent separation, absorbent Iiv~ng,etc). Getting the recewer tolerate some amount of nolse.

All these factors must be cons~deredIn desqn slnce concentrat~onon one or neglect of the three may result In over desrgn, or unsatisfacto& solution.

The management of sound IS the subject matter of architectural acoustrcs.

Sound 15 measured In deabels (db). Sound itself 15 mfluenced by: The sound power (w). Th~sdescrtbes the energy of source In watts. These ~nclude: I. total power over entrre frequency range 2. power withm l~m~tedfrequency range 3. power rad~atedby serles of frequency bands Sound ~ntens~ty(I): th~sdescr~bes power rad~atedIn a un~tarea and In a spec~fleddlrect~on. This 1s comparable to hght ~ntenslty.

Sound pressure (P): th~s15 the var~atlondue to normal atmospheric pressure as radlated In the alr due to sound energy.

Te declbel, on the other hand, IS a measuring un~tw~th no d~mens~onwh~ch IS used In expressrng the ratlo of two numer~calvalues on a logar~thm~cscale.. Dec~bel1s appropr~atein handl~ngsound power, sound pressure, and sound .~ntens~tys~nce these quant~t~eshave tremendous ranges perceivable by the normal ear. Th~srange extends from s~mplerustles, for ~nstanceof leaves and papers, to the thunderous roar of a jet engme. This encompasses a ratlo of sound rntenslt~esfrom one m~ll~on- rndhon to one: 1 000, 000,000,000: 1 or 1 / 1 000000000000

Or 10'~: 10'

Thus, the number of dec~bels15 ten t~mesthe logar~thmto the base 10 of the numerical rat~onof the quant~t~es.For ~nstance,~f W I , W2 represent two powers, 1 1, 12 desqnate two intensltle5 and P I, P2 represent two and the result~ngdeclbels ~n each case would be: M (sound power) - I0 log W 1 /W2 (decibels) M (sound ~ntens~ty) = I0 log I 1 /I 2 (dec~bels) M (sound pressure) = I 0 log P I/P2 (dec~bels)

6.6.1 FACTORS INFLUENCING ACOU5TIC ENVIRONMENT

The character~st~cqualhes requ~redof an acoust~cenv~ronment vary. However, there are bas~callythree determmants; How the space 1s to be used The dlspos~t~onof user5 or the level of fussmess of users The relat~onshlpof the space to other parts of the building. These three charactenst~cqualhes must be cons~deredIn the des~gnof arch~tecturalspace w~thacoust~c cons~deratron. Now the second factor pertams to the sound effect on users or receivers. Thls 15 effected through the ear as in hearmg. Hear~nghas both b~olog~caland psychologcal d~mens~ons.Theses Influence sound effect.

6.G.2 FACTOR5 INFLUENCING HEARING

Factors mfluenc~nghear~ng consequently affect sound effects also. These factor5

Include good hear~ngenv~ronment ;

It must be completely quiet The des~redsound must be loud suffic~ently The sound must be equally d~stnbutedover the space for acoust~cunrform~ty and to avo~dechoes, or ~slandsof how 5ound ~ntens~t~etj Reverberat~ontlme must be long enough to give proper blend~ngof sounds and yet short enough to avo~dexcesswe sound overlapping whlch would produce confus~on. These cond~t~ons,~f observed, produce good hear~ng condrtion In an acoust~cenv~ronrnent. These can be met by use of natural elements as ~ngood planning of spaces and use of matenals, or by use of artlfmal dev~cesas In electron~cequ~pments such as speakers, etc. the sketches that follow help In ~llustrat~ngvarious way and mater~alsengaged ~narch~tectural acoustics. However, ~tshould be noted here that the ~mportanceof acoustics ~n th~sthew work derwes from the power of qu~etude espec~allyIn rel~g~ousarch~tecture.

6.7.0 LIGHTING

L~ghtlng, ~n arch~tecture, lnvolves two processes. These are the natural l~ghtmg , which IS also known a5 day - l~ght~ngand art~f~c~all~ghtlng opt~mum use of sunl~ght

and somet~mesmoonl~ght 1s made. The sun 15 a very powerful and effectwe llght

serv~ce.Approx~mately half of the sun's energy rad~atedto the earth 15 v~ablebut

even th~s15 eventually converted w~ththe lnv~s~blesolar energy ~ntoheat such that sunlight and solar heat mean one and the same th~ng.

6.7.1 DAY LIGHTING

The effect of solar energy IS dependent on the pos~t~onof the s~n~n relat~on to any

po~nton the earth's surface. Th~sIS descr~bedw~th respect to two angles - the

solar alt~tudeand the az~muth.The solar alt~tudeIS the vert~calangle of the sun above the hor~zonwhde the azlmuth repre5ents the angle of the sun from the south Ime. Thus, the solar Influence or lummance 1s determmed by the pos~t~onsof both

the 5olar alt~tudeand the az~muthangle. One other ~mportantfactor 15 the amount

, of dust and haze as this form a blanket-hke barr~erto the solar rays. The effect of Ilght~ng,whether day lghtlng or art~f~c~alI~ght~ng, also depends on the surfaces the ray5 lmprnge on. If the surfaces are reflectwe, then the rays would be effectwe otherw~sethey would be ab5orbed.

In modern arch~tecturaldes~gns demand IS lncreaslng for day Ilght~ng.It 1s not just for ~tseconomy but ~tseffectwenes5 too. Day lrghtrng determ~nesgreatly the uthtanan a5 well as the aesthetrc env~ronment of any des~gn.Th15 explalns the reasons for its berng an imperative cons~derat~onIn arch~tectural work. The power of hghtmg 15 even more important In rel~g~on generally and Chr~st~an~tyIn part~cular. Th~s 15 not just for the fact that Jesus Christ 1s the L~ghtof the world; that he caut~onshis followers to be hght to the world but also that what can be truly sa~dto be Chrlst~an arch~tecture- the Gothlc, developed from the sc~enceof l~ghtand I~ghtlng. Thus, In Chr~st~anworsh~p, emphas~s15 sometlmes made by the degree and colour of I~ght~ng.For example, wh~le darkness or obscure l~ghtrng can evoke mystery, brrghtness may suggest splendour, cleanliness and heavenly bliss.

6.7.2 FACTORS INFLUENCING DAY LIGHTING

The optmum use of natural lqhtmg depends on the extent to wh~chvarious design varrables are taken mto cons~derat~on.These var~ablesinclude the followmg:- Vanat~onsIn the quantity and d~rectionof the lnc~dentday I~ght. The photometr~cbrightness or lumrnance and ~tsdlstnbut~on w~th respect to clear, cloudy and partly overcast sk~es Sunhght lntens~tyvar~atron and drectron The effect of local terra~n,landscapmg and bu~ld~ngon the inc~dentsunl~ght. However, the amount of day l~ghtrng that enters an arch~tecturalspaceland ~ts usefulness depends on: The archrtectural fenestrat~on The extent of daylight control systems lnvolved The furn~shrngsemployed The extent of rnter~ordecoration The nature of colours or pqments used The orientatton of build~ngand rnatertals reflectivity.

In the troplcs, the problem IS ~nthe llmltlng of solar energy penetrating lnto mter~orsas there IS much abundant sunlight. This control IS carried out usmg various methods and materials.

Day llghtlng IS glven prominence than art~f~c~al~nth~s project because ~t1s the behef that day hghtlng 15 more effectwe, ~iu~tableand cheaper. However, art~fic~al hghtlng wdl also be employed. Th~sbased on the reason that retreat actlvit~esand worsh~psare often organ~sedat n~ghts.Somet~mes too, the sky becomes too cloudy even in the troplcs, as when thunderstorms are antlclpated and when ~ntenor spaces need be hghted if they must be functional. Th~rdly,some 5tatements w~th l~ghtlngmay be lmpract~cablew~th day l~ghtlngand th~s15 where art~flciallight~ng agaln shows its usefulness. Colour variat~on In llghtlng 1s eas~ly ach~evedw~th artif~c~alI~ghting.

6.0.0 SAFETY '

In any publlc bu~ldlng, safety is a prlmary con51deratlon. This 1s not just in differences In lndlv~dualconsciousness wkh respect for safety but for the fact that publ~cbu~ldlngs accommodate very large number of people w~thv~brant act~v~t~es. There are varlous aspects of safety In arch~tecturaldeslgn and the rnagn~tude or Importance of any aspect depends on the klnd of publlc bullding. Again, the degree of pollut~onsafety requlred ~na chem~calmanufacturing industry 1s not same w~thlumbermg ~ndustry. In a rel~g~ouspublic bu~ld~ng,there are three most Important safety conslderatlon5. These include:- Structural safety Acoustic safety Fire safety Acoustic has been dealt with earlier in this thesis. However, it should be emphasized that acoustlc safety refers to the processes employed to shleld Intended activities from unwanted external interference.

6.0.1 STRUCTURAL SAFETY ,

Structural safety is the precaution taken to ensure that the building is capable of withstanding all the forces on it - both dead and imposed loads. It is normally easy / to determine the magnitude of dead loads but imposed loads are not so. This is because imposed loads are made up of variable factors while the factors of dead load are constant. For instance, Imposed loads includes mtending users whose number can only be approximated, wind loads, pressure, temperature, moisture, etc; and all these are vartable at any point in time.

Egress IS another factor in fire safety measure. This is the degree of escape opening provided in a building. This factor is very Important In such public buildings like theatres, audltor~a,cinemas, court-rooms, as well as in relqious houses like mosque, churches and retreat centres. Materials of construction also play an Important role in fire prevention, retardation and extension of escape time. This is why building types consider choice of materials suitable to them. For example, T~mber will not be a good structural material in an open oven bakery nor will it be in a combustion industry.

Thls is because it can easily be heated up and expands and sometimes melts. This accounts for the reason why steel structures are encased in concrete or masonry works In bu~ldlngs.Another reason 1s that steel or Iron 1s prone to rust. Concrete

and stone are very good flre safety matenals. Ther fre safety trme 15 more and they are not easdy expanded.

?Ire safety, somet~mes, IS effected through construct~ontechnrques. The , method of jolnlng materials and bulldlng components helps. Th~sIS somet~mesdone by: - Part~alseparat~on of f~reprone areas Separat~onby mcombust~blemater~als . Provls~onof f~reflght~ng gadgets In the bu~ld~ngsystem.

In th~sproject, fwe safety IS cons~dered because some of the rehg~ous worshrps mvolve the use of flre as In the Easter f~re,candle hghts, Incense fire, etc.

agaln, slnce provlslon IS made for k~tchenand other culmary services, poss~blef~re

out-break may not be ruled out. 5rnce ~tIS belng used In thrs retreat centre f~re safety precaut~onsmust be ensured.

G.8.Z FACTORS AFFECTING STRUCTURAL SAFETY

Structural safety IS deterrnmed by natural and man-made factors. Where

natural obstacles ex~stagarnst safety the tendency IS to manipulate the man-made or deslgn factors ~n such a way that they counteract the natural obstacles. Factors . that Influence structural safety ~ncludethe follow~ng:- sod bearmg capac~ty env~ronmentalcond~t~ons bu~ldrngmater~als compos~t~on structural systems used In deslgn magnrtude or scope of the bu~ld~ng Structural systems are the most frequently used ~n solutron to structural problems. Each system has rts own advantages and disadvantages ~n term of transportat~onand transmrss~onof loads as well as In the spannlng of spaces.

Agarn, the chorce of mater~alsIS of great Importance since not all mater~alsare su~tablefor structural stabllrty, and for particular des~gns. Varrous materials are used rn structural works and these rnclude:-

stone tlmber

. concrete steel englneerrng brrcks and sandcrete blocks

stressed and remforced plast~cs

6.8.3 FIRE SAFElY

F~resafety ensures protect~onof users agarnst fre hazards. It 15 normal to have in- bulk f~reprecaut~ons ~nto publlc buddlngs. Th~smeasure ensures that users have enough tme to escape structural failure as a result of frre outbreak. Thus, frre res~stancevalues of mater~alsare measured In terms of the tmes these mqter~als can w~thstandf~re before farlure. The expan51011co-efflc~ent (d "C) for common mater~alsare l~stedbelow:

Mater~al a / OC

Copper 1.67 x

Steel 1.10~ lo-=

Glas5 9.00 x lo-'

Alummum 2.55 x I0 -5

The table below gwes a few of ;he co-eff~c~entof her expans~onof concrete wh~ch

use d~fferentaggregate types of over a temperature range of 100°C

Aggregate

Gran~te

Limestone

Quartz

Sandstone

CHAPTER SEVEN

7.0.0 DESCRIPTION AND ANALYSIS OF SITE

Thls section of the report highl~ghtsv~tal phys~cal and geograph~calinformat~on about the s~techosen for the Monastery ~nthe frlnge (Calabar-lkom road) of Calabar In Cross Rwer state. The clty w~llbe discussed with respect to the nat~onaland terr~tor~alcontext. The results of cl~mat~cstud~es w~ll be given and a deta~led Analys~sdone of the s~teItself In terms of topography, orientat~on,accessibility and other such Important cons~derations.

7.0.1 THE CALABAR CAPITAL TERRITORY

The chosen locat~onfor the Monastery is Calabar, the cap~talcity of Cross Rwer state. The terr~toryoccuples a total land area of approximately 7,797 km2 and l~esbetween latitudes 4' 4" € and 5' 1 " E and on longitudes 7' 50" E and 8'

10" E. Calabar 15one of the oldest cit~esin N~geria. Calabar Idhowever not centrally located. But ~tstdl remains one of the fastest growlng c~tieswith respect to tourism. The monastery will further enhance this tourism potent~al.

7.0.2 PHYSIOGRAPHY

On the general relief map of the country, Calabar falls within the low - lying areas of South - Eastern N~ger~a,at a he~ghtunder 300 metres above mean sea - level. The city I~esfurther west of one of the two gqantlc granite 5purs of the region; the Oban Hills of a heqht exceed~ng1200 metres above sea - level. The Cross Rwer wh~chruns through Obubra,lkom and the frlnges of Abla State, forms the eastern boundary of the c~tyfrom which ~tdram lnto the Bqht of Bonny, on the Atlantlc Ocean.

7.0.3 VEGETATION

The Calabar Cap~talterr~tory 15 located wlthln the Hlgh Forest vegetation belt of the country. Th~sbelt stretches from the western boundary of Nlgena, south-eastwards through lbadan and Benm; across the Nqer to the oban Hdls In Cross-River State. The belt wh~ch1s sometmes called the ram Forest Belt has an average width of about 130km, though ~t1s considerably narrower In the v~clnltyof the Nlger, owlng to northward extension of fresh-water swamps. The hqh level of ramfall, hum~dltyand the land wet season ensure an adequate supply of water and cont~nuouspresence of mo~stureIn the ar. The actual vegetat~onwlthln the reglon shows a gradation from shrubs, through tall trees ( 18 24m), the 011Palm Bush and fmally to a Dry Savannah on the Northern fnnges, where ~t1s bounded by the gulnea savannah.

7.0. 4 CLIMATIC - STUDIES;

The cl~mat~cstud~es treated here comprise temperature, humldlty and ramfall measurements, sun and cloud - cover stud~esas well as seasonal varratlons. (a) Temperature: The c~tyrecords its h~ghesttemperatures dur~ngthe dry season where there 1s Intense solar radlat~onand mmmal cloud cover, However, ~tsproxmty to the coast of the Atlant~cOcean helps to create the requ~redtemperature balance. Temperatures are generally low, g~v~ngan annual mean of 27OC as shown ~nthe chart.

(b) Hum~dltv:

The average monthly relatwe hurn~d~ty1s generally about 80% though the range 15 found to be between 65 - 96%. As a result, the atmospheric cond~t~on1s very hum~dand adequate cons~derat~on1s requ~red~n th~s zone for phys~olog~calcomfort w~threspect to body - sweat.

The ramy season ~nthe Calabar Cap~talterr~tory begms around Aprd and lasts on the average between 8 and 1 0 months. Although west of th~ssame vegetat~onbelt the annual ramfall ranges between 1300 and 1 500mm, ~nthe east, where Calabar 1s located ~toften exceeds 2000mm of ramfall annually.

(d) Wmd and Dust:

Two major alr masses dommate the clmate w~th~nthe country, namely the Trop~cal Contmental Air-mass and the Trop~calMar~trme Ar-Mass. However, by v~rtueof the clty's locat~onw~thln the coastal area, the latter 1s prevalent and dom~nant.It onglnates from the southern hlgh - pressure belt, crosses the equator, p~ckup mo~stureover the Atlantlc and enters Nlgerla from the south.

It IS therefore warm and wet, ~nfluencingthat reglon In particular durlng the month of January. The Troplcal Continental Air - Mass on the other hand arrives In the country from the 5ahara Desert, through the north and as such ~ts~nfluence wlthin thls zone IS of a lesser degree. The harmattan ~tbr~ngs IS not~ceableonly between November and February. The osc~llationbetween the two alr masses produces the seasons and the highly seasonal character of the weather condlt~onsthroughout the country; the troplcal cont~nentalmass creates the dry season while the trop~calmar~tlme mass , creates the rainy season.

7.0.5 GEOLOGY AND SOIL TYPE

The bulk of the clty IS concentrated on land less than 300m above sea - level, w~th~nthe lower Nlger Bas~nof the country. Thls basm of sedmentat~on comprises down - warped areas wh~chwere drowned by the sea at different times and In whlch sediments, of rock and other organlc matter eroded from the areas of uplift, were la~ddown.

The soil IS of the alluvial type whlch does not prmanly depend on clmate and vegetation for ~tsformation. Along the courses of rlvers, the so11IS sandy, Ilght- hued and often sterde whlle In the delta areas, ~tIS clayecl or muddy, dark-grey in colour and usually water logged. I 7.0.6 THE PROJECT SITE

The slte for this pro~ect1s located along Calabar-lkom road.

The sector whlch at present IS mostly vlrgln land IS to comprise, among other thlngs, the church, Ilbrary, refectory, lnflrmary, chapter house, workshop, guest house, reception and farmland. Total slte area IS 14833 hectares. There IS a stream at the eastern per~phery.The slte IS currently bounded by vlrgln land.

7.0.7 CRITERIA FOR SITE - SELECTION

As earher mentioned, the project has been clearly delmeated on the Master plan of the Calabar Cap~talfrlnge. However, In a situat~onwhere the select~onof sites IS left to the dlscret~onof the architect, certam fundamental principles and technques are to be adopted. These fall into three categorles namely: Baslc - Principles A Physlcal Check on the 51te An Analysts of Cost - lmplicat~ons

7.0.8 BASIC PRINCIPLES

1 . Adequate consideration should be glven to any plannlng control or guldelmes that may be applicable. 2, The accesslbllity of the slte to users 3. Sources of noise and air pollut~onmust be noted. 4. Adequate conslderatton should be given to s~tesecurity. 5. The ease of sett~ngout the building structure should be properly cons~dered. 6. Conslderatlon should also be gtven to the plans for the ,future development of the area.

7.0.9 ENVIRONMENTAL FEATURES OF THE SITE:

The next broad category that should form the bas15for site selection deals wlth the envtronmental features of the stte and these ~nclude; Ava~lab~lltyof adequate service - lines of all categorles coupled wlth the poss~bil~tyof removrng or re-pos~t~onrngof any extstlng servrce ~f the need

arises. With respect to thls stte, a phys~calcheck conducted showed that provtston was made for site servtces tn accordance w~thtown - plannlng

recornmendat~onsand there 15presently no need for re-pos~t~on~ng,as the

s~te15 a vlrgln land.

The beartng capac~tyof the 5011should also const~tuteanother major

cons~deratton. The presence of mining works of underground rtvers should also be noted and also of equal importance are the floodlng potenttals and water - table charactenstlcs.

7.1 .O COST IMPLICATIONS:

S~teselect~on wtth respect to cost - lmpl~catlonsfalls mto two categories; those In the short and long terms respect~velyand these ~nclude; I . The cost - prlce or rent to be patd for the stte 2. The cost of removlng or re-pos~t~on~ngexlstlng serv~ces,where necessary. 3. The cost of spec~alprecauttons for the effectwe operat~onof the complex. 4. The cost of spec~alfoundattons where necessary

it may be necessary at th~sjuncture, to pomt out that no add~t~onalcost w~ll be ~ncurredby way of spec~alfoundat~on or acqu~s~t~on- cost, as the 5011 15 of the flrrn sandy - clay type and the land has already been des~gnatedfor thts purpose. Some expense w~llno doubt be ~ncurredIn maklng the s~tesu~table for the purpose

~t15 deemed to serve. 7.1. I SUMMARY OF MAJOR - POINTS:

Agalnst the background of these major cons~deratlons,~t now becomes poss~bleto glve summary of what may be cons~deredthe major polnts for monastery site selection:

7.1.2 CONDITIONS FOR SELECTING A SITE FOR A MONASTERY:

NATUFWL SOURCE OF WATER: this 1s one of the bas~ccrlter~a for select~nga , : locatton for a monastery. The proxlmlty 1s of the essence. Prox~m~tyto a town: this 1s also a baslc requ~rementfor select~nga s~tefor a monastery. Th~s enables the monks' access to purchasmg certam goods' requlred for the dally runnlng of the monastery.

AMBLE SOIL: th~s1s the thlrd baslc cr~ter~afor selectmg a s~tefor the monastery as the monks are requred to grow thew own food and ensure self- sustamablllty as well as provlde for the poor and needy around them

Others ~nclude:

ADEQUATE SITE SPACE: Sufflc~ent slte space should be available mak~ng

provlslon for development on a scale of I : I .The slte should be capable of prov~dlng for both the present and future needs of the fac~l~ty.Monastlc bulldlngs often requlre expansion-hence the s~temust have very hlgh expans~on potentials. A good site at fr~ngesof the town would suffice.' 7.1 . I SUMMARY OF MAJOR - POINTS:

Agalnst the background of these major cons~derat~ons,~t now becomes posslble to glve summary of what may be considered the rnajor po~ntsfor monastery slte selection:

7.1.2 CONDITIONS FOR SELECTING A SITE FOR A MONASTERY:

NATURAL SOURCE OF WATER: th~sIS one of the bas~ccrlter~a for selecting a

locatlon for a monastery. The proxmty IS of the essence.

Proxlrn~tyto a town: th~sIS also a baslc requirement for selectmg a s~tefor a monastery. Thts enables the monks' access to purchasing certaln goods' requlred for the dally runnlng of the monastery.

ARABLE SOIL: thls IS the thrd baslc crlter~a for selectlncj a s~tefor the monastery as the monks are requlred to grow ther own food and ensure self- susta~nabllltyas well as provlde for the poor and needy around them

Others tnclude:

ADEQUATE SITE SPACE: Suff~clent s~tespace should be ava~lable makmg

provlslon for development on a scale of I : I .The s~teshould be capable of prov~dlng for both the present and future needs of the facd~ty. Monast~c

bu~ld~ngsoften require expans~on-hence the site must have very hqh expansion potentials. A good s~teat frlnges of the town would suff~ce.' Pollut~onfree: Monastery needs a very quiet environment. A noisy environment makes ~tworse. Air pollution from factories and water bod~esshould also be avo~ded.The s~teshould allow for protected dlsposal area for waste accumulated from activities with~nthe monastery 7.1.3 SITE ANALYSIS

Sun nath

- Sun path B

CHAPTER EIGHT

8.0.0 CONCEPT AND CHOICE OF ARCHITECTURE

8.1 .O Desrgn concept and phrlosophy

The design of a Cathol~cmonastery IS a far more complex undertakrng than the desrgn of a par~shchurch or even a cathedral. Such an institutron embraces not only a church or chapel as ~tsfocal po~nt,but also extenswe educational buddrngs, recreatronal fachtres, admrnrstratrve offrces, vaned types of houslng, and perhaps farm structures and craft shops. Essent~ally,~t 1s a small town, wrth many of the ' attendant problems of land use and traffrc flow. Although the church 1s central to thrs complex, its desrgn must harmon~ze w~ththe other structures, a number of wh~chare nonrellgrous In functron. The church itself IS not a par~shchurch, but must accommodate the specralrzed needs of the monastery. Fmally, the desrgn and construct~onof a large theologrcal group represents a project~onof present needs into the future. Because of the large expend~ture~nvolved, such undertak~ngsare often long-range projects, wrth a bu~ldmgschedule that can extend, as does that of the Benedrctme Abbey of St. John the Bapt~st,over a period of a hundred years. Even those that are bulk at once must be carefully calculated to serve future growth and needs.

The trad~t~onalmonastery 15 focused mward upon the cloisters, grouprng the church, refectory, communal dorm~tory,and chapter house around this central court. Granar~es,dames, and other workmg burld~ngs,operated marnly by lay brothers, were placed away from the maw grouplng and schools were e~ther nonexrstent, or decrdedly secondary rn rmportance. This clo~steredplan, remforced by the masswe stone budd~ngsystem characterist~cof past ages, expressed the concept of complete w~thdrawalfrom

the world mto a hfe of rel~g~ouscontemplat~on. But few Cathol~csmonaster~es are

so withdrawn today. The educat~onand tramng of students for work In the world IS one of their prmary funct~ons;many are centres for misslonary operat~onsthat circle the globe. Their purposes and thew respons~bd~t~esfar exceed those of the monaster~esof a smpler past. Because of these changes, the smple, contamed, and essent~all~rq~d s~te

plan that served trad~t~onalmonastic life so well IS no longer a funct~onalone. Nor IS its fortress-l~kearch~tecture expresswe of today's rehg~ousoutlook. A solut~onappropr~ate to the spmt and the functions of the present must

combme seclus~onw~th openness. A more ~ntr~catesite plan IS demanded In order to accommodate teaching and other dally work as well as the rellg~ousrituals. The elements of worshy, eclucat~on,administrat~on, and hous~ngmust be ~ntegratedIn a complex that allows conven~entaccess between bu~ld~ngswhde ~tsh~elds certam funct~onsfrom' conflict~ngones. The des~gnof a modern monastery should sympathetically serve the changed. funct~onalrequ~rements of the modern theolog~calcommun~ty. ~quall~ important, they are brdliant arch~tecturalstatements of the spmt of rel~g~ouslife In the twenbeth century, as vahd for our age as were the clo~steredmonaster~es for ages past.

The church

The church is the focus of any monast~ccommunity, anc~entor modern. Here the monks assemble four tmes each day, seven days each week, to chant the dwme off~ces.The church as the proposed monastery funct~onsalso as a par~shchurch for the surrounding reglon and as a student chapel for college and preparatory schools. It is the scene of great process~onalson holy days. A5 the ra~sond'etre of the ent~recommun~ty, ~t sums up the purpose towards whlch all actw~t~esare ded~cated. The church 1s mtended to be the flrst bu~ldmgencountered at the entrance to the monastery grounds. It fronts upon a publ~ccourt, the remamder wh~chwdl be walled, to shade the educat~onalbudd~ngs and Iiv~ngquarters of the monastery from publlc view. Fac~ngthe courtyard, the church WIN stand alone as a proclamation of the monast~ccommun~ty. The symbol by wh~chthe anc~entabbey church procla~med~tself was the bell tower, two of which flank the main entrance. The form and structure of the anc~ent towers were mtegral to the fortress hke archltecture of whlch they were part. In add~t~onto thelr funct~on~n soundmg the canon~calhours, these were originally watch towers, from wh~chthe tollmg bells spread an alarm agamst approaching marauders. The latter functlon 15of course long scenes obsolete. But the sounding of the hours 15sttll a primary function within monast~cI~fe. The housing for bell, therefore, remalns a logical cholce as a symbol for the abbey. In th~sdes~gn, the trad~ttonalbell towers protecttvely flank~ngthe church has been transformed into a s~ngle,dramat~c, bell banner, whose support stdl shelters the maln entrance. The cardmal pr~nc~pleof church plann~ng1s that arch~tectureshould be shaped by worsh~p,not worsh~pby arch~tecture. In the Cathol~cChurch, worsh~pis essentially seen as a rellg~ousobservat~on where there 1s a sense of unlty and partlclpat~on among all the persons rnvolved - clergy, chor, and congregat~on. The emphas~s then IS on the communal aspect of the l~turgyIn preaching Chnst. Agatn, the h~storlcalorlgln of the Chr~st~anchurch 15 the supper-room at Jerusalem. There, the Lord Hrmself celebrated, as the orrgln and pattern for all t~me,the Eucharist, whlch

IS the centre of church worsh~p. The heart of the church 15the altar, whrch represents Chr~st.The altar, therefore, domrnates the ~nterlorpf the church. Therefore, the ernphasrs of thrs project would be on brrngrng the monk and lay farthful rnto closer and more meanrngful contact w~thGod, makrng them actwe part~c~pantsrather than passrve spectators. Each rnd~vrdualshould be aware, on one hand, of hrs togetherness wkh others, and on the other of hrs close relat~onshrpto the altar. These can be ach~evedby appropr~atelyrelat~ng the nave to..the sanctuary and, therefore, to the altar. The fa~thfulwould be drawn w~thrnthe act~onthat 15takrng place through the prrest and thelr own part~c~pat~on.The general arrangement would not submerge the h~erarch~calorder of the commun~ty.

CHAPTER NINE

9.0.0 SPACE AND CONCEPT DEVELOPMENT

9.1 .O SPACE DEVELOPMENT

Ar~stotledefines space as a contamer of things - a sort of success~onof all-

/nclusive envelopes, from what 15 ‘within the limits of the sky' to the very smallest,

. rather hke Russ~andolls. Space 15, therefore, of necess~tya hollow, hm~ted

externally and filled up mternally. There 15 no empty space; everything ha5 ~ts

position, its location, and it5 place,

Arch1tectural5pace IS born from the relat~onshipbetween obJects or boundaries and from planes whlch do not them5elves have the character of obJect, but wh~h define l~m/ts.These l/m& may be more or less expl~c~t,constitute cont~nuous surface5 forming an unmterrupted boundary, or, on the contrary, constitute only a few cues between which the observer establ~shesfunct/on. The above quotatrons establrsh the meanrng of space rn partrcular and archltectural space In general. However, ~tis evrdent that there a not that rrgid wall

between what 1s archltectural space and what IS not archrtectural space. Space 15 space. Space 1s continuous and what constrtute the meantngs, characters and functions it acquires he rn the object5 and locattons of such,objects wrthrn the space. When, for example, objects, hke walls are placed and located tn such a way that an observer (hlmself an object wtthtn space) 1s unable to exp,erience the SPACE

UNIVERSAL, the space In wh~chhe frnds himself IS termed tntertor. On the other

hand, exterlor space IS I~mitlessto the observer's perception and IS only bounded by the b~ologrcalvisual abilrty of the observer. In this project, Space is seen to have its meaningfulness in harmony of

Object's location. Harmony 15consequent upon order and thrs, in turn, IS a der~vat~veof a well conceived, contildered, analysed plan. This depends on the kmd of building In question. The Bened~ctinemonastery is a religious publlc project. Three basic requ~rernentsIn space consideration are identif~able~n relat~on to thls kmd of arch~tecture.F~rstly, there IS the aspect of apparent image, what can be described as ~tsf~rst advert p~cture.Thts has been referred to during the s~teanalysis. This is, ~n.fact,on the landscaping of the s~te.Landscape presents the entire centre, as ~t were, on a tray for the vlsitor to experience. Landscape IS dlv~dedInto two parts here:- I. The fore ground landscape 2. The general land5cape

9.1.1 THE FOeGROUND IANDSCAPE

Th~swelcomes and ~ntroduces visitor^ to the compound. Th15 1s flrst experience of the monastery any vlsltor comes In contact w~th.It prepares the mind psycholog~callyas well a5 the spirttual comportment of visitor. The foreground landscape alms at maklng v~s~torsaware that they are entering a new world (of the sp~r~t,as ~twere).

The foreground landscape comprises of the long entrance way and the recept~onspace - the~rlandscaping arrangement5. Th~sshould elic~tacceptabhty and friendshy. It is clear from experience that beauty founded on order and harmony IS the best way of achieving th~sgoal. The Grandeur of the foreground landscape5 prov~desthe f1r5t-handclass~ng of the centre by mtend~nguser5 at first slght. The recept~onlandscapmg, particularly, should prov~dethe relax~ng atmosphere for v~s~torbefore they are eventually checked In as th~s15 one major goals of the monastery.

9.1.2 THE GENERAL LANDSCAPE

Seconding the foreground landscape 15the general landscape. Thls cons~stsof all the site arrangements. It cons~stsof the general arrangement of burld~ngsand funct~onalopen spaces In relat~onto gardens, c~rculat~on,trees, flowers, etc. the general landscape while presenttng the general outlay of the centre also aims at controlling c~rculat~onand uses of spaces. The scope should be such that monotony should not replace var~etyIn the name of order and harmony. Var~ety15 essent~al a5 ~t helps deflne spec~f~cattonsfor part~cularspaces, even w~thout51911 posts. It should be emphas~zedthat th~saspect of space landscape should have the aura of retamng and malnta~nlngacceptance and adm~rat~on.Th~s 15 because the v~s~torwould eventually have the opportunity of med~tat~ngboth In and over and thus 15prone to scrut~nyand possibly, cntlc~sms,~f its scap~ngworth does not go beyond ephemeral j~ngles,~ts emptmess, eventually, would speak out. How devastat~ngsuch nolsy speech would be 15to be lmaglned.

INTERNAL WORSHIP SPACES:

Internal worsh~pspaces Include all acts of worsh~pcarr~ed out Inside bu~ldrngs.It should be hmted here, that by worsh~p,~t should not be narrowed to 'church prayers'. Whlle this 15an act of wor5h1p ~t does not constitute tt entlrely by itself. Thu5, under ~nternalworshy space5 are:- The main Church: Thls IS the centre or the heart and an apparent un~tyof the monastery, Thls does not, however, mply bemg centrally located. The main church cons~stssuch mlnor functional spaces as:-

The altar

The sacrlsty The vestry The chow

The nave (congregat~onal) The ambulatory (circulation).

SERVICE SPACES

Th~sis another major dlv~slonof space requirement In th~sproject. A monastery of

thi5 magnitude envisages a number of support services. F~rst,there IS the general need to have the running of the monastery as effectwe as possible. Thls requires an adrnlnrstratlve organ. Th15 need not be elaborate but must ex~stand be ordered

too. The comfort of the monks and users of the monastery IS determmed by its being able to cater for the basic life needs hke food and shelter e.t.c.. Some of these needs are satlsfled in the open whde others require enclosed spaces.

. Therefore, there are Internal servlce spaces and external servlce spaces.

INTERNAL SERVICE SPACE

Th15 group comprises of:- a, Adm~nistrat~on:The success of the monastery depends on the admln~stratlon.Space IS required to accommodate the admln~stratwepersonnel, materials and functions.

Adrn~nlstrat~onspaces comprises:-

I . Reception: - provlslon IS made for the receptlon~stand thls space IS also for enqulrles. To be prov~dedIn the reception area are; lounge, toilets and poss~blyphone booth.

2. Offlces: - th~smay be one or two rooms for the superlor or abbot and necessary staff llke typist and prlnt~ngroom for necessary publ~catlons.

3. Stores: - Are prov~dedfor storage of materials 11ke stat~oner~es.

There IS also a need for the provlslon of a retail shop to meet urgent needs of users, espec~allydurmg large revwals.

3. Accommodation: - Th~sIS categor~redInto v~s~tors'accommodation and staff

accommodation. Accommodation IS necessary slnce the monastery also IS used sometlmes to organlse retreats whlch sometlmes last for days. The

need to accommodate the staff and guests of the monastery IS obvlous.

a, Vlsltor accommodation: IS further classlfled Into male and female sectlons as thelr needs and convenlence naturally vary. Both female and male sect~onsare to be planned In such

a way that there IS room-space var~ety.That IS there should be classes of rooms. Totlets are very essential and, in fact, are lndlspensable ~naccommodation schedules. By tollets IS meant both baths, water closet systems, urmary, b~dets, for females and accompanying wash basin. The posltlon should be such that whlle some rooms, cspeclally, slngle bedrooms, are self-contamed, the walkrng distance from other spaces should not be great.

(2) Staff accommodation: llke vlsltor accommodation would be planned to have vlsible functlon separattng genders - male and female. The most Important class~flcatronsof the staff accommodatron are:- --- Rellglous staff and, --- Domest~cstaff Whlle the reltglous staffs mclude the ordamed and professed rellglous persons who are part of the staff strength, the domestlc staffs ~ncludesall other staffs made up of lay men and women.

CULINARY SPACE

Cullnary acttvltles support llfe and wherever prov151on15 made for accommodat~ng people for some days, the need for cullnary IS great. In thls context, the cullnary space, and consequently activhes, supports both vmtors and staff. Under th15 space programme Include:-

(I) The kitchen Itself; and th~scomprises of the k~tchenstores, the cooking area and the pantry. Wblle the cooklng area Includes preparation space, the pantry ~ncludescabmets for culler~es. (11) The refectory; should be spaclous and contam wash-hand baslns and poss~blecoffeeltea table to cover the needs of some users who may not be Afr~cans.

(111) To~letfaclllt~es to serve both users of refectory and the kkchen staff would be provided.

EXTERNAL SERVICE SPACES

Evternal service spaces compr~sesof:- Parklng lots: enough space would be prov~dedfor parkmg of cars. The space would be such that a reasonable number would be accommodated. Recreat~onfacllrtles: are made up gardens wrth seats and properly landscaped and po5s1blyprovlslon of water fountam would be made to enhance organlc ~ntegrat~onof the env~ronmentand aesthetics. Fmally', c~rculat~on1s the co-ordmat~ngfactor that renders all other spaces funct~onal,In fact, the success of the spaces and whatever des~gnstrateg~es adopted depends entlrely on how effectwe the clrculat~onflows. It enhances not only beauty and comfort of users but d~rectlyand mdlrectly affects the buildrng performance and longet~v~ty.

SPACE SCHEDULE

LANDSCAPE M~ Foreqround 2,000 General 3,500 WORSHIP SPACES M~ I . Ma~nChurch 1,400 Med~tat~onrooms 780

Library 1 50 2. Devot~onqardens 150 Devotlon tracks 1 00 I . Ma~nChurch M~ Bapt15terv 3

.. Sacr~tv 50 Vestry 24 Altar 1 00

Nave (conqreqat~onal) 1.023 Ambulatory (C~rculat~on) 1 20 2. 5ERVICE 5PACE5 M~ ~dm~n~&ratlon 96 Receptton 54 Off1ce5 40 Stores 240 Accommodat~on 3000 refectory 120 Park~nqlots 3000 Recreat~on 280 To1let5 80 Laundrv 150 3. Recept~on M2 . Rel~q~ousstaff 240

Dornest~cstaff 180 , Tot lets 200 5. Stores M2 Storaqe 190 Shoplcanteen 50 6. Parkmq lots M2 Publlc parklnq- 2500 Staff park~nq 500 CIRCULATION M2 Fovers 1 20 Lobb~eslpassacles 960 ENERGYSPACE M2 Electr~c~tvplant 40 Water purnp/tank 60

SUMMARY Capac~tv 200 Persons S~tearea 14,833 hectares Landscape area 5500 M2 Worsh~parea 4820 M~ Serv~cearea 7274 M~ C~rculat~onarea 1180 M2 Averaqe area per person 9387 M2 Averaqe accornrnodat~onarea per person 1.50 M~ Averaqe worsh~parea per person 2.4 1 M2

9.2.0 CONCEPT DEVELOPMENT

Concept of arch~tecturaldeslgn 1s multi-faceted. Th~s15 because ~t15 determmed by arch~tecturaltype, mater~alsavadable, technque available rn the local bulldlng ~ndustry,and flnally, the relevance of cultural value related e to the archetype. In this project two ~rnportantfactors are cons~dered.~hese Important factors combrne to produce what 1 call an ORGANIC - DIVINE archltecture. It 15 a concept that evolves from the marrlage of the natural and the jupernatural.

ORGAN lC FACTOR

It has been noted earher In thls thesls, that retreat 15a form of Chr~st~anworsh~p and that worship Itself 15 a relatlonshy between two actors - man and God. In organlc archltecture the centre of mterest 1s man but 15 lnvolveti the co-ordmat~on of man's natural hab~tat. In this them, Organ~chas more meaning than the harmonization of natural material elements. It also Involves the natural psychological emotrons and feel~ngs such materials and harrnon~callybulk-end would produce. In other words, what 1s the react~onof man when he finds hmself am~dsthis bulk-environment?

An organlc architecture has certam character~st~cswh~ch include:- ! a. That it elevates man by making him the first and the baselme for determlnlng other factors. b. It harmon~sesnature by maklng ~t~ntegral c. It harmon~sesman's archltectural ~ngenu~tyw~th natural complexhes and beauty. d. It protects man from env~ronmentalhazards by worklng w~ththe factors that produce these hazards In rnlnd.

In thls project, man 15 k~ngamong the natural elements. He IS the measuring st~ckwhen env~ronmentfactor 15 considered. Th~s15 done by:-

, I. producing an architecture that relatively conforms to h~sscale

11. an architecture that cons~dersh~s phys~cal and psycholog~calcomfort ! 111. An archltecture that shields him from environmental hazards while making utmost use of env~ronmentalgifts.

These O~J~C~IV~Sare ach~eved by worklng wlth both human and envronmental factors whlle deslgnlng. Thls 15one of the goals of th~sthem work and th~s15 the organlc aspect of the des~gnconcept. It may, however, be necessary to elucidate more on whit work~ngwlth env~ronmentalfactors means. By this 15meant the surnmatlon of cl~mat~c,physlcal and technical conslderatlon of env~ronment~n archltectural des~gn.Th~s also lmphes the use of mater~alsand the harrnon~sat~onof the concrete ed~flcewlth the landscape archrtecture and the consequent Impact on man's psychology. Thls IS where cultural mll~eucomes Into play. Thrs means that rn consldenng cultural elements as part of organrc archltecture (at least In thts thesrs) reference should not be entrrely made to tradrtronal bu~ldrngform, though thrs may not be ruled out entrrely.

9.2.2 DIVINE FACTOR

God 15the second actor In the relatronshlp. It IS equally noted that God IS forever the object of worshlp for man and never the other way round In this relatlonsh~p,He

IS supreme. Thus, the drvrne factor In the architectural concept operates In the1 supra-mundane. Thrs operatron 15, however, effectlve and meaningful when ~t15 formally and spatially communicated to and Into the soul of man - when ~tinfluences hls splrrtually drsposltron posltlvely towards God.

The church IS symbolically the abode of God on earth. Hence, the church bulldrng In thrs s given the utmost promlnence. It has the hlghest vert~cal elevation and ecclesrastrcal decoration. The volume IS such that it &Jbjugates the sprrrt of man to awe.

Thrs IS a fact In relrgron that whrle the Chrlstlan God 15 Love, He 15 equally jealous God that must be feared and revered. Vertrcallty and volume rn relrglous archltecture and worshlp speaks of God's Omnrpotence. Vert~calltyparticularly llfts man's soul and drrects rt towards heaven.

However, the Church IS horizontally related to the rest of the retreat centre. Th~sIS achleved by the entrre massrng of the Centre. It 15 partrcularly rmperatlve to consrder the horrzontallty aspect since wlth rt the dlv~neInfluence of the Church IS dlstrrbuted and tred to other parts of the Centre. The rmportance of thls rehglous harmony of the monastery IS hlnged on the fact that the place is integrally to

funct~onas a p~lgr~mageground. Success of such asp~ratlonIS reallsable when monks and visltors see God ~nevery aspect of the monastery.

There IS a meet~ngpolnt between the environmental considerat~onsand the supernatural cons~deratlons;the organlc and the dlvine. The meeting polnt IS in the harmon~sat~onof the two to produce the Organlc-Div~nearch~tecture. Thls arch~tectureis the b~gidea behlnd the thes~s. It may be pertinent to remark that the actualizat~onof this' goal evokes an lmperatwe. Th~sIS the fact that all deslgn var~ablesmust be placed on the drawing board and allowed to take the~rrelat~ve tnfluences. Archttectural des~gncan be approached along two directions. It can be approached from the prlnclple of worklng from form to funct~on.This lmplles that the

Form IS establtshed and all functions are forced, as ~twere, to flt ~t.On the other hand, ~tcan be approached from the prlnclple of worklng from Function to Form.

Th~sprlnciple su~tsthe funct~onal~stswho care less about form a5 of funct~on.

Fdnctlon IS and covered wlth whatever is available. Workabdlty of functlonallty is narrowed in th~sprlnclple. I Thts project sees functlonal~tyoperatwe ~n Funct~onand Form. The form and funct~onmust have in~tialand fmal cons~deratlonin the deslgn strategy. Form must speak both publlc and rel~giouslanguage. Form must be culturally and aesthetically acceptable. hnct~onally,the retreat must be appropriate and accornmodat~ve. It may be argued that one prlnciple, deflnltely, would be dominant. However,

~tcan equally be argued that a balance IS poss~ble.Thls is the architectural desgn . strategy adopted In thls Bened~ctlnemonastery, Calabar. I . CAREY, GRAHAM. "L~v~ngStones of Arch~tecture,"Cathol~c Arts Quarterly, Chr~strnassupplement 1 955.

2. "D~ocesanBulldtncl Dlrectlves," Llturg~calArts, November 1 957 and February 1 958.

3.. "D~rect~vesfor the Bu~ld~nciof a Church (bv the Liturcl~calCommiss~on of the Cathol~cB~shops of Germany)," L~turg~calArts, February 1950.

4. MARITAIN, JACQUES. Art and Scholast~c~sm.Sheed and Ward, New York

( I 930).

5. Arch~tecture,Myst~c~srn and Myth by W~ll~amLethaby, P.32

6. the study of Ilturqy, (ed.s) Cheslyn Jones, Geofrey Walnwnght, Edward Yarnold, S.J. BIBLIOGRAPHY

W~ll~arnLethaby, ARCHITECTURE MYSTICISM, AND MMH, The Arch~tecturalPress, Ltd. London.

Patr~ckNuttgens, THE STORY OF ARCHITECTURE, Pha~donPress Ltd. Oxford, 1 983.

Conrads Ulr~chPROGRAMMES AND MANIFESTOES ON 20THCENTURY ARCHITECTURE, Lund Humphr~esPubl~shers, London.

Dawd Oakley, THE PHENOMENON OF ARCHITECTURE IN CULTURES IN CHANGE Pergamon Press, Oxford.

Wolfgang Pehnt, D(PRESSI0NIST ARCHITECTURE, Thames and Hudson Ltd,

London .'

Bruno Taut, DIE STADTKRONE, Jena Pres5, 1 9 1 9.

7. Wlll~stonWalter ET AL, A HISTORY OF THE CHRISTIAN CHURCH,

8. Bruno Taut, DIE STADKRONE, Jena Press, 19 19.

3. Mathleu Lauwencks, HI3 NUT EN DOEL DER KUNST, H~lversman, 1960. 10. Enc G. Jat, THE CHURCH, IT'S CHANGING IMAGE THROUGH TWENTY CENTURIES, Orb~sPubl~shers, New York. I I. Herman Wegman, CHRISTIAN WORSHIP IN EAST AND WEST, Pueblo Pubhsh~ngCo. New York.

12. M~chealHurley, PRAYING FOR UNITY, G~lland Sons, Dublln.

1 3. Cheslyn Jones, THE STUDY OF LITURGY.

I. James Hast~ngs,ENCYCLOPEDIA OF RELIGION AND ETHICS, Vol. X. /

1 5 Patr~ckNuttgens, THE LANDSCAPE OF IDEAS, Faber and Faber Ltd., London.

16. Aust~nFlannery 0. P, VATICAN COUNCIL II: The Conc~liarand Post Conc~l~ardocuments, Flowe Wrqht Book Ltd, England.

E. Yarnold, IN SEARCH OF UNITY: Ecumen~calPrlnc~ples and Prospects 1 909, St. Paul Pubhcat~ons,England.

ENCOUNTER, A Journal of L~feand Rel~cyonVol. l , no. l , Rome.- 1 992,

R~chardBunt, SIGNS, SYMBOLS AND ARCHITECTURE, Wdey and Sons, New York.

Herb Green, MIND AND IMAGE: An Essay on Art and Architecture, Granada Publ~shmgLtd, London. 2 1 . Bulletm of the Pont~f~calCounc~l for Culture, CHURCH AND CULTURE: no. 18, 1992, Vat~canC~ty, Rome.

22. STUDIA LITURGICA: An lnternat~onalEcurnen~cal Rev~ew for L~turg~cal Research and Renewal Vol. 20, no. I, 1 990.

23. Publ~shedby the Pont~f~calMlss~on Soc~et~es, Lelcs. THE OUTLOOK, Vol. XXI, no. 6, 1 989.

24. SEDOS BULLETIN, Vol 24, no 10, (Nov. 1 5, 1 992); Vol. 23, no. 8 (Sept. 15, 199 1).

25. Franc~sCard~nal Arlnze, AFRICANS AND CHRISTIANITY: Look~ng for lqht Scribes.. . , Book Four, arranged and ed~tedby Rev. F: L. Ejlofor.

26. Ohver A 0nwub1ko,AFRlCAN THOUGHT, RELIGION AND CULTURE: Vol. I, SNAAP Press Ltd, Enugu, N~gena.

27. P~erreVon Melss,EL€M€NTS OF ARCHITECTURE: FROM FORM TO PLACE, Van Nostrand Relnhold (Inter.) N. Y.

28. ARG Isaac, APPROACH TO ARCHITECTURAL DESIGN, ll~ffeBooks, The Butterworth Group, London. 29 Lionel March, THE ARCHITECTURE OF FORM, Cambr~dgeUn~vers~ty press, London.

30. Harold G. Leask, IRISH CHURCHES AND MONASTIC BUILDINGS Vol. II, Dundalgen pres5, W. Tempest Ltd., Dundalk.

3 1 . lloeje N. P., A NEW GEOGRAPHY OF WEST AFRICA, Longman Group Ltd E55ex, England.

32. John Hancock Calendar ,TIME-SAVER STANDARDS FOR ARCHITECTURAL DESIGN DATA, McGraw-Hdl Book Company New York.

33. THE NEW JERUSALEM BIBLE, Doubleday, New York.