monastery of light
a study of the formal implications of rituals
in collaboration with bryan solis
![iso1206 [Converted].png](https://static.wixstatic.com/media/9c4a57_2a52d4e44f524fe4b695d7de0cf6e8a6~mv2.png/v1/fill/w_980,h_1060,al_c,q_90,usm_0.66_1.00_0.01,enc_avif,quality_auto/9c4a57_2a52d4e44f524fe4b695d7de0cf6e8a6~mv2.png)
In this project, the simplicity of the charterhouse was embraced, and the goal was to create a series of minimalist spaces that are still functional for the daily rituals of the monk. Here, the spiritual aspect of this typology is treated as the most important. As such, the church is given the highest position in the grounds, and the cells, where the monks sleep, the lowest. This emphasizes the daily journey in search of spiritual growth, not only physically, but emotionally. This project deals with the concept of life on a stair. We started this process by creating a livable stair, which separates spaces and activities through different levels, excavated into the ground, making furniture, walls, and separate spaces within a large stair. The fathers’ cell is divided into two parts, a garden, and livable space, which work as contrasting stairs, separating outdoor and indoor, and the brothers’ cell is a large switchback stair that divides the sleeping area from the bathroom area. Overall, these actions are meant to create a furniture free environment, utilizing the stair as a vehicle for all daily activities for the monk. This concept is extended to the rest of the charterhouse, and as it expands towards the shared buildings, like the church, refractory, kitchen and chapter house, the stair is still driving the arrangements within the individual buildings, with spaces divided by large steps that serve as chairs, tables, or even entire rooms, such as the underground sacristy within the church.
The strategy for the arrangement of the buildings was to think of the charterhouse as a large stair as well. We started underground, with the cells, thinking of it as an excavation. That builds up slightly as collective areas (refractory, chapter house and kitchen) are slightly raised, in between underground and above ground, like a middle step. And finally, at the top of this large stair stands the most important building in the charterhouse, the church. It stands at the highest point of the terrain, and in contrast to the cells, it is not underground, but instead it becomes an artificial hill, raising above ground level. From the church, every bit of the charterhouse can be seen, giving the journey of the monk from the cell at the bottom of the stairs, to the church at the peak not only spiritual meaning but a visual reward. This also creates visual layers of privacy, with the cells being individual, the kitchen, refractory and chapter house collective between fathers or brothers, and the church being collective between all.
