A PATTERN LANGUAGE FOR SACRED SECULAR PLACES A Thesis by MELANIE RACHEL JOSEPH Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE May 2006 Major Subject: Architecture A PATTERN LANGUAGE FOR SACRED SECULAR PLACES A Thesis by MELANIE RACHEL JOSEPH Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Approved by: Chair of Committee, Phillip Tabb Committee Members, Gregor Kalas Jody Naderi Head of Department, Mardelle Shepley May 2006 Major Subject: Architecture iii ABSTRACT A Pattern Language for Sacred Secular Places. (May 2006) Melanie Rachel Joseph, B.Arch., College of Engineering, Trivandrum, India Chair of Advisory Committee: Dr. Phillip Tabb “Pattern Language” is a term popularized by Christopher Alexander and his co- authors of the book A Pattern Language: Towns, Buildings, Construction , Sara Ishikawa, and Murray Silverstein in the late 1970’s. Though intended to enable every citizen to design and construct their own home, pattern language never quite caught up with those in the field of architecture, mostly because of its lack of flexibility. The core idea of Alexander’s pattern language was to arm architects, designers, and the common people with a tool that would empower them to make informed decisions related to designing places that would comply with their needs and wants. What architecture needs the most today is the ability to heal and invigorate. I believe that contemporary architecture lacks such places that enable occupants to connect and communicate with what is within and what is without. A number of studies have proven that universally sacred (a majority of which are religious in function) places are charged with energies that could contribute towards this process. The energies, also referred to as “patterns,” are the energies unique to a place that make it special and sacred (not just in the religious context but also in the secular context). This thesis is an attempt to derive a new pattern language for the creation of sacred “secular” places like our homes and work places which draw from the pattern lists that have been proposed in four separate instances by authors including Christopher Alexander and Phillip Tabb. This new pattern list is aimed at providing architects and designers with a tool for creating secular places with an element of sacrality without having to taking on a religious meaning. iv I dedicate this thesis to the spirit of creation and the future of destiny. v ACKNOWLEDGEMENTS I would like to thank my committee chair, Dr. Phillip Tabb for first inspiring me, and then constantly nudging me on to write this thesis. I am glad to have chosen the perfect committee members in Dr. Gregor Kalas and Prof. Jody Naderi without whose support and encouragement I would have remained in school for a long time to come. My friends have always been a constant source of relief in times of stress and this time they surpassed their abilities by graciously letting me vent my steam and holding my hand in the most stressful situations. Eric, who is probably the reason I am one semester late to graduate has had to bear the brunt of my hectic schedule, and my constant irritability at not having things go my way. But, through all this he has held fast and not let go, of his own annoyance or me and I am grateful to him for that immense strength. I am indebted to my parents, brother, and sisters who held on to the hope of my graduation and will soon be able to experience the fruits of their efforts. I ask forgiveness of my pet bettas, Yoda (who has since then been replaced by Thor) and Gimli for bearing with my terrible feeding habits and not once complaining. Finally, I am glad that Texas A&M gave me an opportunity to be a part of it and I enjoyed and cherish every moment of it. I would not want to do this over again but am sure that I shall be singing a different tune in a few years. vi TABLE OF CONTENTS Page ABSTRACT .............................................................................................................. iii DEDICATION........................................................................................................... iv ACKNOWLEDGEMENTS....................................................................................... v TABLE OF CONTENTS .......................................................................................... vi LIST OF FIGURES ................................................................................................... ix LIST OF TABLES..................................................................................................... xiv CHAPTER I INTRODUCTION: THE THESIS IN A NUTSHELL Background............................................................................ 1 Objective................................................................................ 5 Methodology.......................................................................... 7 The Test Studies The Reichstag Dome, Berlin, Germany..................... 8 The Casa Mila, Barcelona, Spain.............................. 9 Castello di Gargonza, Monte San Savino, Italy......... 10 Scope and Limitations........................................................... 11 Expected Results.................................................................... 11 II PATTERNS....................................................................................... 12 III FROM THE RELIGIOUS TO THE SECULAR............................... 20 IV THE SELECTION OF TEST STUDIES........................................... 27 V THE NEW PATTERN LIST............................................................. 31 The New Pattern List............................................................. 37 The Patterns as Archetypes.................................................... 37 VI CENTER............................................................................................ 44 VII AXES AND DIRECTIONALITY..................................................... 49 VIII BOUNDING AND EDGES.............................................................. 55 IX GRAVITY......................................................................................... 60 X LEVITY............................................................................................. 65 vii CHAPTER Page XI FORMS AS MEMORY STIMULI................................................... 69 XII THE NATURE WITHIN................................................................... 73 XIII MATERIALITY................................................................................ 77 XIV TRANSITIONS AND THRESHOLDS ............................................ 83 XV SPATIAL HIERARCHY AND INTIMACY GRADIENT.............. 89 XVI ANTHROPOMORPHISM................................................................ 94 XVII CEREMONY AND ACTS OF PERSONALIZATION.................... 97 XVIII THE THREE TEST STUDIES The Reichstag Dome, Berlin, Germany................................. 101 The Casa Mila, Barcelona, Spain.......................................... 104 Castello di Gargonza, Monte San Savino, Italy..................... 108 XIX TEST 1. THE REICHSTAG DOME................................................. 112 Center..................................................................................... 113 Axes and Directionality......................................................... 116 Bounding and Edges.............................................................. 118 Gravity................................................................................... 120 Levity ................................................................................... 123 Forms as Memory Stimuli..................................................... 126 The Nature Within................................................................. 129 Materiality............................................................................. 131 Transitions and Thresholds.................................................... 133 Spatial Hierarchy and Intimacy Gradient.............................. 135 Anthropomorphism................................................................ 137 Ceremony and Acts of Personalization................................. 139 XX TEST 2. THE CASA MILA.............................................................. 141 Center ................................................................................... 142 Axes and Directionality......................................................... 145 Bounding and Edges.............................................................. 148 Gravity................................................................................... 151 Levity ................................................................................... 154 Forms as Memory Stimuli..................................................... 157 The Nature Within................................................................. 160 Materiality............................................................................. 163 Transitions and Thresholds.................................................... 166 Spatial Hierarchy and Intimacy Gradient.............................. 168 Anthropomorphism................................................................ 171 viii CHAPTER Page Ceremony and Acts of Personalization................................. 174 XXI TEST 3. CASTELLO DI GARGONZA...........................................