spiritual.religious architecture
although its definition might have evolved with time, its existence stems from our inherent need to understand and to reflect. it is an architecture that engages with the metaphysical question of the self and the world (palasmaa).
the project intends to further investigate the common elements found in the architecture of religious spaces with the intention of evoking the memory of spirituality in a space of non-religious specificity.
doorway.gate.threshold
references to the human body
site.background
bali, Indonesia
the name bali comes from the sanskrit word wali, meaning ritual or offering.
the core philosophy of balinese-hinduism is to maintain the balance of opposite forces. this dominates the everyday lives of most balinese, and has blended with its culture, architecture, and literature.
According to Balinese Hinduism, for every positive principle or constructive force there is an equally powerful destructive forces. These are sometimes referred to as forces of the right (high) and forces of the left (low). The two elements ideally coexist in balance so that neither assumes too much power. Maintaining this precarious equilibrium is a constant preoccupation for the Balinese, who prepare daily offerings to satiate the spirits and keep them under control as well as plead for blessings. [1]
the project continues to further explore the balinese philosophy of yin and yang through the principles of duality.
duality | noun ( pl. -ties) 1. the quality or condition of being dual 2. an instance of opposition or contrast between two concepts or two aspects of something; a dualism
the sari club
At 23:05 (15:05 UTC) on 12 October 2002, a suicide bomber inside the nightclub Paddy’s Pub detonated a bomb in his backpack, causing many patrons, with or without injuries, to immediately flee into the street. Fifteen seconds later, a second and much more powerful car bomb hidden inside a white Mitsubishi van was detonated by another suicide bomber outside the Sari Club, located opposite Paddy’s Pub. Damage to the densely populated residential and commercial district was immense, destroying neighboring buildings and shattering windows several blocks away. The car bomb explosion left a one meter deep crater.
The 2002 Bali bombings occurred on 12 October 2002 in the tourist district of Kuta on the Indonesian island of Bali. The attack was the deadliest act of terrorism in the history of Indonesia, killing 202 people, 152 of whom were foreign nationals (including 88 Australians), and 38 Indonesian citizens. A further 240 people were injured. [2]
the site, formerly the sari club, speak of discrimination and differences in religion and culture. it is also a place of pilgrimage for the families of the victims and relates to religious spaces in its need to offer moments of reflections.
program
discriminate/gather
Distinctive in form and detail, Balinese architecture celebrates the concept of gathering, from traditional vernacular architecture to modern architecture. Balinese architecture is an architecture made for gathering—pavilions, temples, palaces and village squares—and these elements reflect the Balinese philosophies of adat (customary laws), budaya (culture) and agama (religion). Rich in meaning and symbolism, the architecture of Bali is about the convening of the family, the village, the gods, and most recently, tourists. [3]
the project proposes to be a place of gathering in a site that was about discrimination.
the theme of duality will be explored through
materiality,
light (wood) and heavy (stone)
atmospheric qualities,
light/shadow, sound/silence, and
ground and sectional conditions
above/below, inside/outside, intimate/open
the program changes from day to night as it relates to the qualities of light that changes from natural daylight (outside to inside) to artificial lighting (inside to outside). during the day, the space offers programs that are more about intimate interactions such as an art gallery, and meditation pavilion. at night, these spaces becomes more flexible for programs such as cultural performances, theatre and other gatherings.
Theatre in Bali, Indonesia is more than a distinguished discipline; it is a performance entwined with everyday life. Theatre, like all art, is a part of the religion and culture in Bali; thus all Balinese participate in art in some way. Furthermore, music, dance, costumes, and drama are not separate entities, but rather pieces of Balinese Theatre that rely on each other to achieve their ultimate purpose: Creating unity and harmony between the three worlds. This principle is beautifully reflected in Balinese dance, where movements are repeated on the right and left sides to establish harmony
