Tag Archives: TEMPLE


October 23, 2020

Ando Church of Light, Ibaraki, Tokyo (photo from architectureassociate.blogspot.com)

In the design of religious buildings, whether a Christian church, Buddhist temple, or Jesuit convocation center (we’ve done all three), the element of light is one of the most critical design aspects. Whether natural or artificial, light can be a building material—elemental to sacred architecture.

Project and location unknown (photo by David Osta from Pixabay)

Throughout history, mere iconography provides an easy and explicit representation of religion, such as the cross (the Crucifixion), a lamb (Jesus Christ) or the triangle (Holy Trinity). But more abstractly, meaning both more subtly and powerfully, light can be used in religious structures to represent a higher power. We do not know what God looks like specifically, but suffice it to say, a beam of light breaking through the clouds is a close rendition for many. In addition to the dramatic presence of holy illumination, there are half a dozen other ways in which light can be used in architecture to symbolize a supreme being or various conceptions of God.

St. Moritz Church, Augsburg, Germany (photo by Hufton+Crow)

1. Flooding a church with an abundance of light, both natural sunlight and a well-designed lighting system achieves the three omni’s of God: omnipresent as in everywhere, omnipotent as in all-powerful, and omniscient as in all-knowing. The supremacy and influence blankets the visitor.

Saint Chapelle, Paris, France (photo by Stephanie LeBlanc)

2. A thousand years of stained glass—the exquisite use of colors and sparkle—provides the cathedral’s interior an elevated existence. One full of delight, full of spirit. Stained glass –and its associated pictures, stories, and technique—uplifts the human spirit.

left: Chapel of St. Ignatius, Seattle, Washington (photo by Paul Warchol and Steven Holl Architects); right: Notre-Dame du Haut, Ronchamp, Haute-Saône, Bourgogne-Franche-Comté, France (photo by Rory Hyde

3. From Holl’s Chapel of St. Ignatius to Le Corbusier’s Ronchamp, one finds a common design composition: the random patterning of window sizes and placement. The resulting play of light suggests a mystical and mysterious presence, implies the unexpected, and delivers an incomprehensible higher power.

Chapel in Villeaceron, Spain (photo by Hisao Suzuki)

4. At times, even the most modest wash of light raking across a barren concrete surface can imply the gentle hand of one’s God. Like the way faith is supposed to operate, it simply is what it is—what one wishes to believe.

Project and location unknown (photo source unknown)

5. Rays of light passing through rhythmic architecture recalls the structure behind beliefs and teachings. The expectedness of the repetition represents the foundation and sureness of religion, and the visual and experiential reverberation gives a feel of an infinite presence.

MIT Chapel, Cambridge, Massachusetts (photo by Flickr Creative Commons)

6. Light in sacred spaces have been applied in the most artistic ways, expressing the otherworldly plane of the Heavens. Whether the creative composition is solemn or spirited, light brings messages tangible and intangible, crafted and sacred.

Chapel for the Air Force Village, San Antonio, Texas, by Poon Design (rendering by Amaya)


July 20, 2015

Buddhist Temple by Poon Design

In its purest form, architecture is shelter. Architecture protects us from many things. It shelters us from the elements, like soaking rain or blistering sun. Architecture also defends—from trespassers or the relentless noise of the city.

But architecture is more than a roof over your head, more than a wall against intruders. Architecture is more than psychological armor, and more than a physical fortress. Architecture is much more than something that guards us from the negative.

In fact, architecture is a container of the positive. As a place of gathering, architecture is a vessel of experiences and events, whether for a family in a house, students in a school, or employees at a company.

Architecture is a place to rest. To learn. To grow. To connect. Architecture is also a place to retreat.

Assembly Building by Poon Design
Assembly Building by Poon Design

For a 45-acre Buddhist retreat in the Shenandoah Mountains of Virginia, Poon Design created three buildings, with more to come. Our buildings were designed with no agendas to win national design awards or garnish attention from the press, as did the ambitious yet curious museum in a nearby town. For Poon Design’s work with the Buddhists, I had no political thoughts to advance my career. I had no proclamations of launching a new style of design. Poon Design simply sought to create vessels for gathering.

Taubman Museum of Art, Roanoke, Virginia, by Randall Stout Architects (photo by skyscrapercity.com)
Taubman Museum of Art, Roanoke, Virginia, by Randall Stout Architects (photo from skyscrapercity.com)

To begin with, I was blessed to be selected as the personal architect to Shamar Rinpoche (1952-2014) the 14th Shamarpa and the Red Hat Lama of Tibet, one of the most central figures of Buddhism, on par with the Dalai Lama. It isn’t every day one works personally with a high Tibetan lama descended from a line of holy men going back to the 13th Century.

Being in Rinpoche’s enlightened presence intimated to me that the architecture should plainly defer. Over six years with this Buddhist foundation, Poon Design created places to simply rest, learn, grow, and connect. We designed a temple, a meditation retreat house, and an assembly building.

Meditation Retreat House by Poon Design
Meditation Retreat House by Poon Design

By being of modest design, our architecture acknowledges Buddhists teachings. Poon Design starts with vernacular language, for example a wood barn and a gable roof. When Googling “vernacular,” one finds the definition as “the language spoken by the ordinary people in a particular region,” and “architecture concerned with domestic and functional rather than monumental buildings.”

So there it is: architecture that is intentionally non-monumental. The beauty of the ordinary.

Buddhist Temple by Poon Design, blessing ceremony with Shamar Rinpoche (photo by Christine Fang)
Buddhist Temple by Poon Design, blessing ceremony with Shamar Rinpoche (photo by Christine Fang)

With the Buddhist temple, we subscribe to the vernacular–both in construction method and the stylistically neutral design. This pavilion, atop a 150-foot hill, is hand-crafted by community labor through authentic heavy timber construction methods. This methodology transforms tree trunks into extraordinary structures, without modern techniques of fabrication. The laborious carpentry from local woodworking artisans features joinery that uses scribed carpentry and pegged mortise-and-tenon connections.

The evolving master plan explores other possibilities: visitor center, museum, dormitory, cabins, administration building, and so on. When all said and done, the structures will be indeed shelter. And yes, the structures will provide a roof over one’s head. But all these projects, past and future, capture two essential aspects of architecture: to accommodate and to defer. A lesson in design, and sometimes, in life as well.

© Poon Design Inc.