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. . .and Counting

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Faith is taking the first step even when you don’t see the whole staircase.
Martin Luther King, Jr.

www.brainyquote.com

Resting spots for some well-known California architects

Bernard Maybeck 1862-1957
Mountain View Cemetery, Oakland

Charles Sumner Greene 1867-1957
Monterey City Cemetery, Monterey

Julia Morgan 1872-1957
Mountain View Cemetery, Oakland

Timothy Pflueger 1892-1946
Cypress Lawn Memorial Park, Colma

Paul Williams 1894-1980
Evergreen Cemetery, Los Angeles

Wallace Neff 1895-1982
Mountain View Cemetery, Altadena

Albert Frey 1903-1998
Welwood Murray Cemetery, Palm Springs

digital.lib.washington.edu

Number of cemeteries in the US

100,000 plus
www.idreamof.com

The number of mega-churches in California

92 (a megachurch is a church having 2,000 or more attendees for a typical weekly service)
www.angelfire.com

Cathedrals in California

Oldest: The Cathedral of San Carlos Borromeo, Monterey, completed 1794

Newest: The Cathedral of Christ the Light, Oakland, completed 2008

www.cathedralsofcalifornia.com

Some contemporary cathedrals with design accolades

The Cathedral of Christ the Light, Oakland, 2008
Craig Hartman, SOM

Cathedral of Our Lady of the Angels, Los Angeles, 2002
José Rafael Moneo

Crystal Cathedral, Garden Grove, 1961, 1980, 1990
Richard Neutra, Philip Johnson, & Richard Meier

www.wikipedia.com

Top quarterly published on religious architecture

Faith & Form: the Interfaith Journal on Religion, Art and Architecture

www.faithandform.com

Number of California architects in the AIA’s Interfaith Forum on Religion, Art & Architecture

320

www.aiacc.org

Three books on chapels

The Rothko Chapel: Writings on Art and the Threshold of the Divine
Dominique de Menil (Menil Collection, 2010)

The Chapel of St. Ignatius
Steven Holl (Princeton Architectural Press, 1999)

Le Corbusier: The Chapel at Ronchamp
Daniele Pauly (Birkhauser Architecture, 2007)

www.libraries.cca.edu/

Three books on the architecture of loss

The Texture of Memory: Holocaust Memorials and Meaning
James E. Young (Yale University Press, 1993)

The American Resting Place, Marilyn Yalom
(Houghton Mifflin Harcourt, 2008)

Emergent Memory: The National AIDS Memorial
Competition, Neal Schwartz, editor (National AIDS Memorial Grove, 2005)
libraries.cca.edu/

 

Without A Trace

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arcCA 10.4, work sector, faith and loss

Photograph courtesy of Kuth/Ranieri Architects


I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. — Henry David Thoreau, Walden

High on the hills of Marin County lies a new sacred ground, a sustainable cemetery where one pays a premium to be buried in unencumbered open space—as an act of land preservation—to return to the earth without toxicity and without markers, in a final exchange between man and nature. This ecological participation is an active call to feed the earth, rather than forge a memory within it.

The Bay Area has long been a hotbed of cultural change, from home birthing to the Sierra Club, the Whole Earth Catalog, the progressive Edible Garden project, and most notably the organic movement. If this boomer generation has rewritten the practices of birth, created the eternal summer of love, and brought us back to regional living, why wouldn’t it rewrite the rituals of dying and death? Green burial highlights the debatable loss of our last landscapes, their architecture of remembrance, and the brave act of dying without a trace.

Forever Fernwood is situated in Mill Valley off of Tennessee Valley Road, a provider of green burials since 2004 and the only sustainable burial cemetery in Northern California. The 32-acre parcel backs up on the Golden Gate National Recreation Area and is open to the public 24/7, accessed by car through a limited network of hill roads or via hiking trails connecting the grounds to open space. Because the cemetery has existed since the late 1800s, the traditional section and the natural section lie side by side, yet are two distinct landscapes, one cultivated, requiring irrigation, the other a native landscape that is lush in the spring and brown in the heat of summer. In both sections, every grave is dug by hand to limit noise and disruption of the sloped land.

In 2009, Fernwood opened what is the first green Jewish cemetery in the United States.

arcCA 10.4, fait and loss, work sector

Woodland Cemetery near Stockholm, Sweden - Photograph courtesy of Kuth/Ranieri Architects

Situated along its western edge, it is delineated in three sections: orthodox, conservative, and renewal reform. The natural process of green burial is not new to the Jewish traditions, but merely consistent with historic practice; embalming and viewing are avoided, and the body is buried in a plain white shroud, because cremation is against teachings. The belief is that the body is a gift from God, and we should return it as soon as possible and in the best condition possible. Islamic burials are green as well, and, in addition, the body is placed to face Mecca. Christian customs, however, often include a funeral home service, which at the Fernwood facility is more typically used as a memorial rather than as a viewing or wake. All families are offered a virtual memorial, a biographical filmic story created by a partner company.

arcCA 10.4, faith and loss, work sector

Andy Goldsworth "Cone" - Photograph courtesy of Ron Lutsko

Our choices in death have a wide range of effects on the earth. Traditional inhumation (to bury or entomb), common to Christian and Anglo traditions, generates the greatest impact to the environment, due to toxic formaldehydes for embalming, and it requires the highest amounts of embedded energy for the production of caskets, concrete or polycarbonate vaults, and foundational headstone footings. These practices sit in contrast to green burials, where the shrouded body is either lowered into the ground by hand with cotton straps or coffined in a pine box, basket, or biodegradable urn. No chemicals are used, and no markers. Bodies are identified only through a GPS grave locator. One caveat is that the baskets available to purchase at Fernwood were made in and shipped from China.

Cremation negatively impacts the atmosphere, both in the amount of energy—natural gas fueling a three- to four-hour process at 1,800 degrees F for one cremation—and in the high level of emissions. The choices here are personal, spiritual, and economic. With green burials, western rituals of internment come full circle. In the wave of living simply, we are merely embracing what was done before— simple living.

The graveyard and cemetery are part of our regional memories as places of remembrance, landscapes of quietude and of retreat from the intensity of urbanity. They offer specificity within the endlessness of the rural landscape and provide sacredness to the profane commercial strip of the American suburb. They are where we have gone to think back and look forward, yet the distinct role of these fields of rest is to put us reverently in the present—and that has been inherently a function of their design and architecture. The historic Pere-Lachaise Cemetery, the largest park in Paris, is precursor to the city public parks of the United States. With its picturesque cobbled streets dense with trees, mausoleums, tombs, and miniature civic structures, it is a fiction of the city at rest, romantically depicting the tragic narrative of mortality and eternity. The Mt. Auburn Cemetery in Watertown, Massachusetts, close to Walden Pond, was established in the 1830s with the rise of American Transcendentalism. It is an Arcadian thereafter, with the traces of human existence set within a lush garden context. The cemetery was a cultivated landscape in the great outdoors, an intersection of leisure and sacred space depicting death in an idealized harmony with the earth and stars beyond. The beginnings of sustainability can be found in Transcendentalism, as well, in the 1836 publication of Ralph Waldo Emerson’s Nature, a life philosophy reuniting man with nature.

However, many American cemeteries today have fallen into disrepair, been abandoned, or been completely reinvented. The Ventura Cemetery Memorial Park in Ventura, California, for example, opened in the late 19th century as St. Mary’s Cemetery and later religiously diversified. It fell into disrepair after the last body was buried in 1943. The property was sold to the county in 1964 after many of its headstones were removed. Now renamed Cemetery Park, with a field of unmarked graves, it is presently used for recreation under the shadow of its hidden sacred history. The

Bayside/Acacia Cemetery in Queens, New York, is another ruinous beauty. Overgrown with chest-high weeds and filled with overturned headstones, it is a restoration challenge overwhelmed by both vandalism and nature’s aggressive repossession; maintaining the yards for its 35,000 residents has been difficult without a sufficient operating budget. Hollywood Forever, on the other hand, is thriving as a new financial model. Located on 64 acres in Los Angeles, and home to such residents as Cecil B. DeMille, Jayne Mansfield, and Rudolph Valentino, the cemetery is an active tourist and event destination. The grounds have recently been restored, but, more importantly, they have been renewed as public space.

The globalization of our cities and the increasing migration from places of birth have changed the ethos of the cemetery, and a new virtual geography has emerged, with online memorial sites like the worldwidecemetery.com, foreverlifestories.com, and myspaceafter.com. The act of “visiting the grave” and the intimacy of grieving can be experienced from anywhere in the world, and the space between us and our dearly departed have both collapsed and expanded to immeasurable distances. However, within the striking contradiction—the sobering task to sustain our natural world and the unconditional promise of virtual immortality— lies a new question: what role will

architecture have, if any, in representing us in death? In the drive to conserve resources, we may choose no longer to leave the evidence of marks on the earth.

Green burials offer new opportunities for merging contemporary sensibilities with environmental politics and artistic expressions; at their highest level of commitment, these sacred acts are basic ecological unions that thrive on pure participation with the earth’s natural systems—without the traces of memory. However, as creators of the built environment, we have every reason to invest in the new architecture of death and its markings. Will future memorials embrace new cultural programs to integrate virtual and visceral geography; explore radical and global visions for cemetery planning; embrace the abstraction and emotion of death; and reclaim the universal desire to be physically remembered in our last exchange with the sublime stretch of the American landscape?

Oddly enough, some partial answers may lie in the past. Monumental acts of funerary architecture, from the indigenous burial mounds in North America to the engineered Egyptian pyramids, speak through impressive reformations of the land itself and interrupt our understanding of the world.

Transfiguration of the land is familiar territory to the land artists of the late 20th century as well; the works of Michael Heizer, Walter De Maria, James Turrell, Maya Lin, Andy Goldsworthy, and Bill Fontana, environmental interventions made with the site’s soil, rock, and water, as well as climatic elements and ambient sounds, bring forth ideas in art and culture through the rearrangement of ordinary ground. Heizer’s Double Negative at Mormon Mesa, Nevada, is a land excavation project of two massive trenches cut in alignment at a great distance from each other to imply an invisible and unattainable connection. Goldsworthy’s Cone sculptures, constructed with small fragments of rock and wood found within a site, are arranged in massive primitive totems to heighten our perceptions of the organic world around us. Turrell’s Roden Crater (not yet completed) centers our physical relationship with the sky. And Bill Fontana’s Sound Island, a live auditory transmission from France’s Normandy coast at the Arc De Triomphe in Paris, provides an unexpected sense of memory. Like the 19th-century picturesque, these works intensify our relationship with nature, yet the artists’ approaches are sensual and existential, driven by process versus product and abstraction versus representation. Might these tactile physical gestures combined with virtual remembrance be our precedents for sacred traces and replace the tombstone tracings of the past?

arcCA 10.4, faith and loss, work sector

Fernwood Cemetery - Photograph courtesy of Kuth Ranieri

 

What we lost when we came here

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arcCA 10.4, faith and loss, work sector What we lost when we came here

Top: Photograph courtesy of Lakewood historical collection; Bottom: Outside semimounded Box Shelter photograph courtesy of Family Shelter Designs, US Dept of Defense, ca.1961


Home
We were housed in Lakewood. We were sheltered. But we didn’t have a home yet. In this sudden place—sudden in the way California generally has been but even more spectacularly sudden here—17,500 houses were built and sold in just 33 months between the end of 1949 and the middle of 1953.

Before we came here, some of our parents had been homeless for years, the result of the agricultural depression begun in the early 1920s or because of the Great Depression and the Dust Bowl diaspora of Okies and Arkies in the 1930s or the dislocations of war and its housing shortages through the end of the 1940s. Coming to Lakewood, our parents thought they had found a home, but they hadn’t. Some of our parents stayed only long enough to imagine that home was somewhere else and then moved on. Home eluded them. (It may elude them still, as it does so many of us.)

The idea of home in Lakewood was sold with a superb sales pitch. When you bought a house you were buying a piece of the big newness that the 20th century was going to deliver to everyone’s doorstep, even yours. A van would pull up, and tomorrow would be rolled into your living room. Most of my neighbors, while accepting this optimistic premise, found that some assembly of the future would be required.

Mothers
In 1953, a reporter for Harper’s Magazine asked young wives living in my suburb what they missed most. The women usually replied, “My mother.”

The loss extended to parents generally. Motherless moms and fatherless dads, with advice books and parenting magazines in hand, attempted to raise us to be a better, healthier generation. Their parents, located in what everyone called “back East,” were distant, tinny voices on a party-line telephone, helpless to spoil or correct.

arcCA 10.4, faith and loss, work sector

City of Lakewood - Photograph courtesy of Lakewood historical collection

Some of our whiteness
Some of our whiteness So quickly had the building been that in 1950 almost no one lived here, but in 1960 there were nearly 70,000 of us. Of course, we were nearly all Caucasian (as we were called then). The Census that year counted seven people in Lakewood who admitted they were black.

Nevertheless, our whiteness wasn’t pure. Coming to southern California, whatever else it meant, introduced a tinge of otherness, something that might lead to greater complexity. There were Jews, after all, living in surprisingly large numbers throughout Lakewood (whose Jewish developers, unlike Bill Levitt, omitted the covenant that restricted ownership to Christians). Jews had become white only recently and provisionally, as had Mexican Americans. They lived here, too (but they had always been indigenous, in the background). Our whiteness had holes through which even Filipinos and Japanese Americans slipped.

arcCA 10.4, work sector, faith and loss

Photograph courtesy of the author

The abundant land
The abundant land I lived among families on my block who knew a meal only as the opposite of going hungry, with husbands in their 30s who still insisted on eating poorly because they had been fed poorly for most of their lives. Meals reflected what they stubbornly held on to. If they ate to remember, many of the memories were of loss.

In Lakewood—“The City of Tomorrow, Today!”—the future of food hadn’t arrived yet. Shopping was mostly done on foot, since most housewives either couldn’t drive or didn’t have a car. The Helm’s Bakery truck, with its smoothly sliding, glossy wood drawers, came by every day. And so did a guy who had converted a bus with shelves and a cooler to bring milk, eggs, and cigarettes to the carless.

The Boys Market at the distant end of my block had long aisles of packaged and canned goods, but the fresh vegetable counter still followed the seasons. Heads of iceberg lettuce— the only kind available—dwindled in winter. Corn on the cob only arrived in July. Some grocery stores showcased an aisle of frozen food, but the Coldspot refrigerator at home had only enough room in its freezer compartment for one or two rectangular blocks of peas.

As a percentage of family income, food in the 1950s was comparatively expensive. But on a $100-a-week paycheck you could still feed a family. The results were hardly memorable if all you knew was Wonder Bread and margarine, a Sunday roast cooked dark and hard, watery string beans, plenty of mashed potatoes, and Jell-O for desert.

We were fed in Lakewood, but many of us were not sustained very well, with scraps half-remembered from a high school home ec course and what TV commercials told our mothers they could do with Cheeze Whiz. We hardly noticed, but all around us was extravagant California. Backyards in Lakewood delivered apricots, plums, peaches, pomegranates, nectarines, tangelos, guavas, and tangerines with casual overabundance. The winey smell of fallen fruit in summer was overwhelming.

arcCA 10.4, work sector, faith and loss

Phototograph courtesy of author

Our roots
The children of my youth were a newly made tribe. A typical block with 36 houses might have as many as 80 boys and girls under the age of 15. Out of necessity, we shared the task of civilizing each other, stepwise from oldest to youngest. Perhaps we could have done better.

We ate the same store-bought food (as my neighbors from Oklahoma called it). Boys wore the same after-school uniform of teeshirts and denim jeans (my neighbors from New Jersey called them dungarees). We made rough accommodations with divergent folkways, adopting a few, abandoning most of the baggage our parents carried. For us, the gridded streets were unbounded by class or place of origin. Lakewood was one block of houses repeated 500 times.

arcCA 10.4, work sector, faith and loss

Photograph courtesy of author

The tribe’s lawgivers were Sheriff John and Engineer Bill and the “Miss Frances” of Ding Dong School. Our epic poets were the journeymen directors of the previous decade’s B pictures shown on local television. From them, we made up endless games involving cowboys and Indians, cops and robbers, and the army and Germans (because the war still lingered in Lakewood; it still lingers).

Our parents and their parents had been Poles or Lithuanians or Irish or Dutch or Swedish or something else with old grievances and older faiths and a long history of brokenness. Their children weren’t anything. We were the homogenous, the brand name, the nationally advertised, the Californian, and we were unbroken then.

Innocence

In 1961, the federal Office of Civil and Defense Mobilization published “The Family Fallout Shelter”—a homeowner’s guide to atomic survival, printed on newsprint and costing 10 cents. The OCDM advised that a contractorbuilt shelter would cost about $1,500. (That was 10 percent of the cost of a house in Lakewood.) If $1,500 was too much, dad could build a less adequate shelter in the basement, using plans in the OCDM guide, for about

$500. Only no southern California tract house has a basement. A pre-fab shelter dealer in Downey, across the street from the Rockwell Aviation plant on Lakewood Boulevard, sold fiberglass shelters for burial in the backyard. I don’t know how much they cost.

My parents never considered buying one, nor did any of our neighbors. We knew that we lived at “ground zero,” surrounded by Douglas Aircraft, Rockwell International, a Nike missile battery, and the ports of Long Beach and Los Angeles. We knew that the thermal pulse from a single 20-megaton fusion bomb could set fire to everything inside a 10-mile-wide circle.

In 1962, during the week of the Cuban missile crisis, my parents stood at the kitchen sink after dinner, washing up and listening to the news on the TV. They turned to my brother and me and told us what we should do, if something happened. My brother and I—he was 16 and I was 14—should not try to come home from our Catholic high school. We should go to the school chapel to wait. My parents said they would come for us there.

My parents mouthed these lies, and my brother and I quietly repeated them. We knew that our parents would not come for us, and that the school chapel was a fit place in which to die.

Our way
When Lakewood was brand new, no one knew what would happen when tens of thousands of working-class husbands and wives—so young and inexperienced—were thrown together and expected to make a fit place to live. They had no instruction manual.

Mostly, they found enough space to reinvent themselves. Later, some of them learned that the work of reinvention had gone badly. Some of them, the men particularly, gave up what little adolescence they had kept. That loss made them seem remote to their sons and daughters, for whom everything new and disorienting was perfectly ordinary.

Tomorrow’s city was difficult for all of us to map, but my neighbors gradually filled in what they lacked as ordinary people who had taken up the protracted burdens of living together. By necessity, they found a way. And most came to understand what they had gained and lost by owning a small house on a small lot in a neighborhood connected to more square miles of exactly the same. More men than just my father have told me that living here gave them a life made whole and habits that did not make them ashamed.

 

Kings Day 2008

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On January 6, Karen and I at last got to see the Buffalo Dance in the snow at Taos Pueblo. There’s always an animal dance on the Christian feast day of Epiphany, but if there’s no snow it’s likely to be a Deer Dance because it is said traditionally around the pueblo that the buffalo bring the snow with their stomping. The buffalo are special. The Taos people haven’t hunted them for almost a century, but they still associate the hard, starvation-staving winter trip hunters used to make, sometimes eastward into Texas, with the padres’ story of the three Magi, and they call the celebration Kings Day. In dutiful preparation, they briefly repopulate the powerfully paired, nearly abandoned adobe buildings dating from the mid-fourteenth century that frame and structure the performance.

Seasonal weather and daylight set emotional tone in Northern Pueblo dances, and the impresarios of Taos are masters of timing and low-tech stagecraft. I observed their expertise in theatre lighting once on a golden October afternoon at the start of the Vespers Dance performed only by old men and women packed inside the little churchyard on the feast day of San Geronimo, the village patron. That dance was delayed well past the advertised time, and, as I waited for it to start, my tourist self grew increasingly worried that I would miss the last plane out of Albuquerque. The dance manager was clearly aware of the tension he was creating in the audience as, with patient precision, he let the lowering sun reach the correct angle to produce its maximum dramatic effect and also, perhaps, to remind dancers and onlookers of a ritual confluence of cosmic and animal/human dynamics. At just the right moment, the latter takes over from the former and, at an unseen signal, the silverhaired dancers hold aloft quivering yellow aspen branches that catch the raking light and ignite into a dazzling visual fire cloud—a breathtaking contradiction to the quiet, shuffling dance itself.

The pueblo website had billed the much longer Buffalo Dance as starting “tentatively” at 2:00 p.m. But we had learned at a curio shop in the town square that it had been moved an hour earlier, to keep it as bright and unsentimental as possible, I guessed, and it was getting colder.

We drove over, parked our car, and paid the modest entry fee. The plaza seemed almost empty. We watched as an uncostumed man hurriedly strewed what would be the dancer’s path with fresh, gold-green straw, marking and enlivening the dull-looking surface. (Later the straw would hold the mud together, improving their footing.) Just then, dancers from the south building could be seen in the distance, descending from the roofs of their kivas. After some bantering and a brief warm-up, they crossed the creek that halves the pueblo, filing over the narrow log bridge at the far end of the plaza to pick up a smaller group that had emerged from the kivas of north building. We counted about forty buffalo in all; young men, old men, fat men, little boys—naked except for red body grease, plain kilts, and high-cut moccasins (these very wet) with, huge, horned, eyeless buffalo heads uncomfortably balanced on their own. There were also three sad-looking deer, five or so hunters, a hunt mistress (I think) and eight drummer/singers. Choruses of women ululated loudly to excite the buffalo at the start of each movement. They danced seven formal sets and a few informal ones at the beginning and end. It was all remarkably similar to Vincent Scully’s vivid explication of the 1974 performance in his study, Pueblo: Mountain, Village, Dance.

The architect’s eye finds the route the dancers follow around the northern half of the great square to be symbolic and functional, freighted with iconography and tribal politics but also responsive to performance requirements for dramaturgy and acoustics. Over the course of the dance, the herd moved from the low east wall that signifies a separation between the built pueblo and the sacred mountain’s animal world, across to the opposing church (modernity perhaps, the White Man’s god?) and back.

They stopped to dance three times before and after the church set, always staying close to the north building, which gives an acoustic throw to the small chorus of women off its dense, adobe walls and provides elevated source positions for their high-pitched cries. The drumming, on small, hand-held drums, was gentle compared with other dances we’ve attended, but its sound, too, was strong and bright. It looks as if the different responses of bass and treble wavelengths have long been understood and choreography adjusted accordingly.

We found the formal simplicity of this winter dance to be deceptive. The guidebooks are not much help, often flatly labeling it as being about “abundance,” but clearly there’s more to it than that. You can’t mistake a general concern with unity and communal strength, and there appear to be key elements denoting vision and leadership. Looking at the range of minor characters, I found it easy to imagine layers of moral complexity, but that may have more to do with my own Protestant conditioning than with animist reality. The  overall message must be happy and reassuring, because the event cheers the whole village even in the cold, penetrating damp of a gray New Mexico winter’s day.  Between movements, the buffalo graze aimlessly. Suddenly, in response to a louder drumbeat and the women screeching, they stomp their right feet with the beat hard on the muddy ground, whirling then filing. I’m sure the dancers can’t see well (so that the buffalo can), and it looks impossibly exhausting. The buffalo sweat and steam, but somehow they all keep dancing for almost two hours. The dancers’ rhythm grows more precise as, gradually, they abandon humanity to become animals, working hard to invoke the power of their animal world. In the end, finally separated, the north and south groups compete to see which will outlast the other, dancing informal sets by their kivas. The old song becomes antiphonal.

When it’s over, the steaming dancers unload their heavy heads and double up with exhaustion, happy and perhaps relieved but clearly proud of what they have accomplished for the community. It’s all much more primitive and scary than the mostly agricultural dances of the rest of the year. Commercial it is not. No cameras, no cell phones, and big, tough-looking guys making sure of it. About sixty cold-looking, non-Indian people attended. When it ended, none of us knew quite what to do. [1]

 

Death in Texas

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For most people, this is a story about Texas, for some, a story about architecture.  And to a few who know about both Texas and architecture (I am thinking here of the late “Texas Ranger” John Hejduk), it is a sort of myth: an intersection of human beings with place, grounded as much in our imaginations as it is in reality—as such places inevitably are. When I tell the story to my students, I tell it for all three of these reasons. It is also a coming of age story: the story of my first job and my first project.

As most stories do, this story has an ending, and the ending is so strange that I will break with convention and reveal it now: They buried her in a martini shaker…and a Dixie-cup.

Mid-way between El Paso and Fort Worth, Midland was peculiar even by Texas standards. The land it rested upon had once been an ancient seabed, now lifted up to become the Texas High Plains. It is full of tumbleweeds, high winds, and dust storms—and, at that time, oil: lots of oil. A small city of sixty thousand, Midland had more millionaires per capita than any other city, more private planes, more Rolls Royces.

Like others in the fifties, architect Frank Welch found his way to Midland as part of a phalanx of Texans and northeasterners who traveled to West Texas to find success. He was handsome and talented, and he had married a kind and gracious banker’s daughter. He was also a favored protégé of O’Neil Ford, the granddaddy of Texas architecture, and was as likely to give his staff lectures on architecture as on a Picasso show at MOMA. A good architect and a bon vivant: Frank was exactly the kind of person I wanted to work for.

I had been in the office two weeks when Frank came to me and said that his best friend had called to tell him that the wife of one of his several brothers had passed away, and his brother wanted us to design a gravesite for her on the Soren family ranch in the foothills of the Davis Mountains. Frank wanted me to design the gravesite and—in what must be one of the oddest combinations of tasks—to turn an old adobe chicken coop into a guesthouse.

I set to designing and laboriously rendering what I hoped to be a minor de Stijl masterwork: a set of finely proportioned, low, gray granite slabs in contrast to the rough exposed red granite of the site. In my view, the scheme was elegant and artistic; I was happy with the results.

The Soren family apparently was not. I eliminated some of the slabs; they sent back an untrained sketch of a lone star that filled a sheet of oil-company stationery, dimensioned to fit into a twelve-foot diameter circle. I thought, “Were they going to visit in a helicopter?”

A few years earlier, Frank had struggled with the design of his own son’s grave, and he understood the exaggerations of grief. Somehow, he talked them out of the star. The minor de Stijl masterwork was, however, never to appear again; instead we settled on a non-descript, simple, rose-granite square within a square about two feet on a side. Our thinking was: “At least its not the star.”

During all this time, several trips were made to the ranch either by car, which took several hours, or by private plane. Mr. Soren would sometimes fly up to Midland from San Antonio to meet us, and then we would fly down to the ranch together. We would land on the ranch’s own landing strip and then drive up a single-lane asphalt road to the ranch. The main house was big and straggled a hill and full of western art. Cowboys worked outside, mirroring the art inside. On some visits, we would arrive early enough to eat cabrito that the Tejana cooks would prepare for lunch. The ranch had a gritty romanticism to it and struck me as its own world.

Charlie O’Donnell, the ranch foreman, in his sixties, was tall and slim and really did look like John Wayne. When young, he must have been what some women called “a tall glass of water.” He was an admirable man; he would go out to the campsites along the migrant trails that crossed the ranch and leave food for the illegal workers. He did this because it was the right thing to do and because he knew their lot was terribly harder than his—it was a different Texas back then.

Charlie was in love with two women, Mrs. O’Donnell and Mrs. Soren. His love of Mrs. Soren wasn’t romantic but out of a bond they had made through generosity and respect. Some of the other ranches in the area were merely weekend retreats, but Mrs. Soren had instructed Charlie that he was a ranch foreman and not a caretaker. He was to make the ranch a working and profitable one, and he did. He dug her grave himself, blasting a hole in the rock with dynamite.

Somewhere around the time that Charlie was blasting this hole and not long after we’d been asked to design the cross, Frank came to my drafting table for a talk. He understood that the project had not gone as either of us had expected, and I understood that he had been doing his best to finish it with understanding and grace. Grace was important to Frank. He had been wise and carefully empathetic. But what he was about to say was clearly too much.

He had just finished a telephone conversation with Mr. Soren. The family would have a memorial service on the ranch in two weeks. Mr. Soren wanted us to drive down and place Mrs. Soren’s remains in the site and seal it before the memorial service. Standing by my desk, he said, “Jim, Mr. Soren is putting Mrs. Soren’s cremated remains into a martini shaker. It was an anniversary gift to him from Mrs. Soren.” He looked weary and dismayed.

The day before the memorial service, Frank and I arrived at the gravesite early in the morning. Charlie was already there with one or two ranch hands. It was almost mid-day for them, and they had come on horses. A slightly befuddled stonecutter from San Angelo was there, too. We gathered around the grave. The granite slab and plaque lay next to the hole on a portable lift. The atmosphere was sad. Not much was said after the handshakes and hellos.

Then Frank turned to Charlie and told him that Mr. Soren had wondered if Charlie would like to place Mrs. Soren’s remains in the grave. Charlie’s eyes welled up, and he silently nodded. Frank reached into a cardboard box he had received the day before and brought out the shaker, which was wrapped in brown packing material, and began to unwrap it.

And we stared, blindsided by a small, unexpected epiphany. The shaker was startlingly and exquisitely beautiful. It was simple and unadorned and subtly shaped in a way you could only call feminine.  It was 24-carat gold. It was gleaming. The treasures from an Egyptian tomb had just toured the country, and it looked like it would belong.

Charlie took the shaker in his rancher’s hands and placed it gently in the grave. Frank looked happy and relieved; I felt a thickness in my chest; somehow, something made a kind of wondrous sense. We had entered some unpredictable and paradoxical place where beauty trumped all. And where architecture doesn’t have much of a stake.

The slab was glued to the concrete, the grave sealed, and we started to say our goodbyes. And then Frank reached into the box again and brought out something else wrapped in brown packing and turned again to Charlie to say, “Charlie, they were not able to put all of Mrs. Soren into the martini shaker. Mr. Soren was hoping that you would take what is left and take them someplace on the ranch to spread them out.”

He unwrapped the packing and pulled out something that looked too much like a Dixie-cup not to actually be one.

He handed it to Charlie, whose eyes had watered up again. Charlie nodded. He took the cup from Frank.

Frank and I, the stonecutter, and the one or two ranch hands left Charlie at the gravesite and drove or rode away. I am not sure what happened next; I know that Charlie got on his horse and rode out to some part of the ranch to spread the rest of Mrs. Soren’s ashes. But I also imagine that he returned a few hours later for the lunch that he had every day with Mrs. O’Donnell, carrying with him an empty Dixie-cup.

 

In Praise of Fallow Fields

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Livermore Fields - Photograph courtesy of Kurt Lavenson

fal·low [fal-oh]

1. (of land) plowed and left unseeded for a season or more; uncultivated.

2. not in use; inactive: My creative energies have lain fallow this year.

~From www.dictionary.com

Let Everything happen to you: beauty and terror.
Just keep going. No feeling is final.

~From a poem by Rainer Maria Rilke

The economic downturn has hit my architecture business rather hard. For years, decades actually, I have had a list of clients waiting patiently for me to design their projects. I plowed steadily through my workload, and the waiting list extended into the future just as steadily. Now the backlog is gone. I have worked my way through most of the jobs and have large blocks of unscheduled time. I live and work only in the present tense, not quite sure of the outlook next year or even two quarters ahead. This can be awkward to discuss with friends and colleagues. I see the pained look flicker across their faces when I answer the ubiquitous “so how’s business?” with an unequivocal “really slow.” Apparently, I have offered more than they really wanted to hear, violating an unspoken rule by giving voice to loss. Occasionally I go further, adding “…and I like it.” Perhaps I am expected to say business is great, or at least pretty good, or, at the very least, picking up again. It is apparently safe to talk about loss in the past tense, but not in the present. Some colleagues are relieved to discuss loss in the open, taking comfort that they are not alone, but most react as if it might be contagious and pull back. For my part, I am learning to embrace the slowdown for its cathartic qualities. The stillness has within it another kind of wealth—one of reflection, grounding, and opportunity. I have come to appreciate the fallow period.

Until the modern era of chemical fertilizers, pesticides, and herbicides, it was common practice for farmers to let alternating sections of their fields go fallow to regenerate. This gave the soil and organisms a chance to rebuild the nutrient base for the subsequent crops to draw upon. More recently, as emphasis shifted toward maximum production, the soil was never allowed to rest. Nutrient flows were subsidized and accelerated by artificial means. As we have learned, these methods deplete natural resources, pollute the aquifers, and often yield toxic food products. The latest counterbalancing result has been the rise of organic and sustainable farming, including fallow soil periods—a less “efficient” but healthier alternative.

I see a metaphor here for the fatigue in the construction industry and the economy as a whole. The boom cycles are unsustainable without artificial subsidies and become unhealthy when pushed past their natural limits. We are realizing, not for the first time but maybe for the last, that an economy that primarily measures success in terms of speed and quantity of production will eventually yield toxic products and cannibalize its own resource base. I am not arguing against efficiency, just appreciating the elegance of certain natural processes that may appear inefficient, like the plowed fields left unplanted and uncultivated for a season. They are actually quite efficient and self-sustaining. When we think with a long-term perspective, not doing can be as valuable as doing. There is opportunity in stillness.

Many now claim their design practices to be focused on sustainability. I’m not convinced, however, that specifying bamboo floors and solar arrays is enough to deserve that moniker, if the underlying business  cannot survive without constant production. What if our own business practices were designed to incorporate fallow periods? Perhaps it would make the business itself more sustainable if it were designed to allow, or to celebrate, pauses in the economic cycle. I have an image in my head from my childhood on the east coast, where we would awake to “snow days.” Schools and businesses were unable to open due to an overnight blizzard. Roads were impassable. Everything was closed. They were wonderful ad hoc days, filled with inventive play, family bonding, and regeneration of spirit. The interruption of business as usual was a blessing, and the days that followed were better for it.

This example is obviously more simplistic and rosy than the depths of a recession, but  most of us have heard similar descriptions of communities banding together during severe natural disasters, as well. The point is that the surprise and the loss of control can be considered normal occurrences. They are unpredictable and overwhelming at first, but ultimately manageable and useful in their own way, even if that way is not obvious at the outset. How many of us have said at one time or another that we learned more from a test we failed or a job we lost than from the others?

The specifics of a truly sustainable business model will vary for different practitioners and firms. For some, the consequences of a slowdown are more dismal than for others. What is common to all is the need to become less afraid of loss and stillness. Embracing fallow periods allows change to enter the equation. Clearly, we don’t need to seek sadness or emptiness; we just need to stop pretending that we can entirely prevent them and to end our amnesia about natural cycles. We need to find balance. If we become adept at managing seasonal or cyclical slowdowns, we can build healthier businesses focused on more modest booms and less drastic busts. Architects understand process and change more than most people. We are visionaries, expert in the creation of new patterns. It is important to use these skills right now to redesign our own livelihoods.

The economist Juliet Schor, in her book Plentitude, addresses the concept that there are other forms of wealth and strength available in the economy if we learn, or remember, how to value them. She suggests that, historically, as more labor time went into the marketplace, time for community disappeared along with relationships. We lost “a potent form of economic wealth which people can turn to during financial instability or adverse climate events.” We became too busy to cultivate this source of wealth and security. Perhaps we can add it back into the balance sheet now. Similarly, the concept of “slowness” might now be associated with value rather than with scarcity or failure. Slowness allows time to savor, reconsider, and  choose wisely among opportunities. Slowness is sometimes just thoroughness, which is a prerequisite to mastery. If a sign of craziness is doing the same thing repeatedly and expecting a different result (to paraphrase Einstein) then why are we simply hoping for the economy to “recover”? Do we really want to go back to what we were doing? Or would it be better to lie fallow, pause, reconsider, and redirect? In other words, if where you are now is what you want in the future then plant the same “crops” again. If not, then plant something different. This is your chance. The emptiness of the fallow field becomes less frightening when we have faith and confidence that it will produce again in the future, or more specifically that we can make it produce what we really need and want in the future. Rather than being dead, the bare ground is alive and filled with potential.

Recently, I spoke with Sim Van der Ryn, a leading proponent of sustainability before most of us knew the word. Sim emphasizes whole systems thinking and approaches design as a naturalist and a philosopher. I still draw upon the lessons he taught when I was an undergraduate student of his at Berkeley in 1980, following his tenure as the California State Architect. He had us study the rhythm of energy flows, urban farming … and compost. We spent a lot of time on how things decay and regenerate. We learned to delight in the breakdown of materials into basic nutrients that became available for the growth of new forms. Only then did we get back to the creative business of design. In the tradition of great teachers, Sim distracted students from their assumptions and expectations about  architectural form and opened a pathway to the underlying organic principles. Similarly, we might now set aside our negative assumptions about the current economic decay and look for the lessons and opportunities that lie  under the surface. Sim also introduced his students to the hazards of monoculture—the planting of vast tracts of land with a single crop in the name of efficiency. Monoculture  akes that entire crop vulnerable to singular disaster. One particular bug infestation  or disease wipes out everything or requires radical intervention and subsidy. The parallels between that scenario and the recent business sector failures are rather striking.

I asked Sim to share some comments with me about the fallow field metaphor. After hours of conversation and a lunch made from ingredients that Sim raised within 100 yards of his table, I had only one word circled on my notepad: Presence. We always came back to presence. In order to advance and to evolve, it is essential to stop doing things that distract us from the wisdom that resides within nature and within ourselves. If ambitious, hyper multi-tasking is a skill of the head, then mindful presence is a skill of the heart. Valuable knowledge and insight reside in the heart, where they are often ignored in the rush to success or the panic of a crisis. Taking time to pause allows us to connect with them and to  become available for a fundamentally new kind of productivity.

Endings are required before we can have new beginnings. They are inflection pointsin the cycle. The cusp of profound change is similar to the demolition phase on a construction project. Before building something new, it is necessary to destroy old structures that are interfering—to clear the ground. We have to accept loss, and sometimes destruction, in order to grow. We must release the past and its hold on us. During a biographical interview for USC, Frank Gehry described a period in 1978 when, at the age of 49, his work came to a sudden halt. During dinner at his home, in a conversation with his biggest client, the president of the commercial developer Rouse Company, he admitted that he had not really liked most of what he had been designing. So they parted ways amicably, and a few days later Gehry had to cut his staff of fifty down to three. He called the experience “seeing the devil” and said it wasn’t the first or last time something like that happened to him. But the moment was also a turning point when he committed his attention to the kind of design work that aroused  is passion. The rest, as we say, is architectural history. He is now one of the most notable and celebrated architects in the world, having fundamentally redefined building form and process. Gehry allowed himself to acknowledge his sense of loss and disappointment. He spoke from the heart. He stopped what he was doing, took the hit, and remained present. Then he was available to follow his inspiration and to use his gifts in new and more meaningful ways.

So, the next time you pass a fallow field or experience one coming into your life as a metaphor, breathe deep and welcome its regenerative power. Embrace the stillness and the potential.

 

Loss, Renewal, and Reconciliation on the Luiseño Indian Reservation

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arcCA 10.4, work sector, David Thurman

Social hall, courtyard, and chapel - Photograph courtesy of Harrison Photography

There is no love that is not an echo.
— Theodor Adorno, Minima Moralia

arcCA 10.4, work sector, David Thurman

Chapel burns in the Pamoocha Fire - Photography courtesy of Robert Shaffer

Destruction of a Beloved Place
In Southern California’s history, wildfires have posed a near-constant threat to human existence, often delivering rapid and devastating consequences. The Pamoocha Fire in October 2007 on the 3900-acre reservation of the Rincon Band of Luiseño Indians in San Diego County continued that unfortunate legacy. Driven by winds exceeding 100 mph, the fire ravaged a beautiful valley that is a focal point of the Luiseño life, destroying 57 homes and eight other buildings. Magnifying the devastation was the loss of St. Bartholomew’s Chapel, the tribe’s Christian place of worship, and one that had burned and been rebuilt twice in the past. Called the “Luiseños” by early Franciscans for an adjacency to the Mission San Luis Rey de Francia, founded in 1798, the Chapel represented the tribe’s vital link to its Parish.

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New design including Bell Tower - Photograph courtesy of Harrison Photographic

St. Bartholomew’s Chapel served as a gathering place for many kinds of events—not just religious ones—in a culture that has long practiced a tradition of oral history. For a tribe whose population has slowly declined to its current level of about 500, preservation of history is a vital concern. “Their elders are passing away, with them much of their culture, history, myths, and stories. Their tradition is oral, and very few of the younger members speak the dialect,” notes Kevin deFreitas, architect for the new Chapel. While it is not surprising that the tribe forged ahead with an effort to rebuild, it did so with a deep sense of loss, concern about losing valued history, and worry about a lack of financial resources.

What ensued was a spirited effort to create a worthy successor to the Chapel. In the end, the intention to replace the small, original structure grew into a surprisingly modern 3,650 square foot sanctuary, a 2,385 square foot social hall, and a courtyard between the two buildings. This journey offers an important lesson about the way a design process can help heal a devastated community and can explore an unusual relationship between a native people and Christian tradition.

Rebuilding: Early Discussions and Establishing Trust
After the fire, one of the tribe’s first steps was a hesitant discussion with deFreitas, who learned of the tragedy and approached the tribe to offer assistance. As an outsider, the respectful deFreitas summarized the reserved nature of his clients, who tend to protect the tribe’s privacy. “They are just not talkers. They contemplate and they are thoughtful, and they say very limited things. I would ask questions, and there would not always be an immediate response. It was a slow process of gaining trust.”

Gradually a relationship developed, as deFreitas worked with the Chapel’s planning committee to develop several options. Although the original intention was simply to replace the existing structure, as the planning committee refined the program they realized that the beloved Chapel was actually out of touch with their current needs. Fortunately, the tribal council supported the idea of a more ambitious project. Because not all Luiseños are Catholics, the tribal council agreed that the new Chapel could include a social hall used for many kinds of tribal gatherings, not just religious events. The project moved forward, eventually quadrupling in size.

A few key ideas emerged to guide and inspire the project. First, the Chapel’s planning committee wanted to capture the spirit of the original Chapel, with its peaceful aura. The committee also imagined incorporating natural materials from the reservation itself, including stone, minerals, and wood. There was a desire to reflect the tribe’s long-term commitment to sustainable living. Lastly, they sought ways to integrate the tribe’s own history in ways that would be harmonious with Catholic tradition. This last idea would become a key recurring theme for the design.

Powerful Symbols Drawn From Distinct Traditions
As deFreitas’s design evolved, its contemporary character elicited discussion and debate. The committee asked how such a modern design could replace the traditional Chapel and appropriately reflect the traditions of the tribe. George Arviso, one of the planning committee’s leaders, was even more blunt. “I didn’t like it. Too modern.” DeFreitas listened closely as the committee educated him about the tribe’s ancestry and rituals, including more than 5,000 years of history in Southern California. In response, his design focused on sensitive integration of both Luiseño and Christian symbols. It was an unusual and potentially controversial approach, but the committee ultimately agreed that the symbols forged important links between the tribe’s history and the Christian faith and fit comfortably within the modern design.

Among tribal symbols that appear in the design, the wamkish is one of the most important. A sacred enclosure used for rituals such as honoring the dead, the wamkish was built from woven willow and other brush, laid out in an lliptical plan whose dimensions were approximately 38′ x 58′. It was extruded as a fence-like structure about the height of a man. In the Chapel’s design, the abstracted wamkish appears as two curvilinear walls, one behind the altar and the other at the entry. At the altar, the curving wamkish wall is dramatically washed in a gentle light from a skylight above. A series of skewed wood bands, embedded in the altar’s wall, recall the wamkish’s woven structure. Other native symbols are integrated in similarly meaningful, but less obvious ways.

There are many symbolic references to Christianity. For instance, above the altar, a skylight’s elliptical oculus makes an Icthus shape, recalling that St. Bartholomew was a fisherman. The walking route from the entry and main aisles to the altar forms a crucifix, as does a perforated metal pattern in the ceiling. The journey toward holy enlightenment is also reflected in the roughness of stone at the entry, set in horizontal course work, to the smoothness of marble stone at the altar, set in vertical coursework. The design incorporates a number of traditional statues, a baptismal carved from native stone, and references to numerology found in the Bible.

arcCA 10.4, work sector, faith and loss

Alter and Wamkish wall - Photograph courtesy of Harrison Photographic

The design also includes symbolic references that are shared by Luiseño and Christian traditions. The wood banding that represents the wamkish at the altar, for instance, also recalls Christ’s crown of thorns. The Chapel’s butterfly roof is another example. The dragonfly is a symbol of the Luiseño tribe; in Christianity, the wings of the dove are a recurring image. The sides of the Chapel are drawn together by massive, unfinished two-foot thick, rammed earth walls, a reference to the tribe’s close relationship to the earth; the walls are splayed at seven degrees, reflecting the presence of the divinity. As with the rammed earth walls, many natural materials were harvested from the reservation for use in the construction.

Photo Darren Edwards

Chapel's rammed earth walls and simply finished materials - Photograph courtesy of Darren Edwards

The joining of Luiseño and Catholic symbols is significant for those who understand the sensitive history shared by the Catholic faith and the tribe. This includes the Catholic Church’s gradual transition—owing primarily to Vatican II reforms—from avoidance of native cultural practices to greater recognition for the customs of people such as the Luiseños. For its part, the tribe always retained its native traditions, albeit through oral history and underground practices. The new Chapel’s design plays an important role in reconsidering these two legacies, assisting with reconciliation.

Lessons in Practicality and Courage
The journey to create a new Chapel reflects practical attitudes toward rebuilding, as well as a commitment to expressing deeper meanings. Functionally, the design offers a place of unity, with the project’s two primary structures expressed as a simply massed, villagelike grouping. The Chapel’s butterfly roof gently rises from the entry to the altar, creating a simple but dramatic interior space. Alongside it, the shed-roofed Social Hall includes a generous interior gathering space and handsomely outfitted kitchen. Between the two buildings, an attractive courtyard incorporates native plants, a sculptural fountain, and dramatic views to the mountains. The design’s many sustainable features, including the rammed earth walls, daylighting, recycled materials and low energy use, are expected to earn a LEED Gold designation.

Beyond issues of function, the Chapel expresses subtle and historically important references to tribal life. This only came about as a result of the tribe’s willingness to rethink courageously what the Chapel might be, despite its beloved status, and Kevin deFreitas’s commitment to learning about valued tribal history. By integrating both native and Christian symbols, the design explored a sensitive and unresolved question—the relationship between native practices and Christian traditions—that could not have been considered in earlier times. In the process, the project also reasserted tribal culture by adding the Social Hall that serves the entire reservation.

A New Beginning
Memories of the fire’s devastation are not completely gone, but a sense of renewal, hope, and healing has mostly displaced them. Kevin deFreitas adds, “The congregation never imagined that the destruction of the fire could produce a new Chapel that would serve their needs so much better than what they previously had.”

The Chapel is also a source of pride for planning committee members such as George Arviso, not a strong supporter of the design. He views it as both a place of worship and a means to teach the tribe’s history. “New memories will be created in this place, in this Chapel. We tried to put symbolism and stories into the building that we can tell our children, that they will tell their children, when they start coming here to worship. It will be in this building, it will be new memories.”

 

God is an Architect

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arcCA 10.4, God as an Architect

The Alhambra - Photograph courtesy of Jan O'Brian, AIA

Genesis 1 (Bible: King James Version)
In the beginning God created the heaven and the earth.
And the earth was without form, and void; and darkness was upon the face of the deep.
And the Spirit of God moved upon the face of the waters.
And God said, Let there be light: and there was light.
And God saw the light, that it was good: and God divided the light from the darkness.
And God called the light Day, and the darkness he called Night.
And the evening and the morning were the first day.
And God said, Let there be a firmament in the midst of the waters, and let it divide the waters from the waters.
And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so.
And God called the firmament Heaven. And the evening and the morning were the second day.
And God said, Let the waters under the heaven be gathered together unto one place, and let the dry land appear: and it was so. And God called the dry land Earth; and the gathering together of the waters called he Seas: and God saw that it was good.

arcCA 10.4, works, sector

Streets of Fez - Photograph courtesy of Jan O'Brien, AIA

God is an architect. In this Judeo-Christian creation story, nothing existed but Darkness and Chaos. Then God swept across the formless void and lifted up an enormous dome to separate water from water, thereby opening up space for all living things to become. Without the help of the sun or stars, God commanded light to pierce the solid darkness. With Spirit alone, God brought order to the universe. Then, within an ordered universe, intelligent life—society, civilization— could begin. When finished, God was satisfied and observed that it was very good.

When human architects set out to create sacred space, we look to breach the chaos and give order to our lives. As modern people, we are constantly bombarded by information, noise, and news and aggressively marketed to by those who want to sell us something. Sacred space can lift up a dome of silence and hold back the tide of modern life. A sacred space can allow contemplation, reflection, and the overview required to make moral choices.

The three major monotheistic religions known as the religions “of the book”—Judaism, Christianity, and Islam—depend on sacred gathering spaces. As a Christian, I am most familiar with churches, but I have traveled widely and visited other religious sanctuaries.

I grew up as a Lutheran in Buffalo, New York, gazing each Sunday at stained-glass portrayals of Jesus’s life, with the icy city just a sheet of glass away. I understood images of Jesus, the Saints, and even a white bearded God, to be normal in sacred space. They were there for our edification and inspiration.

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the Alhambra - Photograph courtesy of Jan O'Brien, AIA

Later, as a young architect, I was part of a team working on a hospital in Algeria and a University in Mecca. For these projects, we studied the sacred geometries that make up  the only permissible decoration in an Islamic building. As Jacques Berque has explained, “By definition, as well as by divine decree, Moslem art is non-figurative. God being the Creator by excellence, Al-Mucawwir, and Tacwir, any fashioning of plastic images and especially of three-dimensional ones (sculpture) would be unholy because it represents treacherous competition with Creation.”

I became fascinated with these pattern games and longed to see them applied as mosaic tiles, arches, and domes. Islam had been the dominant religion of Spain for centuries, until it was pushed out in 1492 and Christians reclaimed the country. So, while mosques in Africa are reserved for believers, Spanish sites are open to everyone. Eagerly, our team tagged a visit to Granada and Seville to the end of a trip to Algeria. Here mosques have been converted to churches, and I experienced first-hand the wash of color and texture of these interrelated geometries. Also, the rigid buildings of this desert people were partnered with courtyards—paradise gardens—where the sacred geometries came to life in fountains and well-ordered, fragrant plantings.

Is a space ordered by mathematics  cerebral? Is it less instructive or inspiring than murals and paintings that include human faces? Why are these sacred spaces so distinctly different? Islam came into being  after Christianity had made its mark in the Mediterranean region, in 610 AD. Were the founders of this new religion reacting to the art and sculpture of Christianity? Perhaps.

Many years later, back in the States, I watched a congregation in New York City grapple with how to modify the stained glass windows in their church that depicted Jesus with pale skin and blue eyes, to reflect the current multi-racial membership. The universality of geometry or unadorned walls serves changing times. Religious art in churches may promote “my God” rather than God alone.

arcCA 10.4, God is an Architect, work, sector

Eero Saarinen's MIt Chapel - Photograph courtesy of Jan O'Brien, AIA

Eventually, I found what I was longing for in the MIT chapel by Eero Saarinen, built in 1955. The simple, cylindrical, brick hall is enlivened by light playing off the water that slips under the exterior walls, linking the quiet space to the world outside. This is a humble space, with human scale that reminds us of the Creator by playfully reflecting the changing angle of the sun, daily and seasonally. The movement of light on water reminds us of our connections to primal forces and the renewing, cleansing power of water.

The Church Cristo Obrero in Uruguay, by Eladio Dieste, speaks to me in a similar way. Traveling in Buenos Aires, we took a ferry across the bay to Uruguay. Held up by the fog, we were late getting to the tiny town and missed the Mass. The church was closed, but after seeing the novel exterior we were determined to see more. We sought out the priest who lived next-door and convinced him to let us inside. It is extraordinary. A place of power, it is not grandiose. It symbolizes respect for both God and human creativity. The architect, who is also a structural engineer, used brick for every surface, daringly and playfully, to create the needed respite from chaos. Light glances in, and the repetitive scale of the brick lends order. As Dieste wrote:

There are deep moral/practical reasons for our search which give form to our work: with the form we create we can adjust to the laws of matter with all reverence, forming a dialogue with reality and its mysteries in essential communion… For architecture to be truly constructed, the materials must be used with profound respect for their essence and possibilities; only thus can ‘cosmic economy’ be achieved… in agreement with the profound order of the world; only then can have that authority that so astounds us in the great works of the past.

Two years ago, I stood in the new Cathedral of Christ the Light in Oakland, before the large pixilated image of Christ dominating the far end, the Omega wall (see page 19). It felt universal, open to my imagination, not so rooted in time, with only the play of light on the wooden louvers and concrete walls. But I wondered: without the Christ figure, hand raised in blessing, and the nearly life-sized crucifix by the pulpit, would its members consider it a Catholic church?

arcCA 10.4, work, sector, Faith and Loss

Eladio Dieste's Cristo Obrero - Photograph courtesy of Jan O'Brien, AIA

Tradition continues to be embraced by the Church, frustrating many architects, who are seeking to renew church buildings. When I was on the building committee of a San Francisco church a few years ago, we investigated using chairs instead of pews in the 100-yearold church to accommodate a new, playful, evening service. Money was tight, but suddenly there was a special donation earmarked for the renovation of the old pews. As one senior member of the parish later explained, “I sat in this pew for my daughter’s baptism and her wedding. I want to sit here, holding this very armrest and smelling the incense when my grandchild comes to be baptized or for a friend’s funeral. A new chair, even in the same space, would not connect me in the same way.” “Faith” in the lexicon is often paired as “Faith tradition” and so underscores the idea that faith must be something on-going that links us to our culture, to how we are, in the best sense, a part of a larger whole.

arcCA 10.4, God is an architect, work, sector

Utah Desert - Photograph courtesy of Jan O'Brien, AIA

This fall, I sought inspiration in the Utah desert, surrounded by magnificent red stone buttes. A sense of the eternal prevails. Here, in this harsh environment, I can see for miles in the bright light. As I walk across an ancient stone monument, wandering, I am brought back to the trail by dry-stacked rock piles that point the way. Partly to encourage hikers to stay off the fragile desert soil, they tell me that I am not the only human to seek beauty and inspiration here and point me back to the comforts of civilization, when I fade. Our best sacred buildings, and religious groups, do the same: encourage us to seek God, guide and support us as we do.

 

Faith Stories from an Irreverent Architect

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architect, regligious institutions, UCLA, God, churches, arcCA 10.4, works/sectors issue

Montclair Presbyterian Church - photo courtesy of David Wakely

My father worked at DMJM for twenty years, and, after missile silos, auto dealerships, post offices, and condominiums, he ultimately worked on a church. Maybe that’s where it began. As a kid, I went to construction sites and watched Los Angeles grow up. I do recall the church project as one that made him happy.

My mother was a true Southern California seeker. She was very social, made friends with movie stars, and carted me to a number of churches. We finally settled on Westwood Hills Christian Church in the shadow of UCLA, in part I think because General Omar Bradley’s family attended. In high school, I followed the girls and guitars to a Christian group called Young Life.  What was memorable was their summer camp, 100 miles north of Vancouver at the mouth of the Princess Louisa Inlet—a stunningly transformed resort at the mouth of the fjord bordered by a narrow, tidal river. In the morning, you would look up from your bowl of Cheerios to see grizzly bears whack salmon out of the water. Timber architecture, god, girls, guitars, and grizzlies—it was an amazing experience of the power of place.

While few architects I have met are overtly religious, all understand that a building—perhaps more accurately, a space—can have great spiritual power. Don Olsen, noted architect and professor at Cal, told a class I was in once about an epiphany he experienced in the Hagia Sophia. For him, it was a completely individual awakening having to do with scale and his place in that volume and an overwhelming sense of infinity suggested by the  expansiveness beyond the low dangling lamps. Yet his experience was related to the place, and in a way that others could share in, as well.

Religious institutions don’t typically select an architect because of his or her faith.  They want a design that meets a budget, and they want somebody with whom they can endure a long project, somebody who can bring many parties to the table and keep them engaged. They understand their faith but are less clear on how to reflect that in physical terms, involve donors, staff,  committees, and congregants and keep them interested, not to mention how to get a permit.

Sometimes the committees are very secular: a meeting begins with coffee, a status report, and, unless someone is angry or frustrated, nothing spiritual is mentioned at all. Sometimes they are full of faith, opening with a round of prayer that can seem almost competitive. My favorite clients mix business with faith and intellectual rigor comfortably and naturally. At the Jesuit School of Theology in Berkeley, just about everybody involved was an ordained Jesuit priest. Being an educated bunch, at any point in a meeting they might diverge into an evidently humorous round of Latin quotations that could go above a door—relating simultaneously to the story of Christ, the ridiculous cost of the project, and their frustration with the building  department.  Design mattered to them, and they were acutely aware of the history on which they can draw. Their architecture connects strongly to their theology and their mission. Working with them felt a lot like going to a college where there was a room full of professors and I was the only student.

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Left: St. Stephen's Episcopal Church, Belvedere - photo courtesy of David Wakely;
Right: St. Matthew Lutheran Church, Walnut Creek - photo courtesy of Mark Luthringer

Most architects end up specializing in particular building types by chance. In my case, it fortunately began at William Turnbull’s office, with Saint Andrew Presbyterian Church in Sonoma. It was a rural area, so Bill and Mary Griffin designed the building to recall the local barns yet clearly be a church—a marker of faith. The gabled building was simple, elegant, and economical—sort of wine country Gothic.

Then a master plan project for the Episcopal Church of Saint Mary the Virgin in San Francisco came into the office, and I was project manager. They had three buildings, including a church building dating back to the 1890s and a parish hall next door that was in bad shape. You had to walk through all their Sunday school rooms to get anywhere, and none of the floors of the buildings lined up with each other. After I was “graduated” from Turnbull’s practice (it was a bad year), I started a firm with Tomas Frank, and we finished the  project together with the mother office. We turned the parish hall upside down by putting the meeting room upstairs under a big skylight, and renovated the sanctuary minimally—new floor, lighting. At that point, we had completed two or three churches and were therefore experts.

Faith can find a home in surprising places. We helped a Unitarian congregation assess several possible sites in and around Santa Rosa. “Site shopping” was fun in the rolling hills of Sonoma County, where it was easy to imagine an idealized rural sanctuary. Until they  added in the cost of parking and access and transport. They settled on a vacant 1980s multiplex downtown, which was perfect. It was a sustainable reuse of a structure that seemed destined for them. Committee members marveled at the serendipity that, with very little change, the “United Artists” sign could transform into “Unitarian Universalist.” The building was also inexpensive—the market for used multiplexes was not big. And a 2,000-space city-owned parking structure ten feet away was free on Sundays. The closeness of the parking was a sign from … someone.

Like many of our projects, Montclair Presbyterian Church started out as a seismic rehabilitation— and an opportunity to remedy forty years of deferred maintenance. The sanctuary, a fragile and dated A-frame building, had a wood ceiling and a brick wall behind the pulpit that folks really didn’t like (many could tell you the exact number of bricks in that wall). They were an active congregation and wanted something reflecting their sense of dynamism. Plus, it was The Church That Ate Sound, and they had a spectacular music program. We replaced the old plywood arches with smaller pieces of steel and covered up the wood decking with articulated sheetrock, which brightened the space visually and acoustically.

You never know what you’ll learn from a church project. A member of the Montclair building committee came to our office one day unannounced and very agitated and asked, “How can we talk about church and not talk about God? Sometimes I think even our ministers are afraid of God.” He was a landscape contractor by trade but had a degree in divinity and had clearly been thinking about this a great deal before coming over to finally let it all out. He started describing how the diagram of a church represents our spiritual progress through life. The narthex is birth, the dark tunnel through which we emerge into the community. Then we’re together in the sanctuary—human and flawed, but together as the body, and we move towards the light—the sun, literally enlightenment, at the chancel. That was the clearest story about church design that I’d ever heard.

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Dharma Publishing, before and after, photos by Goring & Straja Architects


While churches typically teach us to love our neighbor, their neighbors don’t always love them. The main reasons are parking and noisy kids. But because you can’t eliminate either of these, cranky neighbors sometimes focus on design. So context is no longer a formal argument, but a wedge issue.

In Walnut Creek, we were asked by Saint Matthew Lutheran Church to come in after an unhappy first attempt to create a youth center with GE modulars. We saw the neighbors coming with pitchforks and torches, so we looked for ways to tie the church explicity to its suburban neighborhood. Instead of extending an institutional-scale building, we proposed several smaller blocks, each of which recalled the design and scale of the Eichlers nearby—and we enclosed those noisy kids. It was a simple, clear gesture that showed that the church was serious (this time), about being sensitive to its neighbors. The pastoral leadership was strong—a surfing senior pastor (his automobile license plate read “SurfRev”), and former high-tech executive pastor (license plate “TechRev”) wanted a process that involved their immediate community as well as the larger community around them. After construction was over, a few neighbors even came over to say how well it turned out. It’s a truism, but many voices really make a project stronger.

We like to think of ourselves as modernists in the Bay Area tradition. We like strong lines, formal rigor, glass, the warmth and craft of wood. But sometimes a building asks for something different. That’s happened a few times recently, and it’s been an education. In Ross, we are working on a new parish hall for St. Anselm’s Church. They have a 1908 sanctuary that is an attractive and richly trimmed Tudoresque pile. Like good Bay Area modernists, we went into the first presentation with something respectful in massing but with a decidedly Sonoma coast bent. But in the middle of the meeting, we paused and said, “Why fight it? What if we really run with that 1908 spirit of joyful, historicist enthusiasm?” You could feel the whole committee relax, and we embraced mannered half-timber, eclectic in the spirit of Ernest Coxhead. Everything in Ross is a revival of one kind or another. We had a corner folly window that drew some attention. In one meeting, a design review  commission member—another architect—looked at us knowingly before the vote to approve, and shared that of course the windows are eyes into the soul of the building. Our building committee chair, a very senior executive at a very big bank, turned to me with an incredulous look and asked, “Is this normal?”

In downtown Berkeley, my partner Tom Beil recently transformed a former auto shop nestled between two historic Ratcliff buildings into a Buddhist printing plant—from the 18th century. That got some raised eyebrows, too, but it relates to what is going on inside. You go to school convinced you are going to follow the righteous path of modernism, and one day you find yourself presenting an eggplant purple and saffron orange Tibetan façade remodel to the Landmarks Commission.

Communities of faith come together for different reasons. One might be trying to quiet the passions of the heart and the imagination. Another connects to a tradition that makes sense of history and family and life and death, giving real structure to lives. Another is intellectually engaged, drawing a line of reasoning that goes back through generations of scholars and lines of academic inquiry and philosophy. Yet another might focus on fellowship, creating closeness and connectedness and community through joint commitment/faith/duty. All of these afford avenues to begin designing and thinking about a space.

We ended up designing churches partly by chance. But I think one of the reasons it works is that, although I’m an irreverent person by nature, I admire and am respectful of people and peoples of faith. And from designing a few, we’ve come to understand how facilities serve and reflect the mission of a faith community. I think each group we work with is also comforted to hear from us that they aren’t as lost at sea in the process as they think they are. We can tell them, “Look, you’re right in there with all the others. This project will work. We’ve seen it happen again and again.  And praying can only help.”

 

The Eternal Flame

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Editor’s note: Architect John Carl Warnecke died in early 2010. The author told this story at the memorial celebration at Warnecke’s ranch near Healdsburg.

I started in the Washington office of John Carl Warnecke in May of 1962. The office worked on a number of projects for the Kennedy administration, along with private commissions for Mrs. Kennedy and Robert Kennedy, the President’s brother. Warnecke was also among the team working with the President to select a site for the Presidential Library. So, by fall of 1963, in my capacity as Warnecke’s office director, I had been in multiple meetings with the President and Mrs. Kennedy. Little that led up to that terrible day in November, though, or anything in my training as an architect, prepared me for the next twelve months.

On November 23, 1964, one day after the assassination, Defense Secretary Robert McNamara called the office looking for Warnecke, who was in Hawaii working on a new state capital. Warnecke caught an overnight flight to Washington to attend the funeral and help a small team, which included Mrs. Kennedy and Bobby, then the U.S. Attorney General, to select a suitable gravesite at Arlington Cemetery. Once a site was chosen, we launched an intensive research effort into gravesite and memorial design. We studied the graves of famous people, military leaders, politicians, especially those who had been assassinated. We studied the history and protocols of Arlington Cemetery and of our great national memorials. By January, we submitted our findings, which consisted of a mountain of research and some preliminary design criteria.

After two extremely emotional meetings with Mrs. Kennedy and Bobby, we set out on the design. We knew that the site called for a landscape solution, so we called in Lawrence Halprin, Hideo Sasaki, and Thomas D. Church for advice. This was the beginning of more than sixty meetings and work-sessions with well over a hundred architects, sculptors, advisors, cabinet members, and virtually every member of the Kennedy family. In our minds, each voice was to be heard, and each opinion mattered. By spring of 1964, we developed what we felt was a suitable design.

While the design was progressing, however, a debate had been going on within the family over symbolism. The Kennedys were an intensely religious family, and John was the nation’s first Catholic president. Some felt that the grave should have a more literal representation of the President’s faith, perhaps a cross, while others thought it should be more secular. Mrs. Kennedy instructed us to bring in as many advisors as we needed to resolve the issue, so that spring and early summer were spent consulting with liturgical experts, religious sculptors, theologians, and every Kennedy who had an opinion. The issue seemed unsolvable until Eunice Shriver suggested a meeting with Rev. Martin D’Arcy, S.J., a Jesuit and old Kennedy friend. (Later I learned that Father D’Arcy was one of the world’s most respected Christian philosophers.)

Father D’Arcy reviewed the design, the stacks of reports and meeting notes, and he seemed quite pleased with the outcome. With regard to symbolic elements, he advised that religion need not be advertised; it is something between an individual and his God. He felt that the grave must be fitting, noble, and intimate; it was not essential to have a cross as a vertical element. If a cross were to be used, it would be preferable to have it as a part of the element that covers the body. He suggested that we have a marker with the name and the dates of life with a small cross above the name. We had a solution—a simple, elegant solution.

The rest of the summer was spent reviewing the design with the family, adjusting things slightly, and working through the technical issues of the eternal flame. Little about the design was without controversy, but Father D’Arcy was a powerful advocate. The team prepared for a November 16 press conference (though nobody called them press conferences back then) and an unveiling of the design at the National Gallery of Art—almost one full year after the assassination.

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Photograph courtesy of Martin C. Doege

The afternoon before the unveiling, we received a call from Bobby, who had been talking with family members who were concerned that the symbolism issue had not been satisfactorily addressed. We had come so far and everyone knew we were so close—but it looked as if everything would come to a screeching halt. Undaunted, we put our heads together and wrote a one-page statement on the “Religious Significance of the Design.” The family loved it, and we held the press conference the next morning.