Chapel of St. Ignatius

Steven Holl

Case Study | Diagramming the Building

Formal Strategies of Architecture

EVDA 621

By Lanting Tian

ChapelofSt.Ignatius,designedbyAmericanarchitectStevenHollinthelate20thcentury,providesanexampleofarchitecturethatis“thefusionofaspiritualandanarchitecturalnotion”(Olson,1997,p.41);asanctuaryfornotonlythe6000studentsoftheJesuitCollege,buteveryvisitorseekingaquietzoneforhisspirittorest;thearchitecturewithmeaning.Inthisessay,Iwouldliketoexaminethebuildingfromfouraspects:form,body,technique,andspace,andanalyzenotonlythearchitect’spointofview,butalsothesocialandculturalcontextofthetime,aswellasmyownperspective.

Part 1 | Form

Phenomenology&Post­PostmodernTime

Inhisarchitecture,StevenHollisinterestedindevelopingthesensory,perceptualandemotionalintentionsofaproject‐whichhecalls“phenomenology”(Olson,1997).Itisanewparadigmshiftsfromtheon‐goingcyclesof“isms”andtheirreplacementatthetime,andmovestowardsamoreopen‐endedposition(Holl,2007).Suchdesignfocusesontheinteractionsbetweenthebodyandthephysicalworld,theexperienceofaplace.Holl’sambitionisto“buildtheperceptualbridgebetweendifferentworlds”(Woods,2007,p.9),whichthroughimagination,everyoneisabletocross;inotherwords,beinspiredbytheinsightsandrevelations(2007).

Inthisso‐calledpost‐Postmodernperiod,Holl’sdesignsintendtoincorporatemodernism’sformsanditscriticalspiritintonewandmorecomplexmodesofarchitecture;itisamixof“modernistformalismandexistentialphilosophy”,asLebbeusWoodsstatedinforwardinHoll’sArchitectureSpoken(Woods,2007,p.7).AtalectureinToronto,HollclearlystatedhisviewonPost‐Modernism:“(itis)theworstthingtohavehappenedtoarchitectureinthecentury”(Lasker,1999,p.6).

TheformofSt.Ignatiuskeepsthesimplicityqualityfrommodernism,andextendsthevocabularyofmodernismbyembodyingmeaning,philosophyandscienceofperceptions.Itsextraordinarysculpturalroofforms,togetherwith“pareddowniconographyofcrossandbelltower(Cuyer,1997,p.26)”clearlyprovidethebuildingwithobjectstatus.

Type&Function

Whatisitaboutthisbuildingthatdrawspeople?Inthiscase,maybeitisthebuildingtype.Achapel,hascertainpowerthat“enablesvisitorstograsparchitectureinitsfullness(Iry,1998,p.15).”Achapelfunctionsas“aspiritualhome,ashelterforoursecretselves,andaplaceapart.(1998)”Itiswheresensesengageandthoughtsandfeelingsinterplay.

Compression

OneconceptStevenHolltriestoexploreinhisdesignistheideaofcompression(Holl,2007).Itis,asHolldefinedhimself,the“condensationofamultiplicityofthingsintosomethingconfined”(2007,p.45).Itistoseekasingleconceptthatresolvesavarietyofrequirements,includingprogram,site,space,details,etc.,andwithinsuchcondensation,anexcitingandexperientialphenomenawillbeachieved(Holl,2007).

FortheChapelofSt.Ignatius,thearchitectarrivedattheideaofcompressionalmostaccidentally.Duetoshortofbudget,theinitialprogramreducedfrom10,000sqftto6,100sqft(Olson,1997),andthereforeresultedinreductioninform–tighteningupthe‘bottlesoflight’.Becauseofthisreduction,therooflineintensifiedintoastaccatorhythmwhich“alternatesbetweenswoopingandscaring”(Olson,1997,p.43).

Light–theInvisibleForm

LightasaphenomenonbecomesHoll’smajorpreoccupationindesign(Woods,2007).Hisarchitectureshapeslight,providingitwithcomprehensiblequalitybygivingitstructureandform(2007).Then,itisthroughimaginationthatonecouldbegintoappreciatethemysterybehind.InthecaseofChapelofSt.Ignatius,themetaphoroflight,whichisshapedintodifferentvolumes,referstoas“sevenbottlesoflightinastonebox”,becomesthedrivingforceofthedesignoftheform(Holl,

2007).Thevesselsarerepresentedbysixdistinctroofvolumeswithlightpenetratingthrough.ThemetaphorreflectsStIgnatius’visionofthemanyinteriorlightsanddarknesscomprisingspirituallife(Cuyer,1997).Asonemovesfromtheentranceintothechapel,withtheeffectsplayedbylight,theexperienceshiftsfromexteriortointerior,fromactivitytomeditation,fromphysicalworldtospiritualrealm.

Eachofthesevenbottlesoflightcorrespondstocertainfunctionofthespaceitprojectsinto.Forexample,thelightisbrightanduncoloredinthenarthex,wherepeoplegather(Olson,1997).Theprocessionalrouteisdefinedbyanoverheadhigharchandashallowramp(1997).Thecoloroflightiscarefullymeasuredbythecombinationofthecoloroflensaswellasthecolorofpaintedbaffle.Notonlythecolorofthelights,butalsotheorientation:North‐,east‐,south‐,andwest‐facinglight,allgathertogetherfor“oneunitedceremony”(Holl,2007).

Part 2 | Body

BetweentheBodyandtheDivine

“ForwearethetempleofthelivingGod.”In2Corinthians(6:16,NIV)Paulhasdefinedtheidealizedrelationshipbetweenone’sbodyandtheDivine.Church,asthephysicaltempleofGod,representstheexistenceofGodandevokestheDivinewithinthebodiesofworshipers.TraditionalCatholicchurchesweredesignedtoachievesuchgoalthroughitsvolume,highceiling,sculpturesandpaintingsofdivinestories.TheworshipersappearrathersmallinsuchspaceandthereforeexperienceadistanceratherthanproximitywithGod.

InHoll’sdesignoftheChapelofSt.Ignatius,throughthesevenvesselsoflight,theworshiperwasinvitedintoaneverdeeperengagementwiththedivine.“Eachvesseloflightilluminesaplacethathasaparticularmomentinaritualcontinuity”(Cobb,1999,p.7).Thus,theobjectiverelationbeginsfrominsideofthebodytotheoutside,throughthelighttotheDivine.Beforeonerealizes,thestructureofthechapeldisappears,leavingonlyaspaceinhisimaginationwherecontemplationtakesplace.

Diagram 1 | the light, brings out the Divine from inside the body

BetweenLightandDarkness

InTheSpiritualExercises,theguidebookIgnatiuswroteforspiritualdirectors,headvisesonein“discerningamongvariousinteriorlightsanddarkness(consolationsanddesolations)toachievetheinnerfreedomthatwillallowhimtomakeauthenticandjustdecisions.”(Cobb,1999,p9).Thecontrastoflightanddarkisemphasizedbythedifferentshapesandlocationsofthe“lightspots”andtheshadowtheycast.However,theproportionofthebrightest,thegreyandthedarkmakesnoneofthe

experienceoverwhelmingforthehumanbodytobear.Thelightsanddarknessareliketheextensionsofone’sownspiritualthoughtsthatreflectondifferentsurfacesofhislifeandlinksone’sinsidewithoutside.

Diagram 2 | A person in relation with large area of light, large area of dark, and proportion of light, dark and grey.

Diagram 3 | The contrast of darkness and light reflects one’s inner thoughts, and acts as extensions of the mind inside.

Themetaphorofthisgatheringoflightsalsoreflectstherelationshipofgreaterbodiesofthesociety:thecommunityofstudentsandprofessors,believersandnon‐believersallgatherasdifferentbodiesexaminingissuesindifferentlights(Cobb,1999).

IntheTwistandTurnoftheBody

AsHolloncewrote,“Ourfacultyofjudgmentisincompletewithoutthisexperienceofcrossingthroughspaces.”(Holl,2000,p26).Theturnandtwistofthebodyengagesdifferentperspective,movementandrhythmofgeometries.Thebodygivesmeasurementstospaceandexperience,whichcouldneverbeobtainedfromphotosormagazineimages.Itisthroughthebody’smovement,upsanddowns,moving

throughclosedandopenspaces,experienceofdarknessandlightforonetogainperspectivesofaplaceandcompletethesenses.Thechapel’scontinuousceilingactsasonegiantcanopywithdifferentpartsdroppedatdifferentheightsandanglestocoverdifferentbodiesandsouls.“Tobeabody,istobetiedtoacertainworld,…ourbodyisnotprimarilyinspace,itisofit.”(Merleau‐Ponty,1962,p.148).Thebodieshousedunderdifferentceilingheightsandwithindifferentvolumesofthechapelbecomepartofthespiritualworld;thus,thecheerful,thepainful,thebodiesseekingtruthcouldallfindplacesinthechapeltoresttheirsouls.

Diagram 4 | Twist and Turn of the Body within Different Volumes

Part3|Technique

Asanarchitect,StevenHollisknownforthesculpturalqualitieshegivestostructures,andhisgenuineuseoflight.Thesetwoqualitiesareintunewithhisuniqueuseofwatercolortechniques.Inthissectionoftheessay,threedifferenttechniqueswillbeexaminedaccordingtothesethreeaspectsofthedesign:watercolor,light,andtectonics,andhowtheyworkcoherentlyinthedesignoftheChapelofSt.Ignatius.

Watercolor:fromMindtoPaper|DesignTechnique

Startedasearlyas1979,Holluseswatercolortodocumentandexpresshisintentionsandthoughtsofhisprojects.Ashedescribed,watercolorisa“methodofcatchingintuitionandfirstthoughts,”itis“atechniquewhichsetstheimaginationfree.”(Holl,2002,Introduction).ForHoll,thesesmallpaintingscaptureideasthatwilldrivethedesignoftheentireproject.AsdiscussedinFormsection,theinitialconceptandthedrivingforceoftheformoftheChapelofSt.Ignatiusisdescribedas“sevenbottlesoflightinastonebox”.Asdepictedintheearlysketchofthechapel,notonlytheformsof“bottles”and“box”,butalsoasenseofspace,directionsoflightandchoicesofcolorsareallexpressedthroughhisbrushstrokes.NotonlydoesHollsketchtheexteriorofthebuilding,butalsotheexperientialqualityofmovingthroughabuilding.Watercolorsketching,asapersonaltechniqueofworkingisa“directmind‐eye‐handinteraction”(Holl,2002),whichallowsHolltocapturehisearlyintuitionsonprojects,andputwhatisinhismindontopaper.

Diagram 1 | Using watercolor technique to depict the three pairs of complementary colors in the lighting design of the Chapel

Diagram 2 | As to be included into the Word document, the first set of diagrams had to be scanned and adjusted to be able to fit. This brought up the making of the second set of diagrams which were done by computer software, trying to mimic the watercolor effect as seen in the first set. This comparison of different techniques shows an interesting relationship between the two, as the sketch needs the computer to be seen and realized, and the computer is, a lot of times trying to mimic what is done better (or not) by hand.

LightwithColor|LightingTechnique

Holloncewrotethat“forarchitecture’sinspirationseverypossibleworldateveryscalemustbeexplored.Eternitiesexistinthesmallestdetail.”(Holl,2000,p.144).Throughouthisprojects,Holliswellknownforhisgenuineuseoflight.Unlikesomeothermasterswhoalsoengagedlightintheirdesignofsacredspace,suchasTadaoAndo,Holl’suseoflightiscloselyrelatedtotheuseofcolor.HewasinspiredbyJohannWolfgangvonGoethe’s“theoryofcolors”,andbelievedthat“hisworkwasaimedatperceptualrelationsandparticularphenomena;itbridgedagapbetweenthescientificandthephenomenological.”(Holl,2000,p.144).

AsdiscussedinBodysection,throughtheuseoflight,aswellasthecontrastoflightanddark,thebodyisinvitedintoaneverdeeperengagementwiththedivine.Theuseoflightwithcolor,especiallywithcomplementarycolor,addsalayerofrawandvividintensitytotheoverallspatialexperience.Smallcoloredlensesaresetbehindpaintedcolorplanes,creatingapairofoppositeswithcomplementarycolors.“Foragreenfiledthereisaredlens,forabluefieldthereisayellowlens,forayellowfieldthereisabluelens,foranorangefield,apurplelens.”

Diagram 3 | Computer generated lighting simulation of four pairs of complementary colors used in the design of the Chapel

Diagram 4 | The process of simulation / reproduction

The process of understanding how something works could be done through simulation or reproduction. Different components are analyzed separated then put back together. And once one layer is completely understood, a multiple of that layer could become the understanding of the whole. In this case of trying to understand the technique of using light with complementary colors in the design of the Chapel, first, different components were modeled and adjusted in the computer program (wall height, light intensity, colors, transparency). If one reproduction is successful, then by adding up different reproductions with changing in certain aspect (color, in this case), it leads to an understanding of the whole.

TectonicsandConstruction|RealizationTechnique

“Holl’sarchitecturalimaginationisnotlimitedtohispenchantforphenomenologicalcombinationsbutinvariablyexpressesitselfintheconstructionitself,toyieldatectonicthat,howevermuted,arisesoutofthetechnologyemployedandthetactilecharacterofmaterial.”(Frampton,2003,p18).

Theconceptof“gatheringlight”isfurtherexpressedthroughthetilt‐upmethodofconstruction.Theenvelopeofthestructureisconstitutedoftwenty‐oneinterlockingconcretepanels–amoredirectandeconomicaltectonicthantheoriginalstoneveneer.(Frampton,2003).Thewindowsareformedintheinterlockingslabs,explainsHoll,“it’sapuretectonicexpressions.”Givingthelimitedareaforcasting,thepanelswerecarefullylaidoutonthechapelfloorandthereflectingpondslab.(Olson,1997).Withintwelvehours,thesepanelswerepickedup,rotatedandplacedinplacebyhydrauliccrane.(Holl,1999).Atthecornersofthebuilding,interlockingconcreteslabsexposetheload‐bearingthicknessoftheconcrete.(1999).Pre‐bentsteeltubesmadeupthecurvedroofspacesthatrestonthetilt‐upwalls.(1999).Themergingofthewallandtheceilingoftheinteriorsisdonebymetallatheandhand‐troweledscratch‐coatplaster.(1999).

AsBalmondproposedinNewArchitectureandtheInformal,“morethantheeyeseesthebodysenses.”(Balmond,1998,p.82).AsdiscussedintheBodysection,itisthroughthebody’smovement,upsanddowns,movingthroughclosedandopenspaces,experienceofdarknessandlightforontogainperspectivesofaplaceandcompletethesenses.ThecoherencyintectonicsoftheChapel,includingthemethodof

construction,notonlyallowsthearchitect’sintentionofthedesigntobefullyexpressed,butalsoallowsthebody’sspatialexperiencethroughtheexteriortotheinteriorsmoothandcomplete.

Diagram 5 | Computer generated model: building envelope - 21 tilt-up concrete panels

Diagram 6 | Folding and unfolding

Part 4|Space

FormalLogic:DwellingfortheSpirit

“Todwell,tobesetatpeace,meanstoremainatpeacewithinthefree,thepreserve,thefreespherethatsafeguardseachthinginitsessence.”(Heidegger,1992,p.345).Aplacecouldbecalleddwellingonlyifitisrelatedtothefeelingofaccustomed,andbeingathome.Church,asthephysicaltempleofGod,isnotonlythespacefordifferentbodiestodwell,butmoreimportantly,isfordifferentsoulstobesetatpeace.RobertA.IvydescribedtheexperienceofonearchitectwhovisitedtheChapel:“Shefoundherselfforcedtositdownonfirstenteringtheinterior,asshewassocompletelyovercomebyemotionandmemory.Thenewbuildingactedlikeakeyforher,unlockingawealthofinternal,unspokenlanguagewithunanticipatedforce.”(Cobb,1999,p13).ThereforethesuccessofthedesignoftheChapelcomesinitsachievementofaninnovativearchitecturalinterlocutionbetweentheindividualorcommunityandthetranscendent.(1999).

DesigningasacredspaceinasecularcityisrelevanttowhatDeleuzeandGuattarirefertoasasmoothspacewithinastriatedspace.Bodiesbearingdifferentquestionsanddoubts,withdifferentbackgroundsandbeliefsallgatheratthechapelseekingpeacefortheirspiritandtruthoflife.Whendiscussingstriatedspaceversussmoothspaceusingamusicalmodel,DeleuzeandGuattaristatedthat:

“Striatedspaceintertwinesfixedandvariableelements,producesanorderandsuccessionofdistinctforms,andorganizeshorizontalmelodiclinesandverticalharmonicplanes.Thesmooth,ontheotherhand,isthecontinuousvariationanddevelopmentofform.Itisthefusionofharmonyandmelodyinfavoroftheproductionofproperlyrhythmicvalues,thepureactofthedrawingofadiagonalacrosstheverticalandthehorizontal.”(Deleuze&Guattari,1987,p478).

Diagram 1 | the Chapel of St. Ignatius as a smooth space in a “striated” city

SensationandPerception:ChromaticSpace

HolldescribesthespaceoftheChapelofSt.IgnatiusaChromaticspaceandstatedthat“Chromaticspaceisalive,likeabreathingfluctuation.”Theconceptofthedesign‐sevenbottlesoflightinastoneboxorganizedthechromaticspaceofthearchitecture.Each“bottleoflight”wasmadeanalogoustothedialecticalofTheSpiritualExercisesofJesuittheory.St.Ignatiuscontinuallyreferstoaparticularmetaphoroflight,“thelighttoperceivewhatcanbestbedecideduponmustcomedown[fromabove].”(Holl,1999,p14).Towardthissensationoflight,fieldsofacomplementarycolorinback‐reflected,paintedcolorplanearesetagainstsmallercoloredlenses,creatingapulsingpairofoppositesthatshapethespace.Theworshipersdonotexperiencedirectlightcomingintothenavebutthechromaticlightspillingfrombehindthewalls.Beinginthechromaticspaceandsurroundedbylightpatchesofdifferentshapesandcolors,butwithoutknowingatfirstglancethesourcesofthelight,makesthischromaticspacealiveandfluctuating.

Differentspacesinthechapelareilluminedunderdifferentvesselsoflightandcorrespondtoaparticularmomentinaritualcontinuity.Therefore,lightasguidance,completestheconnectionofthebodyandmindtothedivine.Light,contrastedwiththedarknessandtheshadow,alsoreflectsone’sinteriorspiritualthoughts,aswhatIgnatiusreferstoasconsolationsanddesolations.Itisthroughconstantviewingofone’sownthoughts,“authenticandjustdecisions”couldbemade.

Diagram 2 | Light, Dark, and the Chromatic

Duration:TimeandSpace

ManyofHoll’sprojectshaveaddressedtheperceptionoftimeandhowthearchitectureexpressestime.Whenexplainingthespace‐timeconditionoftheChapelofSt.Ignatius,HollquotedtheinterpretationfromSaintAugustine:

“Whatthenistime?Ifnooneasksme,Iknow;ifIwanttoexplainittoaquestioner,Idonotknow…Wemeasuretime.Buthowcanwemeasurewhatdoesnotexist?Thepastisnolonger,thefutureisnotyet.Andwhatofthepresent?Thepresenthasnotduration...whenImeasuretime,Imeasureimpressions,modificationsofconsciousness.”(Holl,1999,p94)

Thelightprojectedfromcolored‐lensesmarkscertaintimeoftheday,theseason,andtheyear.“Time,orduration,isacentralthemeoftheinterior.”(Holl,1999,p92).Thechapelmarkstimeindifferentways.Onecouldfindabsolutetimemeasuredintheprojectedbeamofsunlightthatmovesacrosstheprovedwallsurfaceandturnsitintosharprelief,andtheothersrecedingintoasmoothsurface.Onecouldalsofindfragmentedtimeexpressedinasilentwaywhencloudspassingawayfromthefaceofthesunandaphenomenal“pulse”ofreflectedcoloroccurs.(1999).Asenseofsacredtime,thetimelesstime,ismarkedbythesedetailsandonlymadepossiblebyconsciousdesignoftimeandspace.

Diagram 3 | Passage of Time – Absolute Time and Fragmented Time

Conclusion

TheChapelofSt.Ignatius,achurchbuiltattheendofthe20thcentury,isstillconcerningitselfwithfundamentalissuesrelatingform,body,techniqueandspace.Thearchitectdesignedasacredarchitecturethatisfree,poeticandwelcoming.IthasgiventheurbancommunityanewhomeforworshipingandtheCatholicfaithanewlandmark.

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1ReferenceGuide:AmericanPsychologicalAssociation(APA)