THE SACRED IN ARCHITECTURE:

A STUDY OF THE PRESENCE AND QUALITY OF PLACE-MAKING

PATTERNS IN SACRED AND SECULAR BUILDINGS

A Dissertation

by

ARSENIO TIMOTIO RODRIGUES

Submitted to the Office of Graduate Studies of

Texas A&M University
in partial fulfillment of the requirements for the degree of

DOCTOR OF PHILOSOPHY

December 2008

Major Subject: Architecture

 THE SACRED IN ARCHITECTURE:

A STUDY OF THE PRESENCE AND QUALITY OF PLACE-MAKING

PATTERNS IN SACRED AND SECULAR BUILDINGS

A Dissertation

by

ARSENIO TIMOTIO RODRIGUES

Submitted to the Office of Graduate Studies of

Texas A&M University
in partial fulfillment of the requirements for the degree of

DOCTOR OF PHILOSOPHY

Approved by:

Chair of Committee, Phillip J. Tabb

Committee Members, Chang-Shan Huang
Jody R. Naderi
Mardelle M. Shepley
Head of Department, Glen T. Mills

December 2008

Major Subject: Architecture

 iii

ABSTRACT

The Sacred in Architecture: A Study of the Presence and Quality of Place-making Patterns in
Sacred and Secular Buildings. (December 2008)
Arsenio Timotio Rodrigues, B. Arch., Goa University;
M. Arch., Texas A&M University
Chair of Advisory Committee: Dr. Phillip J. Tabb

The purpose of this research is to expand knowledge regarding the presence and quality of
expression of certain place-making patterns that contribute to place being experienced as
sacred. The results are intended to validate and make available an assessment method based
on pattern presence and pattern quality for determining whether a specific built environment is
more likely to be experienced as sacred or secular. In addition, the results are intended to
provide architects with research-informed design guidelines for sacred place-making. This
research explores the difference in the presence and quality of expression of certain place-
making patterns at two selected sacred and secular buildings, i.e., Rothko Chapel and
Contemporary Arts Museum, both in Houston, Texas.

Two key literature references were used as a basis for identifying place-making patterns used in
this research: 1) Sacred Place: The Presence of Archetypal Patterns in Place Creation, authored
by Phillip Tabb in 1996; and 2) Using the Place-Creation Myth to Develop Design Guidelines for
Sacred Space, authored by Michael Brill in 1985. Three types of data were collected and
analyzed: graphical data, questionnaire data, and focus group discussion data. Graphical data
included photographs and sketches with field notes. A total of forty-eight (48) questionnaires (24
at each setting) were administered to twenty-four (24) Houston architects at the selected
buildings. The focus group discussion panel consisted of 6 participants – three architects and
three spiritual mentors from Houston, Texas. Relative frequencies were calculated for multiple-
choice answers in the questionnaire, while open ended questionnaire items were subjected to
inductive content analysis. Focus group discussion data was examined and coded by means of
open coding, axial coding, and selective coding. The analyzed data were synthesized to test
whether the presence and quality of expression of certain place-making patterns contributed to
place being experienced as sacred.

This study concludes that built environments which possess a higher presence and higher
quality of expression of certain place-making patterns are more likely to be experienced as
 iv

sacred than built environments with a lower presence and lower quality of expression of the
place-making patterns. A set of design guidelines for sacred place-making were produced and a
place-making pattern matrix was developed as part of this study.
 v

DEDICATION

To my wife

Yolanda

my source, strength, and inspiration.

 vi

ACKNOWLEDGEMENTS

After years of working on this dissertation, I am proud to have it completed. There are many
people I have the pleasure of thanking. Without these individuals the dissertation may never
have seen the pages of a book.

I would like to thank Dr. Phillip Tabb, for serving as my chair and being my mentor. His
knowledge, wisdom, and confidence in me, helped me realize that a study of this nature could
indeed be undertaken and completed. I am indebted to him for his constant guidance,
inspiration, and support.

I would like to thank Dr. Chang-Shan Huang for serving on my committee. His insights helped
me tremendously in laying the ground work for my dissertation.

I would like to thank Professor Jody Naderi for serving on my committee. Her experience in
research methods helped me understand the need for grounding the study.

I would like to specially thank Dr. Mardelle Shepley for serving on my committee and for
believing in me. She helped me gain a thorough understanding of methods in research and how
to go about conducting the study. She worked patiently and tirelessly with me to make sure I
finished the dissertation. I am forever indebted to her for her consistent guidance, advice, and
kindness.

I would like to thank the staff of the Rothko Chapel and the Contemporary Art Museum who gave
me permission to conduct the research at their settings. I would also like to thank all the
participants who took time off from their busy schedules and deadlines to diligently fill out the
questionnaire forms and who participated in the two hour long discussion group.

I thank my parents. I appreciate all the sacrifices they made for me, without which I would not be
where I am now. Through them, I have learned that hard work, dedication, and integrity are the
keys to success.

Finally, I would like to thank my wife, whose support, patience, and devotion helped me through
the entire process and enabled me to realize this dissertation.
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TABLE OF CONTENTS

Page

ABSTRACT............................................................................................................................ iii

DEDICATION......................................................................................................................... v

ACKNOWLEDGEMENTS...................................................................................................... vi

TABLE OF CONTENTS......................................................................................................... vii

LIST OF TABLES .................................................................................................................. ix

LIST OF FIGURES ................................................................................................................ xi

CHAPTER

I INTRODUCTION ............................................................................................ 1

1.1 Research Questions and Hypothesis ............................................. 3

1.2 Research Objectives ...................................................................... 4

II LITERATURE REVIEW .................................................................................. 6

2.1 Introduction ..................................................................................... 6

2.2 The Built Environment and Health.................................................. 6
2.3 Sacred Place Types and Functions................................................ 8
2.4 Evolution of Place-Making Pattern Theory in Architecture............. 10
2.5 Place-Making Patterns in Sacred Architecture............................... 11
2.6 Summary ........................................................................................ 22

III RESEARCH METHODOLOGY ...................................................................... 25

3.1 Philosophical Framework ............................................................... 25

3.2 Methodological Framework ............................................................ 26
3.3 Methodology ................................................................................... 29
3.4 Data ................................................................................................ 35
3.5 Data Analysis.................................................................................. 44

IV RESULTS ....................................................................................................... 47

4.1 Introduction ..................................................................................... 47

4.2 Comprehensive Place-Making Pattern Set .................................... 47
4.3 Graphical Data................................................................................ 49
4.4 Questionnaire Data......................................................................... 63
4.5 Focus Group Discussion Data........................................................ 137
 viii

CHAPTER Page

V DISCUSSION.................................................................................................. 158

5.1 Introduction ..................................................................................... 158

5.2 Differences in Pattern Presence at Selected Buildings .................. 159
5.3 Differences in Pattern Quality at Selected Buildings ...................... 186
5.4 Sacredness of Selected Buildings .................................................. 210
5.5 Characteristics that Contribute to Sacredness ............................... 215
5.6 Concepts Associated with Meaning of Sacred and Secular........... 225
5.7 Development of Place-Making Pattern Matrix ................................ 230

VI CONCLUSION ................................................................................................ 235

6.1 Conclusion ...................................................................................... 235

6.2 Limitations of the Study and Implications for Further Study........... 241
6.3 Final Words..................................................................................... 241

REFERENCES ............................................................................................................ 243

APPENDIX A QUESTIONNAIRE .............................................................................. 251

VITA ........................................................................................................................ 257

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LIST OF TABLES

TABLE Page

III-1 Comparative analysis of criteria associated with selection of case

studies ................................................................................................................ 39

IV-1 Development of Comprehensive Place-making Pattern Set (CPPS)

using place-making patterns (speculated to be present in sacred
places) proposed by authors, Tabb (1996) and Brill (1985) .............................. 48

IV-2 Presence of patterns and correspondence with architecture of

selected buildings............................................................................................... 63

IV-3 Number/percentage of questionnaire participants who agreed that

place-making patterns from the CPPS were present at the sacred
and secular buildings ......................................................................................... 65

IV-4 Number of questionnaire participants who agreed that place-making

patterns from the CPPS were present, total and mean scores
regarding the quality of expression of place-making patterns at the
sacred and secular buildings ............................................................................. 87

IV-5 Summary of comments associated with the presence and quality of

expression of place-making patterns at Rothko Chapel .................................... 131

IV-6 Summary of comments associated with the presence and quality of

expression of place-making patterns at Contemporary Arts Museum ............... 133

IV-7 Number/percentage of questionnaire participants who agreed that

the selected buildings were sacred.................................................................... 134

IV-8 Summary of comments associated with the sacredness of Rothko

Chapel ................................................................................................................ 137

IV-9 Summary of comments associated with the sacredness of

Contemporary Arts Museum .............................................................................. 137

IV-10 Summary of concepts associated with the meaning of sacred and

secular................................................................................................................ 140

IV-11 Summary of concepts associated with the experiences elicited at the

Rothko Chapel and the Contemporary Arts Museum ........................................ 142

IV-12 Summary of concepts associated with the sacredness of the Rothko

Chapel and the Contemporary Arts Museum..................................................... 148
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TABLE Page

IV-13 Summary of concepts associated with the architectural

characteristics that impact sacredness of the Rothko Chapel and the
Contemporary Arts Museum .............................................................................. 155

V-1 Differences in percentage (%) values of pattern presence at selected

buildings ............................................................................................................. 178

V-2 Descending order of patterns based on percentage (%) difference in

pattern presence ................................................................................................ 179

V-3 Correspondence of pattern presence with architecture of selected

buildings ............................................................................................................. 182

V-4 Differences in pattern presence at selected buildings ....................................... 185

V-5 Differences in mean values of pattern quality at selected buildings .................. 204

V-6 Descending order of patterns based on mean difference in pattern

quality ................................................................................................................. 205

V-7 Summary of pattern quality based on questionnaire data and focus

group discussion data ........................................................................................ 208

V-8 Presence values, quality of expression values, and total scores of

individual place-making patterns for generating the hierarchical order
of the place-making pattern matrix..................................................................... 231
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LIST OF FIGURES

FIGURE Page

III-1 Diagrammatic overview of methods................................................................... 28

III-2 Notional diagram of research methodology ....................................................... 31

III-3 View of Rothko Chapel....................................................................................... 38

III-4 View of Contemporary Arts Museum ................................................................. 39

IV-1 Presence of center at Rothko Chapel ................................................................ 49

IV-2 Presence of bounding (walls, floor, and ceiling) at Rothko Chapel ................... 50

IV-3 Presence of bounding (walls, floor, and ceiling) at Contemporary Arts

Museum.............................................................................................................. 50

IV-4 Presence of direction at Rothko Chapel ............................................................ 51

IV-5 Presence of descent (darkness inside) at Rothko Chapel................................. 51

IV-6 Presence of descent (stairs to lower level) at Contemporary Arts

Museum.............................................................................................................. 52

IV-7 Presence of ascent at Rothko Chapel ............................................................... 52

IV-8 Presence of passage (main entrance doorway) at Rothko Chapel ................... 53

IV-9 Presence of passage (main entrance doorway) at Contemporary Arts

Museum.............................................................................................................. 53

IV-10 Presence of numeric order at Rothko Chapel.................................................... 54

IV-11 Presence of geometric order (octagonal shape) at Rothko Chapel................... 54

IV-12 Presence of geometric order (parallelogram) at Contemporary Arts

Museum.............................................................................................................. 55

IV-13 Presence of spatial order at Rothko Chapel ...................................................... 55

IV-14 Presence of anthropomorphic order (high ceilings) at Rothko Chapel .............. 56

IV-15 Presence of ordered nature (water pool with bamboo groove) at

Rothko Chapel ................................................................................................... 56

IV-16 Presence of ordered nature (vegetative shrubs) at Contemporary

Arts Museum ...................................................................................................... 57
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FIGURE Page

IV-17 Presence of celestial order at Rothko Chapel.................................................... 57

IV-18 Presence of differentiating boundaries at Rothko Chapel ................................. 58

IV-19 Presence of ordered views at Rothko Chapel.................................................... 58

IV-20 Presence of ordered views at Contemporary Arts Museum .............................. 59

IV-21 Presence of materiality at Rothko Chapel.......................................................... 59

IV-22 Presence of materiality at Contemporary Arts Museum .................................... 60

IV-23 Presence of elementals (walls – earth, skylight – fire, pool – water,

and movement of bamboo groove – wind) at Rothko Chapel............................ 60

IV-24 Presence of elementals (fountain – water) at Contemporary Arts

Museum.............................................................................................................. 61

IV-25 Presence of light at Rothko Chapel ................................................................... 61

IV-26 Presence of light at Contemporary Arts Museum .............................................. 62

IV-27 Presence of ceremonial order at Rothko Chapel ............................................... 62

IV-28 Gender distribution of questionnaire participants .............................................. 64

IV-29 Age distribution of questionnaire participants .................................................... 64

IV-30 Presence of center based on number (no.) of participants................................ 66

IV-31 Presence of center based on percentage (%) of participants............................ 66

IV-32 Presence of bounding based on number (no.) of participants ........................... 67

IV-33 Presence of bounding based on percentage (%) of participants ....................... 67

IV-34 Presence of direction based on number (no.) of participants ............................ 68

IV-35 Presence of direction based on percentage (%) of participants ........................ 68

IV-36 Presence of descent based on number (no.) of participants ............................. 69

IV-37 Presence of descent based on percentage (%) of participants ......................... 69

IV-38 Presence of ascent based on number (no.) of participants ............................... 70

IV-39 Presence of ascent based on percentage (%) of participants ........................... 70

IV-40 Presence of passage based on number (no.) of participants ............................ 71

IV-41 Presence of passage based on percentage (%) of participants ........................ 71

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FIGURE Page

IV-42 Presence of numeric order based on number (no.) of participants.................... 72

IV-43 Presence of numeric order based on percentage (%) of participants................ 72

IV-44 Presence of geometric order based on number (no.) of participants................. 73

IV-45 Presence of geometric order based on percentage (%) of

participants ......................................................................................................... 73

IV-46 Presence of spatial order based on number (no.) of participants ...................... 74

IV-47 Presence of spatial order based on percentage (%) of participants .................. 74

IV-48 Presence of anthropomorphic order based on number (no.) of

participants ......................................................................................................... 75

IV-49 Presence of anthropomorphic order based on percentage (%) of

participants ......................................................................................................... 75

IV-50 Presence of ordered nature based on number (no.) of participants .................. 76

IV-51 Presence of ordered nature based on percentage (%) of participants .............. 76

IV-52 Presence of celestial order based on number (no.) of participants ................... 77

IV-53 Presence of celestial order based on percentage (%) of participants ............... 77

IV-54 Presence of differentiating boundaries based on number (no.) of

participants ......................................................................................................... 78

IV-55 Presence of differentiating boundaries based on percentage (%) of

participants ......................................................................................................... 78

IV-56 Presence of ordered views based on number (no.) of participants ................... 79

IV-57 Presence of ordered views based on percentage (%) of participants ............... 79

IV-58 Presence of materiality based on number (no.) of participants ......................... 80

IV-59 Presence of materiality based on percentage (%) of participants ..................... 80

IV-60 Presence of elementals based on number (no.) of participants ........................ 81

IV-61 Presence of elementals based on percentage (%) of participants .................... 81

IV-62 Presence of light based on number (no.) of participants ................................... 82

IV-63 Presence of light based on percentage (%) of participants ............................... 82

IV-64 Presence of ceremonial order based on number (no.) of participants............... 83

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FIGURE Page

IV-65 Presence of ceremonial order based on percentage (%) of

participants ......................................................................................................... 83

IV-66 Presence of patterns at Rothko Chapel ............................................................. 84

IV-67 Presence of patterns at Contemporary Arts Museum........................................ 85

IV-68 Quality of expression of center based on score................................................. 88

IV-69 Quality of expression of center based on mean................................................. 88

IV-70 Quality of expression of bounding based on score ............................................ 89

IV-71 Quality of expression of bounding based on mean............................................ 89

IV-72 Quality of expression of direction based on score ............................................. 90

IV-73 Quality of expression of direction based on mean............................................. 90

IV-74 Quality of expression of descent based on score .............................................. 91

IV-75 Quality of expression of descent based on mean .............................................. 91

IV-76 Quality of expression of ascent based on score ................................................ 92

IV-77 Quality of expression of ascent based on mean ................................................ 92

IV-78 Quality of expression of passage based on score ............................................. 93

IV-79 Quality of expression of passage based on mean............................................. 93

IV-80 Quality of expression of numeric order based on score .................................... 94

IV-81 Quality of expression of numeric order based on mean .................................... 94

IV-82 Quality of expression of geometric order based on score ................................. 95

IV-83 Quality of expression of geometric order based on mean ................................. 95

IV-84 Quality of expression of spatial order based on score....................................... 96

IV-85 Quality of expression of spatial order based on mean....................................... 96

IV-86 Quality of expression of anthropomorphic order based on score ...................... 97

IV-87 Quality of expression of anthropomorphic order based on mean ...................... 97

IV-88 Quality of expression of ordered nature based on score ................................... 98

IV-89 Quality of expression of ordered nature based on mean................................... 98

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FIGURE Page

IV-90 Quality of expression of celestial order based on score .................................... 99

IV-91 Quality of expression of celestial order based on mean .................................... 99

IV-92 Quality of expression of differentiating boundaries based on score .................. 100

IV-93 Quality of expression of differentiating boundaries based on mean .................. 100

IV-94 Quality of expression of ordered views based on score .................................... 101

IV-95 Quality of expression of ordered views based on mean .................................... 101

IV-96 Quality of expression of materiality based on score .......................................... 102

IV-97 Quality of expression of materiality based on mean .......................................... 102

IV-98 Quality of expression of elementals based on score ......................................... 103

IV-99 Quality of expression of elementals based on mean ......................................... 103

IV-100 Quality of expression of light based on score .................................................... 104

IV-101 Quality of expression of light based on mean .................................................... 104

IV-102 Quality of expression of ceremonial order based on score................................ 105

IV-103 Quality of expression of ceremonial order based on mean ............................... 105

IV-104 Quality of expression of patterns at Rothko Chapel .......................................... 106

IV-105 Quality of expression of patterns at Contemporary Arts Museum ..................... 107

IV-106 Sacredness of place based on number (no.) of participants ............................. 134

IV-107 Sacredness of place based on percentage (%) of participants ......................... 135

V-1 Percentage (%) difference in pattern presence between selected

buildings ............................................................................................................. 180

V-2 Mean difference in pattern quality between selected buildings ......................... 206

V-3 Place-making pattern matrix .............................................................................. 232

 1

CHAPTER I
INTRODUCTION

The sacred is pre-eminently the Real, a wholly other Reality

which does not belong to this world, even though it is manifest in and through it.
Mircea Eliade, 1959

Defining the sacred is improper, because definitions imply limits and are not all-inclusive
(Meurant, 1989; Lawlor, 1994). Lawlor (1994) believes that a precise definition of the sacred is
not possible, simply because of the uniqueness of our individual backgrounds, while Robert
Meurant (1989:1) states that “To confine the Godhead to our construction and image, is to
attempt to name God. That is not our privilege.” According to Eliade (1959), an understanding of
the nature of the sacred as a transcendental, all-inclusive, and absolute reality is difficult,
because such an endeavor requires integral, unified thinking and experience. Our entire
education is based upon contention, polarities, and the nature of categorization, making the
concept of totality extremely difficult to understand (Critchlow, 1980). But, though the sacred
cannot be defined, it can be sensed and partially understood – its presence can be known
(Meurant, 1989).

In “Das Heilige” (The Sacred), published in 1917, the sacred is defined as a “terrible power”, an
“awe-inspiring mystery”, an “overwhelming superiority of power” the experience of which is
characterized by a “feeling of terror” (Eliade, 1959:9). This frightening and irrational experience,
according to Elaide (1959:9), is induced by “the revelation of an aspect of divine power” – an
entity that is “numinous” or “wholly other”. The sacred reveals itself to us as something that is
wholly different from our other natural realities – a reality which does not belong to our world and
before which man senses his absolute nothingness (Eliade, 1959). The sacred can, therefore, be
thought of as the “opposite of the profane” – something that reveals and manifests itself to us as
a wholly different order from the profane, thus making us aware of its reality (Eliade, 1959:11).

To understand the sacred in architecture, one has to explore multiple ways in which it finds
inclusion in place-making. Place-making, in this context, denotes the action for creating a place
_____________
This dissertation follows the style and format of the Journal of Architectural and Planning Research.
 2

or a sense of place (Tabb, 2006), and by its very nature, implies a superabundance of reality, a
break in the plane, or an irruption of the sacred in the terrestrial world (Eliade, 1959). From this,
it follows that, place-making, in its entirety, is founded upon the cosmogony or the paradigmatic
act of the creation of the Universe (Eliade, 1959). The desacralization of place, however, has
made it increasingly difficult for modern societies to rediscover existential dimensions of the
sacred that were once readily accessible to man of the archaic societies in his everyday places
(Eliade, 1959). Profanation of place, therefore, pervades the modern world, and is observed
through the wide spread construction of structures that provide habitation, but fail to address the
spiritual health of their inhabitants (Lawlor, 1994). The resulting disharmonious environments
can contribute to psychological stress and lead to a decline in physiological health (Venolia,
1988).

According to Venolia (1988), the built environment has the potential of contributing significantly
to our health and well being. Tabb (1996) reiterates that there should be some discussion on the
nature of the sacred and its relationship to place-making, if we are to create healing and
sustainability within the spaces we inhabit. In 2004, the Academy of Neuroscience for
Architecture addressed the need for more research to better understand the characteristics of
sacred architecture and its subsequent effect on our experience of place (Eberhard, 2005).

In a time dominated by desacralization of place, the rediscovery of timeless design principles

and values, which have guided and informed place-making from time immemorial, is often
overlooked or worse, forgotten. The motivation behind this study, therefore, comes from the
need to reconnect with such design principles or pattern language and to reinvigorate the
corporeal process of contemporary architecture. In this sense, the study is intended to provide
inspiration to facilitate the relevance of contemporary architecture to sacred place-making and to
provide a more renewed interest in the meaning and use of sacred design principles or patterns.

According to Tabb, a pattern refers to a “form, template, or model (or, more abstractly, a set of
rules) which can be used to make or to generate things or parts of things, especially if the things
that are generated have enough in common for the underlying pattern to be inferred or
discerned, in which case the things are said to exhibit the pattern” (2006:55). A place-making
pattern is, therefore, a component form that contributes to place creation (Tabb, 2006). It is
speculated that the energy behind place-making patterns in sacred architecture and their
meaningful inclusion, engender power to place, which in turn contribute to sacredness of place
(Tabb, 2006).
 3

It was around sacred place that archaic humans settled and founded their world, thereby giving
meaning to sacred place as the center of their world (Eliade, 1959). Since sacred space
symbolized an irruption of the sacred in the material world, by living in close proximity to sacred
place and by merely entering it, man was ensured of transcending the profane world, thereby,
sharing in the world of the sacred (Eliade, 1959). Design principles or place-making patterns that
contribute to sacredness of place are, therefore, inextricably related not only to architectural
creativity, but also to our overall health, well-being, and spirituality.

Place-making patterns that contribute to place being experienced as sacred, could express
higher intensions, exemplifications, and important cultural values (Tabb, 1996). When these are
uplifted in place, the resulting architecture can be transformed from merely being secular to
becoming sacred (Tabb, 1996). How does this process happen? What are the contributing
factors? Can they be objectified? One assertion is that sacred places embody certain place-
making patterns, by means of which they distinguish themselves from our other inventory of
places and reveal themselves as sacred to us (Brill, 1985; Tabb, 1996). However, place-making
patterns, theorized to be exclusive to sacred places, may also be present at secular places. No
empirical studies have been conducted to examine ways in which place-making patterns,
common to both sacred and secular places, differ in terms of their presence and quality of
expression. In addition, there is no known assessment method for determining whether a
specific built environment is more likely to be experienced as sacred or secular. This gap in
knowledge is a problem because, until more is known about the difference between place-
making patterns common to both sacred and secular places, the potential health benefits of
sacred environments may not be made available in everyday places.

1.1 RESEARCH QUESTIONS AND HYPOTHESIS

The purpose of this research is to examine differences in the presence and quality of expression
of certain place-making patterns that contribute to place being experienced as sacred. The
research is guided by the following questions: 1) Do place-making patterns, common to both
sacred and secular places, differ in terms of their presence and quality of expression?; and 2) If
yes, then how? The research would increase our understanding of whether and how certain
place-making patterns contribute to place being experienced as sacred. More specifically, the
research would validate and make available, an assessment method based on pattern presence
and pattern quality, for determining whether a specific built environment is more likely to be
 4

experienced as sacred or secular. In addition, the results would provide architects with research-
informed design guidelines for sacred place-making. The design guidelines are intended to
assist architects in creating everyday architecture that is meaningful and sacred. The knowledge
gained through this study would contribute significantly to develop the field of evidence-based
design and theory of place-making.

The central hypothesis for this study is that built environments which possess a higher presence
and higher quality of expression of certain place-making patterns are more likely to be
experienced as sacred, than built environments with a lower presence and lower quality of
expression of the place-making patterns. To test the hypothesis, this research utilizes graphical
data, questionnaire data, and focus group discussion data. First, in-depth literature review and
analysis were conducted to develop a comprehensive set of place-making patterns. Second, on-
site architectural analyses of a sacred building and a secular building were conducted to quantify
the presence of the place-making patterns. The architectural analyses of the selected settings
produced graphical data, i.e., photographs and sketches with field notes. Third, questionnaires
were administered at the sacred and secular buildings to assess pattern presence, pattern
quality, and sacredness of each place. The questionnaires yielded quantitative data as well as
qualitative data. Fourth, focus group discussions were conducted to explore experiences elicited
at the sacred and secular buildings, and to explore how architecture impacts sacredness (if at
all) at the selected buildings. The focus group discussions produced qualitative data.

1.2 RESEARCH OBJECTIVES

The central objectives of this study are: first, to validate the pattern presence and pattern quality
assessment methods as viable tools for determining whether a specific built environment is more
likely to be experienced as sacred or secular; second, to test the validity of the hypothesis and
develop theory in relation to the presence and quality of expression of place-making patterns in
sacred and secular places; and third, to develop research-informed design guidelines for sacred
place-making. More detailed objectives are:
1) To identify place-making patterns, (theorized to be present in sacred places) from
relevant literature and develop a comprehensive list of place-making patterns for
further analysis;
2) To synthesize the place-making patterns (from previously developed place-making
pattern lists), based on their comparative similarities and differences and develop
 5

the Comprehensive Place-making Pattern Set to be used as a basis for the

research.
3) To analyze architecturally, by means of on-site observations, two case studies – one
sacred building and one secular building, to identify ways in which individual place-
making patterns from the Comprehensive Place-making Pattern Set physically
correspond with the architecture of the sacred and secular buildings. This will
quantify the presence of individual place-making patterns from the Comprehensive
Place-making Pattern Set at the sacred and secular buildings.
4) To validate, by means of questionnaires, the presence of individual place-making
patterns from the Comprehensive Place-making Pattern Set at the sacred and
secular buildings.
5) To assess, by means of questionnaires, the quality of expression of individual place-
making patterns from the Comprehensive Place-making Pattern Set at the sacred
and secular buildings.
6) To assess, by means of questionnaires, whether the selected buildings are
experienced to be sacred or not.
7) To explore, by means of focus group discussions, experiences elicited at the sacred
and secular buildings.
8) To explore, by means of focus group discussions, how architecture impacts
sacredness (if at all) at the selected buildings.
 6

CHAPTER II
LITERATURE REVIEW

2.1 INTRODUCTION

This chapter begins with a discussion on the definition of health. Shortcomings in the traditional
model of health are identified and the biopsychosocial model of health is defined. The review
then identifies specific and health-related benefits associated with spirituality, followed by a
discussion on specific experiences associated with sacred places. Specific feelings associated
with transcendental and sacred experiences are identified next, followed by a discussion on
various sacred place types and functions based on the work of John Steele and James Swan.
The chapter then outlines the chronological evolution of place-making pattern theory in
Architecture that includes significant authors such as Marcus Vitruvius Pollio, Andrea Palladio,
Christopher Alexander, Sara Ishikawa, Murray Silverstein, Michael Brill, Charles Moore, Donlyn
Lyndon, and Phillip Tabb. Finally, the review provides a descriptive summary of specific place-
making patterns theorized to be present at sacred places by two key authors, i.e., Michael Brill
and Phillip Tabb. Place-making patterns proposed by Michael Brill and Phillip Tabb have been
specifically selected for the study, as both authors speculate the presence of certain place-
making patterns at sacred places. The review draws from multiple sources of publications
related with sacred places and place-making patterns in architecture.

2.2 THE BUILT ENVIRONMENT AND HEALTH

2.2.1 Biopsychosocial Model of Health

Does the built environment contribute to health? An important question that could precede this is
– what does it mean to be healthy? The World Health Organization (WHO), a growing number of
health-care professionals, and the public today, equate good health not merely to the absence of
disease, but also to the presence of positive well-being (Brannon & Feist, 2002). George Stone
(1987) classified available definitions of health into two broad categories: 1) Health as an ideal
(static) state of positive well-being; and 2) Health as a (dynamic) state of consistently moving
towards positive well-being. According to Brannon and Feist (2002), the second definition
suggests a greater holistic approach, as it acknowledges health, not merely as a static state of
 7

being, but more as a direction on a continuum towards positive well-being. The much prevalent
th
20 century biomedical model, therefore, falls short in defining health as a holistic dimension, as
it addresses health exclusively in terms of a single condition – the absence of disease (Brannon
& Feist, 2002). The traditional biomedical model of health has therefore, given way to the
biopsychosocial model – a model that advocates a greater holistic approach towards health,
considering not only our biological, but also our social, psychological, physiological, as well as
our spiritual health (Brannon & Feist, 2002).

2.2.2 Specific and Health-Related Benefits Associated with Spirituality

Although acknowledged as a healing adjunct among various cultures since ancient times, only
recently have we been able to scientifically quantify specific and related health benefits,
associated with spirituality. In the mid-1990’s, the Faith Factor series (i.e., a review of nearly 400
empirical studies on the connection between spirituality and health) documented by Matthews
and colleagues’ (Matthews et al., 1993a, 1993b; Matthews & Larson, 1995 and Matthews &
Saunders, 1997) showed that there were frequent positive correlations between spirituality and
several health-related benefits. Several studies have shown that spirituality is associated with
better health outcomes, coping skills and health-related quality of life, as well as with lower rates
of anxiety, depression and suicide (Fehring et al., 1997; Lukoff et al., 1999; Sloan et al., 1999;
Thoresen, 1999; Luskin, 2000; McCullough et al., 2000; Mueller et al., 2001; Nelson et al., 2002;
Sloan & Bagiella, 2002; McClain et al., 2003; Powell et al., 2003; Seemann et al., 2003).

Various Studies have confirmed that spirituality is positively associated with quality of life and
fighting-spirit, and negatively correlated with helplessness/ hopelessness, anxious preoccupation
and cognitive avoidance (Cotton, Levine, Fitzpatrick, Dold, & Targ, 1999). Research has recently
confirmed that patient recovery from illness is enhanced, when their spiritual needs are
addressed (Mueller et al., 2001). Other benefits that are positively correlated with spirituality
include significantly lower rates of cancer, better overall health and increased life expectancy
(Enstrom, 1998; Koenig, McCullough & Larson, 2001; Simmerman, 1993; Hummer, Rogers,
Nam, & Ellison, 1999). Recent empirical studies show a correlation and salutary relationship
between spirituality and a number of beneficial psychological outcomes, including positive
mental health, greater personal happiness and/or self esteem (Bahr & Martin, 1983; Ellison &
George, 1994; Koenig, 1998; Koenig, McCullough & Larson, 2001; Thomas & Cornwall, 1990;
Willits & Crider, 1988) and lower rates of depression (Ellison & George, 1994). These and similar
 8

studies constitute a fraction of scientific inquiries conducted to date, that have successfully found
positive correlations between health-related benefits and spirituality.

2.2.3 Specific Feelings Associated with Transcendental and Sacred Experiences

Pioneering psychological studies have shown that transcendental experiences are characterized
by a sense of ego surrender (James, 1902), feelings of unification and harmony with all things,
feelings of blessedness or joy, a sense of timelessness and spacelessness, a sense of
connecting with some sort of objectivity or ultimate reality, and a sense of divine presence or
sacredness (Stace, 1960). Research involving neuroscience suggests that sacred experiences
relate to elevated states of awareness and feelings of awe (Eberhard, 2005). According to
Venolia (1988), such experiences, associated with feelings of calm, relaxation and balance, are
unique characteristics of healing environments.

2.2.4 Specific Experiences Associated with Sacred Place

Sacred Places, on account of their inherent purpose and function, have the potential of
contributing significantly to our spiritual health. Among various place types, sacred places are
speculated to significantly support healing (Swan, 1990), help us feel energized (Brill, 1986),
bring about a unique transformation of consciousness (Steele, 1988), and contribute to
transcendental experiences (Crithchlow, 1980). According to Brill (1986), specific emotions
triggered and awakened at sacred places include ecstasy, ancient stirrings within the self,
feelings of repose, feelings of sensory unification, and a sense of dissolution of the self –
emotions that are not only powerful, but also intensely real, human and similar to those,
experienced by archaic people in their sacred places. Being embodied in sacred place,
therefore, can contribute significantly to our overall health and well-being.

2.3 SACRED PLACE TYPES AND FUNCTIONS

Based on their function and purpose, a variety of sacred place types can be classified. According
to Steele (1988), sacred places can be separated into four basic categories, depending on their
 9

function: 1) healing sites; 2) fertility sites; 3) prophecy sites; and 4) astronomical calendars. The
review of relevant literature suggests the classification of sacred places as follows:
1) Graves, cemeteries and burial grounds – places that serve the purpose of
celebrating the death of a person and the return of life back to the source for rebirth
(Swan, 1990).
2) Purification places – places that serve the purpose of dispelling disharmony and
restoring health (Swan, 1990).
3) Healing sites – places that serve the purpose of healing (Swan, 1990).
4) Prophecy sites – places that are designed for divination and to observe the
movement of planets against the celestial background (Swan, 1990).
5) Vision questing and dreaming places – places that stimulate inner messaging and
induce visions and profound dreams (Swan, 1990).
6) Fertility sites – places that celebrate actual and symbolic fertility (Swan, 1990).
7) Ceremonial sites – places that celebrate seasonal changes, summer and winter
solstices, moon phases, including the births and deaths of saints, avatars and other
notable figures, revolutions, wars and other historical events (Swan, 1990).
8) Astronomical observatories – places that are used to observe solar and other
celestial phenomena, including the movement of the sun throughout the year for
articulating the solstice sunrises and sunsets and for dividing the year into months
and day into hours (Swan, 1990).
9) Sacred plant and animal sites – places that are used as portals to communicate with
the spirit world, typically celebrated in totems expressing specific qualities (Swan,
1990).
10) Temples, shrines and effigies – places that celebrate mutable events such as
solstices and seasonal changes, or commemorate a person, god or presence
(Swan, 1990).
11) Sacred cities – places (mostly ancient) where sacred design principles were
incorporated (Swan, 1990).
12) Historical sites – places that celebrate historical events and places where artifacts of
ancient cultures are preserved (Swan, 1990).
 10

2.4 EVOLUTION OF PLACE-MAKING PATTERN THEORY IN ARCHITECTURE

Several authors have discussed and developed fundamental characteristics associated with
place-making in their respective works. Earliest known explorations on principles and guides for
town planning and architectural design can be attributed to Marcus Vitruvius Pollio (The Ten
Books on Architecture) in the First Century BC, followed by the Italian architect, Andrea Palladio
(The Four Books on Architecture) in 1570.

In 1977, Christopher Alexander, Sara Ishikawa and Murray Silverstein with Max Jacobson, Ingrid
Fiksdahl-King and Shlomo Angel, authored – A Pattern Language: Towns, Buildings,
Construction, an exploration on patterns applied to varying scales of the built environment. This
literature contains 253 highly structured patterns classified into three general categories, i.e.,
towns, buildings and construction, and is intended as a practical guide for architectural
designers. In the literature, Christopher Alexander and his colleagues discuss certain desirable
physical outcomes through the use of specific pattern types. Subsequently, in 2002, Christopher
Alexander in his work – The Nature of Order: The Phenomenon of Life, identifies 15 fundamental
properties which when embodied, generate a profound degree of life and wholeness in objects,
buildings and places.

In 1985, in an address entitled - Using the Place-Creation Myth to Develop Design Guidelines for
Sacred Space, given at the annual conference of the Council of Educators in Landscape
Architecture at the University of Illinois in Urbana, IL, Michael Brill proposed a set of fourteen
common and fundamental characteristics, by means of which places reveal themselves as
sacred.

In 1994, Charles Moore and Donlyn Lyndon compiled a series of personal observations on
places that they considered to be memorable. Their work – Chambers of a Memory Palace,
addressed specific themes and compositions observed within a few select memorable settings
from around the world. Their discussions entail how the specified themes and compositions
create and shape the experience of the place.

In 1996, Phillip Tabb proposed that sacred places embody specific archetypal place-making
patterns in his work – Sacred Place: The Presence of Archetypal Patterns in Place Creation. A
series of fifteen place-making patterns that seem to recur in sacred places are specified and
discussed in the literature. These patterns are arranged hierarchically within a pattern matrix and
 11

classified subsequently into three levels, which he describes as Archetypal, Ectypal and Typal.
The review of relevant literature indicates that, of all aforementioned authors, only two (i.e.,
Michael Brill and Phillip Tabb) specifically theorize the presence of certain place-making patterns
at sacred places in their respective work. The place-making patterns ascribed by both, Michael
Brill and Phillip Tabb, seem to have been inspired and developed from the groundbreaking work
– The Sacred and the Profane: The Nature of Religion, published in 1959 by the famed historian
of religion, Mircea Eliade.

2.5 PLACE-MAKING PATTERNS IN SACRED ARCHITECTURE

Sacred places are qualitatively different from our other inventory of places. They symbolize a
break in the homogeneity of space (Eliade, 1959). Brill (1985) and Tabb (1996) suggest that this
difference is observed at sacred places by means of an exclusive set of place characteristics or
patterns. It is speculated that these recurring place characteristics or patterns make sacred
places unique and distinguish them from our other inventory of places, thereby revealing them
as sacred to us.

According to Brill (1985), sacred places are patterned around the cosmic model of creation or
primordial myth of creation and, hence, share a common and fundamental set of design
characteristics, while Tabb (1996) suggests that sacred places share underlying principles or
patterns that recur physically in sacred places. Brill (1986) suggests that the act of place-making
is symbolic of the triumph of order over chaos and formlessness. According to Tabb (1996),
place-making patterns that recur in sacred places, possibly share a common origin. Tabb
speculates that the combined relationship between these place-making patterns and their
sequential embodiment in place are significant to place being experienced as sacred (1996). In
addition, Tabb (1996) suggests that a sacred place need not embody all fifteen place-making
patterns and acknowledges that the fifteen place-making patterns do not form an exclusive list,
i.e., sacred places may embody other patterns that have not yet been revealed.

2.5.1 Place-making Patterns Proposed by Michael Brill

According to Brill (1985), the fourteen design characteristics theorized to be present at sacred
places include: 1) Making a Location and Center; 2) Making Orientation and Direction; 3) Spatial
 12

Order; 4) Celestial Order; 5) Differentiating Boundaries; 6) Reaching Upwards; 7) Triumph over

the Underworld; 8) Bounding; 9) Passage; 10) Ordered Views; 11) Light; 12) Materials for
Making; 13) Nature in Our Places; and 14) Finishing a Place. What follows, is a descriptive
summary of the fourteen design characteristics, proposed by Michael Brill in 1985 in his address
– Using the Place-Creation Myth to Develop Design Guidelines for Sacred Space, given at the
annual conference of the Council of Educators in Landscape Architecture at the University of
Illinois in Urbana, IL.

Making a Location and Center

Sacred place has a fixed location, an articulated center, and is likened to the mandala (Brill,
1985). The creation or acknowledgment of a center symbolizes a reality, versus the non-reality
of uninterrupted, homogenous, and formless space (Brill, 1985). Sacred place is, therefore, the
physical embodiment of center on the earth – it is substantial and expressed as a fixed location
(Brill, 1985). The process of establishing a fixed point results in the creation of center (Brill,
1985). It is symbolic of the creation myth or victory over chaos, and signifies a new beginning, a
new place, a new life – it is ceremonial in space (Brill, 1985).

Making Orientation and Direction

Sacred place has orientation and direction with relation to the center and each of these
directions express qualitative differences (Brill, 1985). Orientation and direction arise from the
three axes of the body, which subsequently define the four cardinal directions i.e., north, south,
east, and west), the heaven and the underworld (Brill, 1985). Each direction, though equally
important to the wholeness of place, is qualitatively different from its counterparts (Brill, 1985).
The directions are expressive of different meanings such as the pleasure of sunrise, the terror of
sunset, forward and backward movement, left and right movement, levity towards the heaven or
downward movement into chaos (Brill, 1985). When a gesture towards the downward direction is
made, it is controlled and provided with a unique name to ensure self-empowerment (Brill, 1985).

Spatial Order
The creation of center with subsequent orientation and direction results in the generation of
spatial order that is highly valued (Brill, 1985). When embodied in sacred place, it signifies
victory over chaotic space (Brill, 1985). Sacred places, therefore, reveal spatial order, suggesting
our need for it (Brill, 1985). It is physically embodied in sacred place though rhythms in spaces
and through succession of spaces (Brill, 1985). Sacred place embodies the first ordering
principle of visual symmetry, which is articulated through the fixed relationship of the center with
 13

the boundaries (Brill, 1985). Symmetry serves in defining the wholeness of a pattern and is
related to the process of cutting something in half, i.e., it signifies the process of understanding
parts of the pattern by simply dividing the whole (Brill, 1985).

Celestial Order
Celestial order expresses the play of celestial rhythms on, and in space (Brill, 1985). Celestial
order in sacred place could also be created and based upon celestial references such as the
locations and cycles of the sun, moon, stars and winds (Brill, 1985).

Differentiating Boundaries
Each of the boundaries related with the four directions is fixed, clear, distinct, and equidistant
from the center (Brill, 1985). These boundaries reveal different qualities when compared with
each other suggesting symmetry but not sameness (Brill, 1985).

Reaching Upwards
Sacred place is expressive of verticality, signifying a path to the heavens (Brill, 1985). Verticality
is embodied in sacred place to acknowledge our need to reach higher, to touch the heavens, to
subdue chaos, to connect us with the greater cosmos, and to subsequently come closer to what
is divine (Brill, 1985). Verticality is articulated in place by opening it to the sky, or providing
soaring walls, columns, etc., that reach upward toward the heavens (Brill, 1985). It is expressed
naturally through sacred mountains, the summit of which symbolizes the center of centers (Brill,
1985). In instances where upward protection from the elements is required, verticality is
expressed by providing a pierced roof or by embodying a heavenly canopy with celestial
references (Brill, 1985). Other examples of verticality include pyramids, ziggurats, and towers
(Brill, 1985).

Triumph over the Underworld

Verticality towards the heaven generates the counter property of reaching downward towards the
watery chaos of the underworld (Brill, 1985). This property of reaching downward is conquered
through the process of place-making (Brill, 1985). Therefore, little reference to, or access to, the
chaos of the underworld is provided in sacred place (Brill, 1985). In instances where chaos or
the downward direction is acknowledged, it is typically embodied and revealed in the form of
chaos that is controlled (Brill, 1985). Examples of such situations include sparse water under our
control, i.e., a water fountain, shallow still pool or cistern, an ordered garden that is bordered and
controlled (Brill, 1985).
 14

Bounding
The break in the homogeneity of formless space is clear and substantial – it embodies fixed
boundaries (Brill, 1985). Bounding expresses differentiation and defines the distinct domain of an
ordered cosmos from chaos (Brill, 1985). Boundaries are, therefore, distinct, and articulated in
three dimensional space in the form of walls, floors, and roofs (Brill, 1985). Of these three, the
roof is most expressive of our desire to reach the divine (Brill, 1985). Hence the roof is absent,
open, or the most permeable of the three boundaries in sacred place (Brill, 1985). Floors and
walls in sacred place serve to isolate us from the chaos of the underworld, including the world
beyond in the four cardinal directions (Brill, 1985). Floors and roofs are, therefore, absolute,
fixed, and impenetrable boundaries (Brill, 1985). The roof and walls are typically expressed as
distinct elements in sacred place – the roof remains open or pierced, signifying the heavens,
while the floor and walls are expressed as staunch boundaries (Brill, 1985).

Passage
Passage into sacred place is achieved through dematerialization of staunch wall boundaries
(Brill, 1985). Passage is embodied such that one is able to enter and leave sacred space, while
partaking in both sacred and profane domains (Brill, 1985). Passage, therefore, forms a
continuity and means of communication between two opposing domains (Brill, 1985). The
doorway is symbolic of the threshold and signifies a distinct place that is to be experienced (Brill,
1985). It provides distance between the two modes of being – sacred and profane (Brill, 1985).
The function of passage is likened to the role of middle ground i.e., middle plane that mediates
between the heavens and the underworld (Brill, 1985). Moreover, passage is distinct and
significantly marked to differentiate it from the pragmatic function of profane doorways (Brill,
1985). It is typically large in size to accommodate the divine and godly enhancement that occurs
on exit from sacred place (Brill, 1985).

Ordered Views
The importance and significance of passage in sacred place is maintained by restricting views
between the sacred and profane realms (Brill, 1985). This enables sacred place to sustain and
reinforce its sacrality, and keeps it distinct from the mundane world (Brill, 1985). Direct views
between sacred and profane place are avoided (Brill, 1985). This characteristic is observed in
sacred place through the limited use, and specific location of openings such as windows and
doorways (Brill, 1985). At times, openings are avoided all together, to restrict views that would
otherwise negate the experience within sacred place (Brill, 1985). The absence of openings
therefore, also suggests ordered views (Brill, 1985). Since sacred places share in each other’s
 15

space and time, direct views between corresponding sacred places and other special features
are intentionally provided (Brill, 1985). Specific views to gardens, trees, geologic rock formations,
mountains and water features are provided to sustain or enhance the integrity of experience
from within the sacred place (Brill, 1985).

Light
The daily cycles of day and night i.e., light and darkness, signify the unending cosmic struggle
(Brill, 1985). Light signifies hope with the rising of the sun each day and enables us to
experience the changing world (Brill, 1985). In sacred place it is symbolic of the passage of time
(Brill, 1985). Light in sacred place is typically provided from above and serves to provide
orientation and contrast from the surrounding darkness (Brill, 1985).

Materials for Making

Light reveals the texture and form of materials in sacred place (Brill, 1985). The materials that
make up sacred place are symbolic of the cosmic struggle and victory over chaos i.e., the
triumph of order over formlessness and chaos (Brill, 1985). Therefore, building materials used in
sacred place suggest a struggle i.e., the selection and placement of materials indicate a struggle
and sacrifice (Brill, 1985). These materials are rare, distinct from other materials used in the
profane world, not easily obtained, cumbersome to work with, and difficult to move – they
suggest struggle and sacrifice (Brill, 1985). The materials in sacred place are carefully crafted,
far from their natural state (Brill, 1985). These materials are resistant to erosion brought about by
natural forces and maintain their formal integrity and physical order (Brill, 1985). Furthermore,
the making of whole elements from parts, i.e., the joinery between materials suggests order
(Brill, 1985).

Nature in Our Places

An important feature of sacred place is that it contrasts with the unruly, unbordered, and
disordered vastness of nature surrounding it (Brill, 1985). This potency of sacred place is likened
to chaos that is conquered and subdued in the making of place (Brill, 1985). Therefore, nature in
sacred place maintains its natural spirit, but is subdued, controlled, bordered, ordered and tamed
(Brill, 1985). In this sense, nature is constantly cared for, controlled and ordered in sacred place
signifying the image of balance, and control of chaos (Brill, 1985). Sacred place is, therefore, a
reflection of the balance between nature and cosmic order – it expresses the garden or earthly
paradise (Brill, 1985).
 16

Finishing a Place
The act of place-making signifies an absolute beginning – it is a divine repetition of the creation
myth or the creation of the world (Brill, 1985). Therefore, ritualistic and consecrative acts and
ceremonial celebrations mark the act of completion of sacred place (Brill, 1985). Such
ceremonies signify the reality and enduringness of our efforts in finishing the place for habitation
(Brill, 1985).

2.5.2 Place-making Patterns Proposed by Phillip Tabb

According to Tabb (1996), the fifteen place-making patterns theorized to be present at sacred
places, include: 1) Center; 2) Bounding; 3) Direction; 4) Descent; 5) Ascent; 6) Passage;
7) Numeric Order; 8) Geometric Order; 9) Spatial Order; 10) Anthropomorphic Order;
11) Ordered Nature; 12) Celestial Order; 13) Materiality; 14) Elementals; and 15) Ceremonial
Order. What follows, is a descriptive summary of the fifteen place-making patterns, proposed by
Phillip Tabb in 1996 in his work – Sacred Place: The Presence of Archetypal Patterns in Place
Creation.

Center
Center signifies the seed idea that the creation myth seeks to express (Tabb, 1996). It is the
conceptual essence of the place and signifies the spatial or non-spatial point where a connection
between the aspirant and the divine is most likely to occur (Tabb, 1996). In its physical form, the
center is the focal point of a ceremonial experience and forms an expression of the whole (Tabb,
1996). The center relates to the infinite through its non-spatial nature (Tabb, 1996). It symbolizes
the fundamental unit or seed that embodies the coding for manifestation into the world of space
and form (Tabb, 1996). The center could be represented through the geometrical center of the
place and in its physical expression could symbolize the center of the world – that which is
known or could be an experienced position in space (Tabb, 1996). It is associated with intense
activity and meaning (Tabb, 1996). In sacred places, the center in its physical form could be
embodied in a special space, square, temple, market, street, building, landmark, fountain, rock,
tree, garden, crystal, sand painting or alter (Tabb, 1996).

Bounding
Bounding signifies the fixed relationship of the center with the comprehensible surrounding edge
(Tabb, 1996). This relationship is formless and is associated with the center – boundary –
 17

domain realms (Tabb, 1996). The relationship between the center, boundary and domain is
triangular and comprises of unity in the center where all parts are unified into one, diversity at the
periphery where everything remains distinct, and homogeneity within the domain where all the
parts mediate between unity and diversity (Tabb, 1996). Bounding defines extent and is
represented by the outer walls of the building, the property edge or the village boundary (Tabb,
1996). The sense of enclosure created by the boundary may or may not be substantially
complete, i.e., oriented openings and implied directions may be present (Tabb, 1996). Therefore,
in sacred place, the coherence of the design is differentiated from the surrounding non-
developed land through a distinct boundary that is clear, substantial and physically fixed (Tabb,
1996).

Direction
Direction signifies the terrestrial world manifested in the four cardinal directions (Tabb, 1996). It
is related to the square or the physical world that must be transcended (Tabb, 1996). Direction is
likened to information or the in-form – the evolution and growth of the center into the manifest
world (Tabb, 1996). The impulse of the center to manifest itself outward into the physical world,
and the embodiment of our bodies in space, generate the three axes of the body, i.e., front-back,
left-right, and up-down (Tabb, 1996). The three axes subsequently define the four cardinal
directions or north, south, east, west, the upward direction or the heavens, and the downward
direction or the underworld (Tabb, 1996). Direction, therefore, relates with materialization of the
coding contained within the center, expressed physically in the terrestrial world and manifested
by means of the cardinal directions and the vertical directions (Tabb, 1996). By means of these
directions (aligned with the center), direction could be pivotal in first, articulating the creation of
symmetry, second, providing initial organization to place, and third, generating overall form to
place (Tabb, 1996). Orientation, therefore, could provide differentiation and diversity to place
(Tabb, 1996). In sacred place, orientation is achieved through acknowledgment and response to
the cardinal directions, the natural contours of the site, to sea or nature related views, or to the
position of the sun in the sky (Tabb, 1996). The cardinal directions also acknowledge distinct
teachings and relate to the four elemental qualities – fire, water, air and earth (Tabb, 1996). At
certain locations where the cardinal directions or geomantic and natural energies transverse
through the boundaries, formal differentiations are articulated which denote the base of the
manifest and terrestrial world (Tabb, 1996). The qualities of these intersections are represented
in the formal differences and sometimes celebrate diurnal cycles (Tabb, 1996).
 18

Descent
Descent signifies the deep grounding of a community and usually denotes a place of communal
gathering (Tabb, 1996). Grounding the energy of a place is essential and is achieved by
physically or mentally descending into the place (Tabb, 1996). Descent involves a resolve of
forceful action and is associated with the deep psyche, the instinctual and the primitive (Tabb,
1996). It is also related with the idea of fertility; i.e., sacred places could embody earth-wombs,
typically associated with healing or cosmological functions such as the ceremonial principle of
solar rays penetrating the earth (Tabb, 1996). Descent is an essential relationship and transition
that is created on account of the vertical walls of a building penetrating the horizontal plane of
the earth (Tabb, 1996). Descent is physically represented by the ground and lower floors,
foundations, and footings that occupy the under-realm (Tabb, 1996). These grounded features
tend to generate particular ordering principles and material responses (Tabb, 1996). Therefore,
descent is symbolic of the gravitational energy of the building, and carries with it a sense of
grounding that is eventually exchanged and transferred directly into the earth at the lowermost
point of physical form (Tabb, 1996).

Ascent
Ascent signifies the essence of uplift or the aspirational source that governs the realm of life
(Tabb, 1996). It is expressive of verticality and signifies a breakthrough between two differing
realms – it forms a path and connection between the underworld and the heavens (Tabb, 1996).
Ascent expresses movement in the upward direction and involves awareness of the aspirational
source related with the will or energy of life (Tabb, 1996). This upward movement that governs
the will or energy of life requires the firm grounding or founding in the earth against which to
push on, to rise upward (Tabb, 1996). The laws of gravity govern and constrain the material
realm, while the realm of life is subject to the laws of levity or uplift (Tabb, 1996). In sacred place,
this uplift or levity is expressed by means of openings and through acknowledgment of the sky
above (Tabb, 1996). It is realized through vertical features within the physical structure that
soars towards the sky – towers, vertical ascending roof lines, columns, shafts of light, and other
vertical elements (Tabb, 1996). Ascent is also observed in the natural landscape through
mountains and ridges (Tabb, 1996). Hierarchy of spaces and important public and sacred sites
are usually delineated in villages through the use of ascent (Tabb, 1996).

Passage
Passage signifies the transitional and neutral space between profane and sacred place (Tabb,
1996). It is an actual space with distinct features and acknowledges the point and place of actual
 19

entry into a domain (Tabb, 1996). It is symbolic of thresholds of continuity and signifies a realm
that is distinct from the sacred and the profane (Tabb, 1996). Passage reinforces the inner
process of transition between the two realms by functioning as a preparatory space for
meaningful spatial experience within the two realms (Tabb, 1996). In this sense, passage is a
symbolic gesture of a welcome space for the soul, while simultaneously providing a gradual and
comfortable transition back into the mundane realm (Tabb, 1996). Passage, therefore,
expresses a sense of entrance, coupled with harmonious resonance within the body (Tabb,
1996). When the boundary of place is dematerialized, passage is generated that functions to
provide the right-relationship, a scaled transition and an appropriate cleansing for one’s initial
entry and penetration into the sacralized realm from the mundane world (Tabb, 1996).

Numeric Order
Numeric order signifies numerical identity, revealed as pattern in place, i.e., acknowledging the
recurrence of significant sets of numbers, such as the singularity or duality of forms, number of
towers, doors, windows, columns, walls, steps (Tabb, 1996). Numeric order relates to the
Pythagorean school of thought – the belief that numbers are evocative of hidden meanings
(Tabb, 1996). Since numbers serve to describe and distill qualitative and quantitative
characteristics associated with themselves in actual form and physical detail, numeric order
when acknowledged in place, results in the creation of ceremonial architecture (Tabb, 1996).
Numeric order, therefore, engenders both, a quantitative and qualitative character to place
(Tabb, 1996). Numeric order is expressed by acknowledging numbers’ one through nine (i.e.,
primary numerical identities), numbers’ one through ten (i.e., the tectractys - an ancient Greek
study tool), numbers’ 11, 12, 16, 19, 22, 360 or other differing sets of numbers that are
considered significant in various esoteric and philosophical traditions (Tabb, 1996).

Geometric Order
Geometric order signifies shapes that generate the physical form of the structure or built-form
(Tabb, 1996). It represents number expressed as volume in space (Tabb, 1996). Geometric
order pervades all physical entities, i.e., it exists across all natural elements and its ordering
principle governs the structure of all physical manifestations in space (Tabb, 1996). Geometric
order is suggestive of significant relationship between the measurable and immeasurable
numbers (Tabb, 1996). It embodies the transcendental root powers – the square root of two,
three, and five (Tabb, 1996). These immeasurable numbers function as geometric metaphors
and transformational agents for generating geometric order in sacred place (Tabb, 1996). The
transformation occurs in space through three processes – the formative, generative, and
 20

regenerative (Tabb, 1996). Geometric order, therefore, generates harmonic proportion and
progression to physical built-form in sacred place (Tabb, 1996).

Spatial Order
Spatial order signifies visual symmetry or the transformation of chaotic and undeveloped
landscape (Tabb, 1996). It results in the rhythmic order and succession of spaces such as that
seen in the mandala (Tabb, 1996). Spatial order is embodied and expressed in space through
circular, linear, radial, triangular, orthogonal or spiral organizations (Tabb, 1996). In the
organization of the domain, the three transcendental orders or sacred geometries (i.e., square
root of two, three and five) can be used to yield expanding or collapsing proportional
relationships (Tabb, 1996). It embodies ethereal force lines that are directed in the outward
direction such as that seen in the lotus or soul-flower (Tabb, 1996). Spatial order, therefore,
generates a field like effect of multiple centers or events, and is responsible for delineating
appropriate meaning, hierarchy, and proportion to the overall spatial organization (Tabb, 1996).

Anthropomorphic Order
Anthropomorphic order or scale signifies human proportions, human references, or human
behavior, given to inanimate objects, including architecture (Tabb, 1996). It is observed through
the articulation of built-form and detail based on anthropomorphic attributes or measurements of
the human body, typically expressed in terms of scale in architecture (Tabb, 1996). The cardinal
directions and vertical axis are expressed in the human body – front-back, left-right, and up-
down (Tabb, 1996). Sacred architecture (plans, sections, elevations, and details) is, therefore,
proportioned with reference to various attributes of the human form, human scale, and human
features (Tabb, 1996). Anthropomorphic order is also expressed by means of geometric
proportions and relationships related with the Golden Mean proportion (Tabb, 1996). The design
of the building could, therefore, be expressive of body height, facades that represent facial
features, curvilinear forms, and details that engender human-like attributes to place (Tabb,
1996). Anthropomorphic order, therefore, provides resonance and harmony in the human body
(Tabb, 1996).

Ordered Nature
Ordered nature signifies the spirit of nature that is controlled and tamed in sacred place versus
the boundless expanse of unknown, wild, disordered and chaotic nature in the mundane world
(Tabb, 1996). The spirit of nature in sacred place is typically given expression by means of
special trees, geological formations, natural springs, gardens, landscaping, and groomed natural
 21

ground cover (Tabb, 1996). Although the force of nature is controlled and tamed in sacred place,
it is essential to maintain the natural processes that sustain the natural qualities of nature (Tabb,
1996). Therefore, at times, natural wild areas in sacred place are left undisturbed and unspoiled
at specific locations within the precinct (Tabb, 1996). In addition, nature within sacred place
serves to articulate seasonal changes, thereby contributing towards ceremonial ordering of the
year (Tabb, 1996).

Celestial Order
Celestial order signifies the connection and understanding of the greater cosmos, i.e., it relates
to the visual experience of the celestial wallpaper (Tabb, 1996). It is expressed by means of
openings or markers that articulate the movement of the sun, moon, celestial objects,
constellations, or by means of formal orientations that articulate solstices or equinoxes, i.e.,
orientation of built-form that acknowledges temporal changes or the changing of light (Tabb,
1996). The cosmos expresses an order that is harmonious and whole in context with the earth
(Tabb, 1996). Celestial order, therefore, signifies an Earth-centered perspective (Tabb, 1996). It
is acknowledged in sacred place by means of ceiling forms, such as domes, vaults, and open-to-
sky roofs (Tabb, 1996).

Materiality
Materiality signifies the physical state, quality of being material or the materialization of a
substance in space resulting in an expression of physical form (Tabb, 1996). It allows for the
manifestation of the sacred through the generation of form (Tabb, 1996). In sacred place,
materials are rare, difficult to work with, and cumbersome to move (Tabb, 1996). Materiality in
sacred place, therefore, suggests a struggle, unlike materials used in the mundane world that
are local, indigenous, and easily changed (Tabb, 1996). This results in an interesting and
dramatic contrast versus the materiality of buildings found in the mundane world (Tabb, 1996).

Elementals
Elementals signify the fundamental qualities of the substantive world (Tabb, 1996). They include
fire, water, air, earth, and ether (Tabb, 1996). Elementals are related to human attributes –
human spirit, emotions, mind, and body and form the basis for contemplation through their
qualitative characteristics (Tabb, 1996). Sacred place is expressive of the elemental qualities
through the embodiment of various features such as the protective mandala of the church,
temple, or mosque, the village well, the breeze moving through an orchard, the wind moving
 22

through an open window, a community bonfire, the fountain or water pool, and the physical
experience of the very materials that make up the place (Tabb, 1996).

Ceremonial Order
Ceremonial order signifies the completion of sacred place through the consecration and blending
of our consciousness (Tabb, 1996). It is symbolic of our consciousness uniting with the spatial
wholeness of place in time (Tabb, 1996). In sacred place, human ceremony, meditation, and
prayer are governed by ceremonial ordering principles (Tabb, 1996). Ceremonial order of sacred
place could embody temporal celebrations such as the seasonal changes or the rhythms of the
day (Tabb, 1996). Transcendental states of consciousness can be triggered using ceremonial
ordering devices of sacred place (Tabb, 1996). The creation myth can be experienced through
the ceremonial order of place, i.e., the spatial experience of ceremonial order in the temporal
dimension reinforces and reminds us of the beginning of all things (Tabb, 1996). Ceremonial
order embodies a vibratory connection between the self and the physical place, resulting in the
creation of boundary and alignment with the geometry of place (Tabb, 1996). The wholeness of
place and its centrality, therefore, can be experienced by means of ceremonial order (Tabb,
1996). Similarly, the downward force or grounding of the human body into the earth generates
ceremonial connection with the Earth, while the force of uplift or levity celebrates ceremonial
connection with the heavens (Tabb, 1996).

2.6 SUMMARY

The traditional biomedical model of health is considered obsolete by WHO, health-care

professionals, and the public, since it addresses health exclusively in terms of the absence of
disease (Brannon & Feist, 2002). The biopsychosocial model of health, on the other hand,
advocates a greater holistic approach towards health by considering our biological, social,
psychological, physiological, and spiritual health (Brannon & Feist, 2002). Empirical studies on
the connection between spirituality and health showed that there were frequent positive
correlations between spirituality and several health-related benefits Matthews and colleagues’
(1993a, 1993b, 1995, 1997). Specific feelings associated with transcendental and sacred
experiences include ego surrender (James, 1902), unification and harmony, blessedness, joy,
timelessness, spacelessness, connection with objectivity or ultimate reality, sense of divine
presence or sacredness (Stace, 1960), elevated states of awareness, and feelings of awe
(Eberhard, 2005). Such experiences, associated with feelings of calm, relaxation and balance,
 23

are unique characteristics of healing environments (Venolia, 1988). Sacred places support
healing (Swan, 1990), help us feel energized (Brill, 1986), bring about a unique transformation of
consciousness (Steele, 1988), and contribute to transcendental experiences (Crithchlow, 1980).
Specific experiences associated with sacred place include ecstasy, ancient stirrings within the
self, feelings of repose, feelings of sensory unification, and a sense of dissolution of the self –
emotions that are powerful, intensely real, human and similar to those, experienced by archaic
people in their sacred places Brill (1986). Sacred places, therefore, can contribute significantly to
our overall health and well-being.

Four basic functions of sacred places are as follows (according to Steele, 1988): 1) healing sites;
2) fertility sites; 3) prophecy sites; and 4) astronomical calendars. Twelve different sacred place
types, based on their purpose, were identified as follows (according to Swan, 1990): 1) Graves,
cemeteries and burial grounds; 2) Purification places; 3) Healing sites; 4) Prophecy sites;
5) Vision questing and dreaming places; 6) Fertility sites; 7) Ceremonial sites; 8) Astronomical
observatories; 9) Sacred plant and animal sites; 10) Temples, shrines and effigies; 11) Sacred
cities; and 12) Historical sites.

Significant explorations conducted by key authors, related with place-making pattern theory, can
be arranged in a chronological time-line as follows:
1) First Century BC – Marcus Vitruvius Pollio (The Ten Books on Architecture).
2) 1570 – Andrea Palladio (The Four Books on Architecture).
3) 1977 – Christopher Alexander, Sara Ishikawa and Murray Silverstein with Max
Jacobson, Ingrid Fiksdahl-King and Shlomo Angel (A Pattern Language: Towns,
Buildings, Construction).
4) 1985 – Michael Brill (Using the Place-Creation Myth to Develop Design Guidelines for
Sacred Space).
5) 1994 – Charles Moore and Donlyn Lyndon (Chambers of a Memory Palace).
6) 1996 – Phillip Tabb (Sacred Place: The Presence of Archetypal Patterns in Place
Creation).
7) 2002 – Christopher Alexander (The Nature of Order: The Phenomenon of Life).

Of all aforementioned authors, only two (i.e., Michael Brill and Phillip Tabb) specifically theorize
the presence of certain place-making patterns at sacred places in their respective work. Place-
making patterns proposed by Michael Brill and Phillip Tabb, share certain similar characteristics.
Patterns that are exclusive to Michael Brill include Differentiating Boundaries, Ordered Views,
 24

and Light, while patterns that are exclusive to Phillip Tabb include Numeric Order, Geometric
Order, Anthropomorphic Order, and Elementals. The sequence of listing the place-making
patterns varies with both authors. The design characteristics proposed by Michael Brill are
patterned around the creation myth or the primordial act of creation, i.e., the physical act of
making place, beginning with Making a Location and Center and ending with Finishing a Place.
Place-making patterns proposed by Phillip Tabb are arranged in hierarchical order (based on
their relation with specific concepts), beginning with Center and ending with Ceremonial Order,
i.e., Center – point, Bounding – plane, Direction – volume, Descent and Ascent – vertical axis;
Passage – continuity and bridge between realms; Numeric Order, Geometric Order, and Spatial
Order – ordering of place; Anthropomorphic Order and Celestial Order – correspondence with
proportions of human body and the heavens; Ordered Nature, Materiality, Elementals – natural
world as under the presence of the sacred place; Ceremonial Order – consecration of place.
 25

CHAPTER III
RESEARCH METHODOLOGY

3.1 PHILOSOPHICAL FRAMEWORK

This study explores the difference in the presence and quality of expression of place-making
patterns in sacred and secular buildings. Research design involves the selection of appropriate
data and research methods that depend on the nature of the research questions, the researcher,
and the context of the research study (Tashakkori & Teddlie, 2003). In this study, the exploration
of the difference in the presence and quality of expression of place-making patterns in sacred
and secular buildings is interpreted both, objectively and subjectively, using pluralistic
approaches and mixed methods. This research maintains that the problem under study requires
mixed methods for providing the desired outcomes. Researchers utilizing multiple approaches,
methods, techniques, and procedures, to collect and analyze data, and to subsequently
understand and provide solutions to the research problem, draw from the pragmatist school of
thought (Rossman & Wilson, 1985).

The pragmatist position assumes that external realities, even though they may exist, are difficult
to determine (Creswell, 2003; Tashakkori & Teddlie, 1998; Green, 1994). Actions, situations and
consequences related with knowledge claims take utmost precedence in pragmatism (Creswell,
2003). Pragmatism assumes that “Truth is what works at the time; it is not based in a strict
dualism between the mind and a reality completely independent of the mind” (Creswell,
2003:12). It follows that greater emphasis is placed on the research problem under investigation,
rather than on a specific approach or method. Researchers that draw from the pragmatist
school, therefore, utilize various approaches, methods, techniques and procedures to collect and
analyze data, and to understand the research problem under study (Rossman & Wilson, 1985).
Depending on the intended consequences, pragmatist researchers focus primarily on the “what”
and “how” to investigate (Creswell, 2003; Cherryholmes, 1992; Murphy, 1990). With pragmatism
as the underlying paradigm, practicality, contextual responsiveness and consequentiality in a
study take utmost precedence during the decision-making process (Greene, 1994). Such an
assumption forms the basis for utilizing pluralistic approaches to derive the required knowledge
for this research.
 26

As a philosophical paradigm, pragmatism entails the selection of appropriate tools and methods
that, best address the research problem and its context (Creswell, 2003; Tashakkori & Teddlie,
1998; Green, 1994). Pragmatism concentrates more on practicality, applicability, contextual
responsiveness, consequentiality, and providing solutions to problems (Patton, 1990).
Pragmatism as a worldview, therefore, requires the selection of specific interpretations related
with specific situations, contingent upon these interpretations generating the required outcomes.
In addition, the pragmatist school of thought does not require the researcher to adopt a single
system of inquiry – both, qualitative and quantitative frameworks, as appropriate to the nature of
the study, can be assumed by pragmatist researchers (Creswell, 2003; Cherryholmes, 1992;
Murphy, 1990). This investigation, therefore, in the author’s perspective, appropriates
pragmatism as its underlying philosophical paradigm.

Since pragmatism is concerned not so much with a specific approach or method, but more with
the research problem under investigation, circumstances could entail either an interaction
between the researcher and the subject under study, or situations could necessitate the
researcher to be objective and isolate himself or herself, from what is being studied, depending
on the nature of the inquiry (Tashakkori & Teddlie, 1998). In certain circumstances, this study
assumes an objective reality, where the researcher is independent of the subject of inquiry, while
at other times, the study assumes a subjective reality, where the researcher interacts with the
subject being investigated. A pragmatist researcher can therefore, be both, objective and as well
as subjective in his inquiry, at different stages of the research, depending on what is being
studied. In this context, it is also worth noting that during such interaction, the researcher’s and
participant’s value systems play an explicit role in the study and as such, have the potential of
influencing the outcome (Tashakkori & Teddlie, 1998).

3.2 METHODOLOGICAL FRAMEWORK

Grounded theory methodology, developed by social researchers Barney Glaser and Anselm
Strauss in the 1960’s, forms the basis for the methodological frame of this study. Grounded
theory is based on the systemic gathering of data and its analysis to generate substantive theory
(Strauss & Corbin, 1998, 1994; Glaser & Strauss, 1967). Grounded theory methodology focuses
on a constant dialogue between data analysis and data collection, i.e., researchers that adopt
the grounded theory methodology, use inductive data analysis to consistently address decisions
associated with further data collection (Strauss & Corbin, 1994). Primary characteristics of this
 27

theory, adapted in the study are inductive, contextual, and process elements (Orlikowski, 1993),
including actions of key players associated with sacred architecture and spirituality. The
grounded theory approach is significant to this research because it allows for the holistic
exploration of differences in sacred and secular place-making patterns, including sacredness
experienced in place, rather than an objective and static inquiry that is projected as mere
causality. And, even though findings of this grounded theory study have a proclivity towards
specific particularizations, greater generalization can be extracted from the results. Such analytic
generalization can be engendered to similar contextual conditions by means of theoretical
concepts and patterns (Yin, 1994).

Grounded theory methodology can be applied to both, qualitative as well as quantitative

research (Straus & Corbin, 1994). Mixed research methods are increasingly gaining favor as an
alternative to the exclusive use of qualitative or quantitative methods, particularly when
addressing multi-faceted research problems (Creswell, 2003; Tashakkori & Teddlie, 2003). An
integrative approach towards research involving different research methods from various
traditions is being advocated by researchers in many disciplines, including architecture (Groat &
Wang, 2002). Miles and Huberman (1994:41) summarized Sieber’s (1973) rationale for
combining qualitative and quantitative data as follows:

Quantitative data can help with the qualitative side of a study

during design by finding a representative sample and locating
deviant cases. It can help during data collection by supplying
background data, getting overlooked information, and helping
avoid “elite bias” (talking only to high-status respondents). During
analysis quantitative data can help by showing the generality of
specific observations, correcting the “holistic fallacy” (monolithic
judgments about a case), and verifying or casting new light on
qualitative findings… Qualitative data can help the quantitative
side of a study during design by aiding with conceptual
development and instrumentation. They can help during data
collection by making access and data collection easier. During
analysis they can help by validating, interpreting, clarifying, and
illustrating quantitative findings, as well as thorough
strengthening and revising theory.

This combination of qualitative and quantitative data can be used to achieve significant benefits
that include: first, triangulation – utilizing the findings of one method to develop and compliment
the results of another method; and second, examining different facets of the same phenomenon
(Creswell, 2003; Tashakkori & Teddlie, 2003).
 28

The research utilized both qualitative and quantitative methods, by means of a three-tiered
approach, i.e., architectural analyses, questionnaires, and focus group discussions. The
following Figure III-1 shows a diagrammatic overview of grounded theory methods adapted in
this study.

FIGURE III-1. Diagrammatic overview of methods.

 29

3.3 METHODOLOGY

The study was conducted in four phases. Phase 1 utilized an in-depth literature review and
analysis to develop a comprehensive set of place-making patterns. Phase 2 utilized on-site
architectural analyses of a selected sacred and secular building to quantify the presence of
these place-making patterns. The architectural analyses of the selected settings produced
graphical data. Phase 3 utilized questionnaires distributed at the sacred and secular buildings to
assess pattern presence, pattern quality, and sacredness of each place. The questionnaires
yielded quantitative data as well as qualitative data. Phase 4 utilized focus group discussions to
explore experiences elicited at the sacred and secular buildings, and how architecture impacts
sacredness (if at all) at the selected buildings. The focus group discussions produced qualitative
data.

The four phases of this study were intended to complement and build upon each other: first, the
data analyzed in Phase 1 of the research was used as a basis for conducting Phase 2, Phase 3,
and Phase 4 of the research; second, architectural analyses of Phase 2 of the research, helped
interpret questionnaire results of Phase 3 and focus group discussion findings of Phase 4 of the
research; third, questionnaires results of Phase 3 of the research were used to interpret and
validate architectural analyses of Phase 2 and focus group discussion findings of Phase 4 of the
research; and fourth, focus group discussion findings of Phase 4 of the research helped interpret
and validate architectural analyses of Phase 2 and questionnaire results of Phase 3 of the
research.

Several studies (Ph.D. dissertations in architecture conducted at Texas A&M University, College
Station, Texas) have successfully utilized a similar approach with research methods for
assessing physical constructs of the built environment, similar to those that are used in this
research. Examples of such studies include:
1) The impact of visual connection with nature on social interaction in facilities for the
elderly by Kwan Yong Lee in 2003. This study utilized questionnaires, behavioral
mapping, and observations.
2) Subjective responses to daylight, sunlight, and view in college classrooms with
windows by In-Kon Kim in 1997. This study utilized questionnaires.
3) Environmental quality and healing environments: A study of flooring materials in a
healthcare telemetry unit by Debra D. Harris in 2000. This study utilized behavioral
mapping, questionnaires, and analysis of environmental conditions.
 30

4) Impact of a family-centered-care approach on the design of neonatal intensive-care

units by Marie-Andree Fournier in 1999. This study utilized analysis of architectural
documents, participant observations, journaling, interviews and questionnaires.
5) The interaction of climate, culture, and building type on built form: A computer
simulation study of energy performance of historic buildings by Anat Mintz Geva in
1995. This study utilized architectural analysis of buildings.
6) The building border: A hermeneutical study in the cultural politics of space in Egypt,
the case of El-houd El-marsoud park in Cairo by Khaled Nezar Adham in 1997. This
study utilized archival techniques, case study analysis, and open ended interviews.
7) Light in Thai places: A cultural interpretation of Thai buddhist architecture by
Vannapa Pimviriyakul in 2001. This study utilized participant observations, in-depth
interviews, archival research of architectural documents, and lighting observations.
8) A royal temple in the Thai urban landscape: Wat Pho, Bangkok by Alisara Menakanit
in 1999. This study utilized field observations, structured interviews, journaling and
analysis of historic documents, contemporary documents, aerial photographs, maps,
illustrations, and television programs.
9) Specialized knowledge roles and the professional status of healthcare architects by
Duk-Su Kim in 2001. This study utilized questionnaires, interviews, and focus group
discussions.
The studies listed above were successful in utilizing case study analysis, questionnaires, and
focus group discussions, either individually or in combination with each other and other data
collection tools for studying physical characteristics of the built environment.

Data generated through the four phases of this research were synthesized to: first, validate the
pattern presence and pattern quality assessment methods as viable tools for determining
whether a specific built environment is more likely to be experienced as sacred or secular;
second, test the validity of the hypothesis and develop theory in relation of the presence and
quality of expression of place-making patterns in sacred places; third, develop research-informed
design guidelines for sacred place-making; and fourth, propose limitations and implications for
further research. The following Figure III-2 shows the notional diagram of the research
methodology adapted in this study.
 31

FIGURE III-2. Notional diagram of research methodology.

 32

3.3.1 Phase 1: Comprehensive Place-making Pattern Matrix Development

The first phase of the research involved the review of relevant literature and established a
comprehensive set of place-making patterns, theorized to be present in sacred places. This list
of place-making patterns was labeled as Comprehensive Place-making Pattern Set (hereafter,
CPPS), and was used as a basis for the research.

Phase 1.1: Identification of Place-making Patterns

An extensive literature review was conducted and key literature references were selected for
identifying place-making patterns, theorized to be present in sacred places. These include:
1) Sacred Place: The Presence of Archetypal Patterns in Place Creation, authored by Phillip
Tabb in 1996; and 2) Using the Place-Creation Myth to Develop Design Guidelines for Sacred
Space, authored by Michael Brill in 1985. The two aforementioned authors speculate about the
presence of certain place-making patterns at sacred places. A comprehensive list of these
patterns was developed for further analysis.

Phase 1.2: Development of Comprehensive Place-making Pattern Set

This portion of the research included the following: 1) Analyzing the pattern list (previously
developed) for comparative similarities and differences; 2) Grouping similar patterns under
common categories and identifying unique ones as distinct patterns; and 3) Developing the
Comprehensive Place-making Pattern Set, based on the analysis conducted.

3.3.2 Phase 2: Architectural Analyses

The second phase of the research was conducted by means of on-site observations and
involved an architectural analysis of the selected sacred and secular buildings. Multiple site visits
were conducted in each setting. This served the purpose of first: identifying ways in which
individual place-making patterns from the CPPS, physically corresponded with the architecture
of the sacred and secular buildings; and second, quantifying the presence of individual place-
making patterns at the sacred and secular buildings, thereby establishing the total number of
place-making patterns present at each setting. The assessment of pattern presence conducted
by means of the architectural analyses, was complimented by questionnaire results in Phase 3
of the research.
 33

Phase 2.1: Identification of Place-making Patterns at Selected Buildings

The case study analyses of the selected sacred and secular buildings involved photographing
and sketching formal characteristics of each building with accompanying field notes. This data
was then compared with the CPPS to identify ways in which individual place-making patterns
physically corresponded with the architecture at each setting. If a specific place-making pattern
was present at a given setting, then a sketch and photograph accompanied by field notes
recorded how that particular pattern was physically present at that setting.

Phase 2.2: Assessment of Pattern Presence at Selected Buildings

Upon identifying how architectural characteristics of the selected sacred and secular buildings
physically corresponded with individual place-making patterns from the CPPS, the total number
of place-making patterns present at the sacred and secular buildings was quantified. A higher
pattern presence for a particular setting indicated that the given setting had a greater number of
place-making patterns than the setting with a lower pattern presence.

3.3.3 Phase 3: Questionnaires

The third phase of the research was conducted by means of questionnaires administered to
Houston architects at the sacred and secular buildings. The questionnaire served the purpose of:
first, assessing (for validating the findings of the architectural analyses in Phase 2) the presence
of individual place-making patterns from the CPPS at the sacred and secular buildings; second,
assessing the quality of expression of individual place-making patterns at the sacred and secular
buildings; and third, assessing whether the selected buildings were experienced to be sacred or
not. The assessment of pattern presence, pattern quality, and sacredness of each place,
conducted by means of questionnaires was complimented by focus group discussion findings in
Phase 4 of the research.

Phase 3.1: Validation of Pattern Presence at Selected Buildings

Prior to assessing the quality of individual place-making patterns from the CPPS at the sacred
and secular buildings, the questionnaire assessed whether individual place-making patterns
were present at each setting. Assessment of pattern presence, by means of questionnaires
served mainly to validate the pattern presence at each setting, established during the
architectural analyses in Phase 2 of the research. In the questionnaire, the presence of
individual place-making patterns at the sacred and secular buildings was scored by using the
 34

terms – Yes and No (where Yes = pattern is present, and No = pattern is absent). In this
manner, the total number and percentage of participants that answered positively (i.e., yes), to
individual place-making patterns being present at the sacred and secular buildings were
quantified. A higher number and percentage of participants at a particular setting indicated that
more participants were aware of the presence of the place-making patterns at that setting.

Phase 3.2: Assessment of Pattern Quality at Selected Buildings

The questionnaire served the purpose of assessing the quality of expression of individual place-
making patterns from the CPPS at the sacred and secular buildings. This was accomplished by
assessing how high or low in quality individual place-making patterns were perceived to be at
each setting. To assess the quality of expression of individual place-making patterns at the
sacred and secular buildings, questionnaire responses allowed for scoring from 1 to 5, on a 5
point scale (where 1 = very low quality; 2 = low quality; 3 = intermediate quality; 4 = high quality;
and 5 = very high quality). This assessed the quality of expression of individual place-making
patterns at the sacred and secular buildings. A higher pattern quality for a particular setting
indicated that the given setting had a greater quality of expression of place-making patterns than
the setting with a lower pattern quality. In addition to validating pattern presence and assessing
pattern quality, the questionnaire contained an item titled ‘comments’ associated with each
pattern. This provided participants with the opportunity to add their personal thoughts and
opinions related to the presence and quality of individual place-making patterns. Blank lines
were provided for inclusion of such thoughts and opinions.

Phase 3.3: Assessment of Sacredness of Selected Buildings

The questionnaire concluded with two additional items that asked participants whether they felt
that the place was sacred, and if so, why they felt the place was sacred. The sacredness of each
place was scored by using the terms – Yes and No (where Yes = place is sacred, and No =
place is not sacred). If participants felt that the place was sacred, then blank lines were provided
for inclusion of their thoughts and opinions as to why they felt that the place was sacred.

3.3.4 Phase 4: Focus Group Discussions

The fourth phase of the research was conducted by means of focus group discussions with
Houston architects and individuals from Houston with spiritual backgrounds, i.e., people
engaged in spiritual mentoring and meditative activities (hereafter, spiritual mentors) at the
 35

sacred and secular buildings. The focus group discussions served the purpose of: first, exploring
experiences elicited at the sacred and secular buildings; and second, exploring how architecture
impacts sacredness (if at all) at the selected buildings. This exploration of experiences and how
architecture impacts sacredness at the sacred and secular buildings was complemented by
questionnaire results in Phase 3 of the research.

Phase 4.1: Exploration of Experiences Elicited at Selected Buildings

To explore experiences elicited at the sacred and secular buildings, focus group discussion
participants were asked to: first, describe what sacred and secular meant to them; and second,
describe experiences elicited at the sacred and secular buildings.

Phase 4.2: Exploration of How Architecture Impacts Sacredness at Selected Buildings

To explore how architecture impacts sacredness at the selected buildings, focus group
discussion participants were asked to: first, determine whether they experienced the selected
buildings to be sacred or secular and why; and second, identify what architectural
characteristics, contributed to their experience of sacredness (if at all) at the sacred and secular
buildings.

3.4 DATA

The study uses three types of data - graphical, quantitative, and qualitative. First, Graphical data,
including photographs and sketches with field notes, was produced by means of case study
analyses of the sacred and secular buildings. Second, quantitative data was mainly produced by
means of questionnaires, administered to Houston architects at the sacred and secular
buildings. Third, qualitative data, including manuscripts of discussions with a group of Houston
architects and spiritual mentors was produced by means of focus group discussions. A small
portion of the qualitative data for this study also came from descriptive items in the
questionnaire.

3.4.1 Graphical Data

Graphical data was produced by means of architectural analyses of the selected sacred and
secular buildings. The architectural analyses involved multiple site visits to the sacred and
 36

secular buildings and were conducted by means of on-site observations (i.e., observations from
the researchers’ perspective) at each setting. Sketches (with field notes) and photographs of the
exterior of each building, including landscape features were recorded. Since photography was
prohibited inside the selected buildings, graphical data in the form of photographs was restricted
to the exterior of each building. To compensate for this drawback, sketches of the interior of
each building were produced with field notes.

Selection of Case Studies

Two case studies, each demonstrating dramatic differences in presence and quality of
expression of place-making patterns, were selected. Strauss and Corbin’s (1998) techniques
and procedures of theoretical sampling were used as a basis for selecting the case studies.
Theoretical sampling refers to data collection based upon ideas that arise out of the evolving
theory (Strauss and Corbin, 1998). It makes comparisons to “maximize opportunities to compare
events, incidents, or happenings to determine how a category varies in terms of its properties
and dimensions” (Strauss and Corbin, 1998:202). As such, in theoretical sampling, theoretical
relevance and purpose are emphasized (Orlikowski, 1993). The two case studies were selected
based on specific similarities and differences related to a set of ten criteria. These criteria were
used to ensure greater conformity between the case studies for comparison purposes and have
been arranged in hierarchical order of consideration as follows:

1. Place Type: One case study should be an acknowledged and purpose-built sacred
place, while the other should be a secular place. This will enable the study of potential
differences in presence and quality of expression of place-making patterns between
sacred and secular places.

2. Spatial Program: The spatial programs of the two case studies should be similar, i.e., the
two case studies should both be places of assembly, museum galleries, exhibition
spaces, etc. This will ensure common programmatic functions between the two case
studies.

3. Denomination: The selected sacred place should be non-denominational, i.e., it should

not cater exclusively to people of a particular faith and/or religion, but should serve
people of any and every belief system. The secular place will be non-denominational by
default. This will ensure that the results of the research are not biased by the beliefs
 37

and/or practices of a particular religion and/or faith, thereby making the results of the
research universally applicable.

4. Site Context: The two case studies should both exist within similar site contexts - similar
climatic conditions and similar surroundings (i.e., rural, semi-urban, or urban settings).
This ensures common site contexts between the two case studies.

5. Cultural Context: The two case studies should both exist within similar cultural contexts,
i.e., the same region of a country. Region, here, implies the nationally accepted
boundaries of a state or province within a country. This ensures common cultural
contexts between the two case studies.

6. Building Life: The two case studies should have been built at approximately the same
time, i.e., the sacred and secular place should have been constructed within 10 years
(i.e., one decade) of each other. This ensures common building lives between the two
case studies.

7. Design Process: The two case studies should both have been either professionally
designed or vernacular products, i.e., the sacred and secular building should both have
been either designed by professionally trained architects or they both should be the
vernacular products of a given community. This ensures common design processes
between the two case studies.

8. Scale: The two case studies should be of similar size, i.e., the sacred and secular
buildings should both encompass relatively similar built-up areas. As a general
guideline, the built-up area of one building should not be more than double the built-up
area of the other building. This ensures common building scales between the two case
studies.

9. Visitation: The two case studies should cater to visitors on a regular weekly basis,
including weekends. Further, the two case studies should remain open during normal
business hours, and should stay open during most months of the year. This will allow for
multiple site visits for data collection. In addition, this ensures additional data collection,
should the need arise, upon formal completion of on-site research.
 38

10. Accessibility: The two case studies should be relatively feasible to access for data
collection purposes, i.e., the sacred and secular place should be within a 100 -150 mile
radius from College Station, Texas. This will minimize travel distance to the two case
study locations and subsequently allow more time to be spent at each site for data
collection purposes. In addition, this ensures that recurring site visits remain economical.

Based on these criteria, the two case studies were the Rothko Chapel (Figure III-3) and the
Contemporary Arts Museum (Figure III-4), both located in Houston, Texas, USA. The Rothko
Chapel is an acknowledged sacred building and houses a group of fourteen paintings by Mark
Rothko. The paintings are exhibited along the periphery of the interior octagonal shaped plan.
Besides exhibiting Rothko’s work, the Chapel functions as a place for private meditation,
common worship, and hosting colloquia related with philosophical and religious themes. The
Contemporary Arts Museum, on the other hand, is a secular building, dedicated to exhibiting
contemporary art to the public. A comparative analysis of the ten criteria associated with each
case study, have been provided in Table III-1.

FIGURE III-3. View of Rothko Chapel.

 39

FIGURE III-4. View of Contemporary Arts Museum.

TABLE III-1. Comparative analysis of criteria associated with selection of case studies.
Criteria Rothko Chapel Contemporary Arts Museum

1. Place Type Sacred place - not-for-profit institution Secular place - not-for-profit institution

2. Spatial Program Gallery space Gallery space

3. Denomination Non-denominational Non-denominational

4. Site Context Urban Urban

5. Cultural Context Houston, Texas Houston, Texas

6. Building Life 1971 1972

7. Design Process Architects Philip Johnson, Howard Architect Gunnar Birkits

Barnstone and Eugene Aubry

8. Scale 4,500 sq. ft. 8,900 sq. ft.

9. Visitation Open year round Open year round

10. Accessibility 100 miles from College Station, 100 miles from College Station, Texas
Texas
 40

With regards to relevance, both case studies have similar spatial programs (i.e., both case
studies function as gallery spaces) and are non-denominational, not-for-profit institutions. In
addition, both case studies exist in the same climatic conditions and urban setting (i.e., museum
district in the city of Houston, Texas). Furthermore, both case studies have approximately similar
building lives, and were designed by professionally trained architects. Both case studies are of
approximately similar size in terms of scale. They are both open to the public all year round and
are in relatively close proximity to the researcher’s place of residence. An assessment of the
presence and quality of expression of place-making patterns in sacred and secular buildings
would be compatible across the two case studies chosen for this study.

The purpose of this study is to explore differences in the presence and quality of expression of
place-making patterns between sacred and secular buildings. Thus, difference in place-type was
the primary criteria in selecting the case studies. The two case studies selected, differed with
regards to place type, i.e., one case study is an acknowledged sacred place, while the other
case study is a secular place. This fundamental difference in place type between the two case
studies would allow for the study of the difference in presence and quality of expression of place-
making patterns in sacred and secular buildings.

3.4.2 Quantitative Data

The questionnaire, designed for the study, was administered to Houston architects, at both the
sacred and secular places. Multiple-choice questions are favorable in situations where problem
sets are defined, regularities of problem settings are known, and when quantifiable data is
required (Babbie, 1973). The questionnaire was comprised of open-ended questions as well as
multiple choice questions. The detailed chronicle of events in the questionnaire ranged from the
presence and quality of expression of individual place-making patterns from the CPPS to open-
ended questions (i.e., comments) regarding individual place-making patterns.

Sampling
The sample population for the questionnaire was architects from architecture firms in Houston,
providing basic architectural services and specializing in the design of both, religious and secular
facilities. A questionnaire recruitment package consisting of a cover letter (describing the nature
of the study) and a RSVP note (accompanied with a self-addressed, stamped return envelope)
were mailed to selected architecture firms in Houston. The sampling for mailing the
 41

questionnaire recruitment package for the purpose of recruiting questionnaire participants was
derived by means of an online directory on the AIA Houston website, using the Find Architectural
Firm feature. Such formal list and directories serve as effective guides to the general public
seeking professional services (Goode, 1957). The online directory on the AIA Houston website,
therefore, served as a useful and effective guide for identifying questionnaire participants. The
inclusion criteria used to derive the list of architecture firms for recruiting questionnaire
participants were: 1) Houston, Texas, as the geographic location of firms; 2) Basic architectural
services as the type of service provided by firms; and 3) Religious facilities as the building-type
specialization of firms. Architecture firms not matching these three criteria were excluded. On the
basis of the three criteria, ninety (90) architecture firms were identified for mailing the
questionnaire recruitment packages. Twenty four (24) architects from the identified architecture
firms replied with a positive response, stating their willingness to participate. As a result, a total
of forty-eight (48) questionnaires (twenty-four at the sacred place and twenty-four at the secular
place) were administered, representing 54% of the total number of architecture firms that were
mailed the questionnaire recruitment package. According to Babbie (1973), 50% is an adequate
response rate for the purpose of analysis and reporting. The results from these 48
questionnaires, complemented by architectural analyses and focus group discussions in the
research, therefore, provided sufficient data to support analysis and report results.

Pilot Study
A pilot study, involving three participants with architectural backgrounds (i.e., two architecture
students from Texas A&M University, College Station, Texas, and one architecture professor
from Prairie View A&M University, Prairie View, Texas), was conducted at both, the sacred and
secular places. A total of six questionnaires (three at the sacred place and three at the secular
place) were administered to the three participants to test the questionnaire format, ease of use,
motivation, and clarity. The questionnaire included two introductory questions (asking
participants their age and gender), and thirty six multiple-choice answers. Upon completion of
the pilot study, minor changes were made to the questionnaire. The final questionnaire included
two introductory questions (asking participants their age and gender), thirty seven multiple-
choice answers, and nineteen open-ended questions.

Questionnaire Format
The questionnaire consisted of 5 sheets of 8.5” x 11” size paper. The questionnaire was single-
sided and stapled at the top left-hand corner. A cover sheet was provided with the questionnaire
that included the purpose of the questionnaire, details on how questionnaire participants would
 42

remain anonymous, and contact information of the researcher, faculty advisor, and TAMU
Institutional Review Board. The first page of the questionnaire included the title of the study,
participant number designation, location, date, time, and instructions for completing the
questionnaire.

The questionnaire listed brief descriptions of individual place-making patterns followed by two
multiple-choice answers and one open ended question. Each place-making pattern description,
therefore, was followed by three questionnaire items, forming a set of questions. The
questionnaire was made up of a series of such sets of questions. Consistency in questionnaire
format, results in ease of question identification (Fink, 1995). Single-line spacing between place-
making pattern descriptions and the associated three questions was consistently provided
throughout the questionnaire. Double-line spacing was consistently provided between individual
sets consisting of pattern descriptions and the associated three questions. This spacing format
made it easier for participants to identify the three questions related with each place-making
pattern. Times New Roman font-style (10 point font-type) was used consistently throughout the
questionnaire. Bold type was used consistently throughout the questionnaire for emphasis.
Individual place-making pattern descriptions were typed in bold. This provided distinction
between place-making pattern descriptions and questions.

The presence of individual place-making patterns from the CPPS at the sacred and secular
buildings was scored by using the terms – Yes and No (where Yes = pattern is present, and No
= pattern is absent). To assess the quality of expression of individual place-making patterns at
the sacred and secular buildings, questionnaire responses allowed for scoring from 1 to 5, on a 5
point scale (where 1 = very low quality; 2 = low quality; 3 = intermediate quality; 4 = high quality;
and 5 = very high quality). A box was provided against each multiple-choice answer for checking
purposes. The open-ended questionnaire item, titled comments, was followed by a blank line for
inclusion of thoughts and opinions related with the presence and quality of expression of
individual place-making patterns. The sacredness of the selected buildings was scored by using
the terms – Yes and No (where Yes = place is sacred, and No = place is not sacred). Toward the
very end, the questionnaire included an open ended question followed by five blank lines for
participants to include their thoughts and opinions on why they felt that the place was sacred. A
copy of the questionnaire is included in Appendix A.
 43

3.4.3 Qualitative Data

Questionnaires were utilized for obtaining comparable and quantifiable data, whereas focus
group discussions were used to yield detailed and qualitative data. According to Goodrich
(1974), data obtained by means of quantitative methods, becomes more effective when
combined with other methods of data collection. Therefore, data obtained by means of focus
group discussions was complemented by questionnaires and vice versa. According to Miles and
Huberman (1994:10), major advantages of qualitative data, besides providing rich and holistic
information, is that it focuses on “naturally occurring, ordinary events in natural settings”, thereby
providing researchers with information on real life situations and exhibiting greater potential for
revealing complexity. The premise behind focus group discussions is that people who are
familiar with a particular subject and who share a common interest would be more willing to
discuss it as a group (Bellenger et al., 1976). The focus group discussions, therefore, provided
detailed information regarding the presence and quality of expression of place-making patterns
at the sacred and secular places, thereby, validating and complementing questionnaire results in
the study. A reflective journal was maintained during the entire research.

Focus Group Discussion

The focus group discussion panel consisted of 6 participants – three architects and three
spiritual mentors from Houston, Texas. Invitations, in the form of emails, were sent to the group
of architects who had previously completed the questionnaires. Three architects replied with a
positive response, stating their willingness to participate. A list of individuals engaged in spiritual
mentoring and meditative activities in Houston, Texas, was provided by the staff at Rothko
Chapel. Invitations, in the form of emails, were sent to individuals on this list, followed by
personal telephone calls in an effort to recruit focus group discussion participants. Subsequently,
three spiritual mentors agreed to participate in the study. A total of six participants were, thus,
recruited for the focus group discussion. The ideal size of a focus group panel should range from
6 to 12 participants - focus groups “should not be so large as to be unwieldy or to preclude
adequate participation by most members nor should it be so small that it fails to provide
substantially greater coverage than that of an interview with one individual (Merton et al., 1990:
137). This highly homogenous group comprised of three architects and three spiritual mentors,
formed an ideal panel for conducting the focus group discussions. The focus group comprised of
the same participants at both settings.
 44

The focus group discussions were conducted sequentially at both settings, i.e., first at Rothko
Chapel and second at Contemporary Arts Museum. The focus group discussion was conducted
in the main gallery of the Rothko Chapel, while at the Contemporary Arts Museum, the focus
group discussion was conducted in a room at the lower level. The duration of focus group
discussions at each location was approximately one hour. Each of the focus group discussions
was moderated by the researcher. Responses were recorded in the form of field notes for later
transcription.

Focus group discussions are successful to a study when questions that guide the focus group
discussion are consistent and pertinent to the objectives and purpose of the research (Stewart &
Shamdasani, 1990). Focus group discussion questions were, therefore, excerpted from the
questionnaire that was administered at the sacred and secular building. The questions were
modified accordingly, based on initial analysis of questionnaire results. Stewart and Shamdasani
(1990) suggested the use of an interview guide to provide focus groups with a direction for their
discussions. The following two categories were utilized to develop the guide: 1) exploration of
experiences elicited at the selected buildings; and 2) exploration of how architecture impacts
sacredness (if at all) at the selected buildings. Based on these two categories, the following
questions were developed for the focus group discussions:

1) Exploration of experiences elicited at the selected buildings

• Describe what sacred and secular means to you.
• Describe the experience elicited in this building.

2) Exploration of how architecture impacts sacredness (if at all) at selected buildings

• Do you experience this building to be sacred or secular? Why?
• Identify what architectural characteristics contribute to your experience of
sacredness (if at all) at this building.

3.5 DATA ANALYSIS

In the first phase of the research, the analysis of selected place-making patterns yielded the
CPPS. The review of relevant literature identified two key literature references, each containing a
specific list of place-making patterns, theorized to be present at sacred places. The two
reference lists were first analyzed for similarities and differences. Place-making patterns that
 45

were common to both lists were grouped under a single category, while those that were unique
to a single list were identified as distinct place-making patterns. Subsequently, a comprehensive
set, including place-making patterns from both reference lists, was developed based on the
analysis conducted.

During phase 2 of the research, sketches and photographs of the selected sacred and secular
buildings were produced with field notes. The photographs and sketches of the selected
buildings were compared and were analyzed graphically against individual place-making
patterns from the CPPS to identify ways in which individual place-making patterns corresponded
with the architecture at each setting.

In phase 3 of the research, relative frequencies were calculated for multiple-choice answers in
the questionnaire, while open ended questionnaire items were subjected to inductive content
analysis, first reading responses to identify emerging categories and then coding for category
inclusion. Overall, content analysis took precedence over statistical analysis. Descriptive
analysis and charts was used to analyze questionnaire results.

Data gathered by means of focus group discussions in phase 4 of the research was examined
and coded by focusing on experiences associated with the sacred and secular buildings. In
grounded theory methodology, the use of open coding in data analysis entails the formation of
initial categories of information about the phenomenon under study, through a process of data
segmentation (Creswell, 1998). As such, the data were subjected to content analysis and initial
categories were identified by means of open coding. Responses of focus group discussion
participants at the sacred and secular places were compared and contrasted for similarities and
differences. Axial coding refers to the reassembling of data that is segmented during open
coding, to produce elaborate explanations about the phenomenon under study (Strauss and
Corbin, 1998). Accordingly, data that was fractured during open coding was reassembled using
axial coding, to yield explicit and elaborate explanations about the phenomenon under study.
According to Strauss and Corbin (1998), the formation of initial categories using open coding
and major categories using axial coding, do not result in the development of theory, unless these
categories are integrated and unified around a single or core category using selective coding.
Selective coding was, therefore, utilized to develop and refine a theoretical scheme by
integrating all categories, identified during open coding and axial coding, around a single and
unified core category. Eventually, data analysis ended when open coding and axial coding did
 46

not produce any new categories and all data gathered by means of the focus group discussions
was cohesively explained using selective coding by means of core categories.

The analyzed data were synthesized to: first, validate the pattern presence and pattern quality
assessment techniques as viable tools for similar research; second, test the validity of the
hypothesis and develop theory in relation of the presence and quality of expression of place-
making patterns in sacred places; third, develop research-informed design guidelines for sacred
place-making, and fourth, propose limitations and implications for further research.
 47

CHAPTER IV
RESULTS

4.1 INTRODUCTION

In this study, graphical data, quantitative data, and qualitative data, were collected and analyzed
for triangulation purposes. The Comprehensive Place-making Pattern Set (CPPS) developed in
the first phase of the research was used as a basis for analyzing all three types of data.
Graphical data (sketches and photographs with field notes) was used to identify ways in which
individual place-making patterns from the CPPS physically corresponded with the architecture at
the sacred and secular buildings. The presence of individual place-making patterns was
assessed, thereby, quantifying the presence of individual place-making patterns at the sacred
and secular buildings. Quantitative data (questionnaires) was used to: first, validate findings of
the graphical data, i.e., the presence of individual place-making patterns at the sacred and
secular buildings; second, to assess the quality of expression of individual place-making patterns
at each setting; and third, to assess whether the selected buildings were experienced to be
sacred or secular. Finally, qualitative data (focus group discussions) was used to: first, explore
experiences elicited at the sacred and secular buildings; and second, explore how architecture
impacts sacredness (if at all) at the selected buildings. Using grounded theory methodology, the
graphical data, quantitative data, and qualitative data were compared and contrasted to develop
a theory related with the presence and quality of expression of specific place-making patterns
and their contribution to making place sacred.

4.2 COMPREHENSIVE PLACE-MAKING PATTERN SET

Two key literature references were used as a basis for developing the CPPS as follows:
1) Sacred Place: The Presence of Archetypal Patterns in Place Creation, authored by Phillip
Tabb in 1996; and 2) Using the Place-Creation Myth to Develop Design Guidelines for Sacred
Space, authored by Michael Brill in 1985. According to Tabb (1996), the following place-making
patterns are speculated to be present in sacred places: 1) Center; 2) Bounding; 3) Direction;
4) Descent; 5) Ascent; 6) Passage; 7) Numeric Order; 8) Geometric Order; 9) Spatial Order;
10) Anthropomorphic Order; 11) Ordered Nature; 12) Celestial Order; 13) Materiality;
14) Elementals; and 15) Ceremonial Order. Brill (1985) speculates the presence of the following
 48

place-making patterns in sacred places: 1) Making a Location and Center; 2) Bounding;

3) Making Orientation and Direction; 4) Triumph over the Underworld; 5) Reaching Upwards;
6) Passage; 7) Spatial Order; 8) Nature in Our Places; 9) Celestial Order; 10) Differentiating
Boundaries; 11) Ordered Views; 12) Materials for Making; 13) Light; and 14) Finishing a Place.
The two sets of place-making patterns listed above, were analyzed for comparative similarities
and differences to yield the CPPS (Table IV-1). Place-making patterns common to both authors
were listed together, while unique patterns were identified separately. The CPPS, therefore,
included a total of eighteen place-making patterns as follows: 1) Center; 2) Bounding;
3) Direction; 4) Descent; 5) Ascent; 6) Passage; 7) Numeric Order; 8) Geometric Order;
9) Spatial Order; 10) Anthropomorphic Order; 11) Ordered Nature; 12) Celestial Order;
13) Differentiating Boundaries; 14) Ordered Views; 15) Materiality; 16) Elementals; 17) Light;
and 18) Ceremonial Order. The eighteen place-making patterns of the CPPS were used as a
basis for conducting the research.

TABLE IV-1. Development of Comprehensive Place-making Pattern Set (CPPS) using place-
making patterns (speculated to be present in sacred places) proposed by authors, Tabb (1996)
and Brill (1985).
Phillip Tabb Michael Brill Comprehensive Place-making Pattern Set
Center Making a Location and Center Center
Bounding Bounding Bounding
Direction Making Orientation and Direction Direction
Descent Triumph over the Underworld Descent
Ascent Reaching Upwards Ascent
Passage Passage Passage
Numeric Order Numeric Order
Geometric Order Geometric Order
Spatial Order Spatial Order Spatial Order
Anthropomorphic Order Anthropomorphic Order
Ordered Nature Nature in Our Places Ordered Nature
Celestial Order Celestial Order Celestial Order
Differentiating Boundaries Differentiating Boundaries
Ordered Views Ordered Views
Materiality Materials for Making Materiality
Elementals Elementals
Light Light
Ceremonial Order Finishing a Place Ceremonial Order
 49

4.3 GRAPHICAL DATA

Graphical data was produced by means of sketches and photographs at the sacred and secular
buildings. The assessment of the presence of individual place-making patterns at the sacred and
secular buildings involves the following: first, identifying ways in which individual place-making
patterns from the CPPS, physically corresponded with the architecture of the sacred and secular
buildings; and second, quantifying the presence of individual place-making patterns at the
sacred and secular buildings, thereby establishing the total number of place-making patterns
present at each setting.

4.3.1 Assessment of Pattern Presence at Selected Buildings

The presence of individual place-making patterns at the sacred place, i.e., Rothko Chapel and
the secular place, i.e., Contemporary Arts Museum is displayed below.

Center
The presence of Center was experienced to be present at the Rothko Chapel through the spatial
center of the octagonal shaped plan of the Chapel (Figure IV-1). The presence of Center was
experienced to be absent at the Contemporary Arts Museum.

FIGURE IV-1. Presence of center at Rothko Chapel.

 50

Bounding
The presence of Bounding was experienced to be present at the Rothko Chapel through the
walls, floor, and ceiling of the Chapel (Figure IV-2). At the Contemporary Arts Museum, the
presence of Bounding was experienced to be present through the walls, floor, and ceiling of the
Museum (Figure IV-3).

FIGURE IV-2. Presence of bounding (walls, floor, and ceiling) at Rothko Chapel.

FIGURE IV-3. Presence of bounding (walls, floor, and ceiling) at Contemporary Arts Museum.
 51

Direction
The presence of Direction was experienced to be present at the Rothko Chapel through the
alignment of the Chapel entrance with the pool on the south (Figure IV-4). The presence of the
Direction was experienced to be absent at the Contemporary Arts Museum.

FIGURE IV-4. Presence of direction at Rothko Chapel.

Descent
The presence of Descent was experienced to be present at the Rothko Chapel through the
darkness inside the Chapel (Figure IV-5). At the Contemporary Arts Museum, the presence of
Descent was experienced to be present through the descending stairs leading to the lower level
of the Museum (Figure IV-6).

FIGURE IV-5. Presence of descent (darkness inside) at Rothko Chapel.

 52

FIGURE IV-6. Presence of descent (stairs to lower level) at Contemporary Arts Museum.

Ascent
The presence of Ascent was experienced to be present at the Rothko Chapel through the light
entering the skylight in the ceiling of the Chapel (Figure IV-7). The presence of Ascent was
experienced to be absent at the Contemporary Arts Museum.

FIGURE IV-7. Presence of ascent at Rothko Chapel.

Passage
The presence of Passage was experienced to be present at the Rothko Chapel through the main
entrance doorway of the Chapel (Figure IV-8). At the Contemporary Arts Museum, the presence
of Passage was experienced to be present through the main entrance doorway of the Museum
(Figure IV-9).
 53

FIGURE IV-8. Presence of passage (main entrance doorway) at Rothko Chapel.

FIGURE IV-9. Presence of passage (main entrance doorway) at Contemporary Arts Museum.

Numeric Order
The presence of Numeric Order was experienced to be present at the Rothko Chapel through
the eight sides of the Chapel (Figure IV-10). The presence of Numeric Order was experienced to
be absent at the Contemporary Arts Museum.
 54

FIGURE IV-10. Presence of numeric Order at Rothko Chapel.

Geometric Order
The presence of Geometric Order was experienced to be present at the Rothko Chapel through
the octagonal shape of the Chapel (Figure IV-11). At the Contemporary Arts Museum, the
presence of Geometric Order was experienced to be present through the parallelogram shape of
the Museum (Figure IV-12).

FIGURE IV-11. Presence of geometric order (octagonal shape) at Rothko Chapel.

 55

FIGURE IV-12. Presence of geometric order (parallelogram) at Contemporary Arts Museum.

Spatial Order
The presence of Spatial Order was experienced to be present at the Rothko Chapel through the
hierarchical arrangement of spaces from the center of the Chapel to the outdoors (Figure IV-13).
The presence Spatial Order was experienced to be absent at the Contemporary Arts Museum.

FIGURE IV-13. Presence of spatial order at Rothko Chapel.

Anthropomorphic Order
The presence of Anthropomorphic Order was experienced to be present at the Rothko Chapel
through the high ceilings of the Chapel (Figure IV-14). The presence of Anthropomorphic Order
was experienced to be absent at the Contemporary Arts Museum.
 56

FIGURE IV-14. Presence of anthropomorphic order (high ceilings) at Rothko Chapel.

Ordered Nature
The presence of Ordered Nature was experienced to be present at the Rothko Chapel through
the water pool with bamboo groove (Figure IV-15). At the Contemporary Arts Museum, the
presence of Ordered Nature was experienced to be present through the vegetative shrubs on
the site (Figure IV-16).

FIGURE IV-15. Presence of ordered nature (water pool with bamboo groove) at Rothko Chapel.
 57

FIGURE IV-16. Presence of ordered nature (vegetative shrubs) at Contemporary Arts Museum.

Celestial Order
The presence of Celestial Order was experienced to be present at the Rothko Chapel through
the light entering the skylight in the ceiling (Figure IV-17). The presence of Celestial Order was
experienced to be absent at the Contemporary Arts Museum.

FIGURE IV-17. Presence of celestial order at Rothko Chapel.

Differentiating Boundaries
The presence of Differentiating Boundaries was experienced to be present at the Rothko Chapel
through varying offsets in the wall planes of the Chapel (Figure IV-18). The presence of
Differentiating Boundaries was experienced to be absent at the Contemporary Arts Museum.
 58

FIGURE IV-18. Presence of differentiating boundaries at Rothko Chapel.

Ordered Views
The presence of Ordered Views was experienced to be present at the Rothko Chapel through
the large solid walls of the Chapel restricting all views to the outside (Figure IV-19). At the
Contemporary Arts Museum, the presence of Ordered Views was experienced to be present
through the walls of the Museum restricting all views to the outside (Figure IV-20).

FIGURE IV-19. Presence of ordered views at Rothko Chapel.

 59

FIGURE IV-20. Presence of ordered views at Contemporary Arts Museum.

Materiality
The presence of Materiality was experienced to be present at Rothko Chapel through the gray
walls of the Chapel (Figure IV-21). At the Contemporary Arts Museum, the presence of
Materiality was experienced to be present through the metallic siding of the Museum (Figure
IV-22).

FIGURE IV-21. Presence of materiality at Rothko Chapel.

 60

FIGURE IV-22. Presence of materiality at Contemporary Arts Museum.

Elementals
The presence of Elementals was experienced to be present at the Rothko Chapel through the
walls – earth, skylight – fire, pool – water, and movement of bamboo groove – wind (Figure IV-
23). At the Contemporary Arts Museum, the presence of Elementals was experienced to be
present through the fountain – water (Figure IV-24).

FIGURE IV-23. Presence of elementals (walls – earth, skylight – fire, pool – water, and
movement of bamboo groove – wind) at Rothko Chapel.
 61

FIGURE IV-24. Presence of elementals (fountain – water) at Contemporary Arts Museum.

Light
The presence of Light was experienced to be present at the Rothko Chapel through the sunlight
entering the skylight in the ceiling and contrasting with darkness inside the Chapel (Figure
IV-25). At the Contemporary Arts Museum, the presence of Light was experienced to be present
through the sunlight entering the basement clerestory windows of the Museum (Figure IV-26).

FIGURE IV-25. Presence of light at Rothko Chapel.

 62

FIGURE IV-26. Presence of light at Contemporary Arts Museum.

Ceremonial Order
The presence of Ceremonial Order was experienced to be present at the Rothko Chapel through
interaction of people with the paintings and the Chapel (Figure IV-27). The presence of
Ceremonial Order was experienced to be absent at the Contemporary Arts Museum.

FIGURE IV-27. Presence of ceremonial order at Rothko Chapel.

The presence of individual place-making patterns and their correspondence with the architecture
of the sacred and secular buildings is summarized in Table IV-2. The column under Pattern list
displays individual place-making patterns. The column under Pattern presence shows whether
individual place-making patterns are observed to be present or absent at the sacred and secular
buildings. The column under Correspondence of pattern presence with architecture shows how,
or in what ways individual place-making patterns from the CPPS, physically corresponded with
 63

the architecture of the sacred and secular buildings. In the table, Rothko Chapel has been
abbreviated as RC, while Contemporary Arts Museum has been abbreviated as CAM.

TABLE IV-2. Presence of patterns and correspondence with architecture of selected buildings.
Pattern list Presence and correspondence of place-making patterns
RC CAM
Pattern Correspondence of pattern presence Pattern Correspondence of pattern
presence with architecture presence presence with architecture
Center Present Spatial center of the octagonal shaped Absent Pattern is absent.
plan of the Chapel.
Bounding Present Walls, floor, and ceiling of the Chapel. Present Walls, floor, and ceiling of the
Museum.
Direction Present Alignment of the Chapel entrance with Absent Pattern is absent.
the pool on the south.
Descent Present Darkness inside the Chapel. Present Descending stairs leading to the lower
level of the Museum.
Ascent Present Light entering the skylight in the ceiling Absent Pattern is absent.
of the Chapel.
Passage Present Main entrance doorway of the Chapel. Present Main entrance doorway of the
Museum.
Numeric Order Present Eight sides of the Chapel. Absent Pattern is absent.
Geometric Order Present Octagonal shape of the Chapel. Present Parallelogram shape of the Museum.
Spatial Order Present Hierarchical arrangement of spaces from Absent Pattern is absent.
the center of the Chapel to the outdoors.
Anthropomorphic Present High ceilings of the Chapel. Absent Pattern is absent.
Order
Ordered Nature Present Water pool with bamboo screening. Present Vegetative shrubs on the site.
Celestial Order Present Light entering the skylight in the ceiling. Absent Pattern is absent.
Differentiating Present Varying offsets in the wall planes of the Absent Pattern is absent.
Boundaries Chapel.
Ordered Views Present Large solid walls of the Chapel Present Walls of the Museum restricting all
restricting all views to the outside. views to the outside.
Materiality Present Gray walls of the Chapel. Present Metallic siding of the Museum.
Elementals Present Walls – earth, skylight – fire, pool – Present Fountain – water.
water, and movement of bamboo groove
– wind.
Light Present Sunlight entering the skylight in the Present Sunlight entering the basement
ceiling and contrasting with darkness clerestory windows of the Museum.
inside the Chapel.
Ceremonial Order Present Interaction of people with the paintings Absent Pattern is absent.
and the Chapel.

4.4 QUESTIONNAIRE DATA

A total of forty-eight (48) questionnaires (24 at each setting) were administered to twenty-four
(24) Houston architects at the sacred and secular places. Of the 24 Houston architects, 16
participants were male, while 8 participants were female (Figure IV-28). A total of 12 participants
were in the age group of 25 to 40 years, 8 participants were in the age group of 41 to 55 years, 3
participants were in the age group of 56 to 70 years, and 1 participant was in the age group of 71
years or above (Figure IV-29).
 64

18
Male
16

14

Number of participants
12

10
Female
8

0
Gender of participants

FIGURE IV-28. Gender distribution of questionnaire participants.

14

25-40
12
Number of participants

10

41-55
8

4
56-70

2
71-above

0
Age of participants (years)

FIGURE IV-29. Age distribution of questionnaire participants.

Questionnaire results are categorized as follows: 1) validation of pattern presence at selected

buildings; 2) assessment of pattern quality at selected buildings; 3) comments associated with
pattern presence and pattern quality at selected buildings; 4) assessment of sacredness of
selected buildings; and 5) comments associated with sacredness of selected buildings.

4.4.1 Validation of Pattern Presence at Selected Buildings

The presence of individual place-making patterns from the CPPS for both the sacred and secular
places, is shown in Table IV-3. The column under Pattern list displays individual place-making
 65

patterns. Two columns – Number (no.) and Percentage (%) are shown under Rothko Chapel and
Contemporary Arts Museum, each. The column under Number (no.) shows the total number of
participants that answered positively (i.e., yes), to individual place-making patterns being present
at the specified settings, while the Percentage (%) column represents the percentage of
participants that answered positively (i.e., yes), to individual place-making patterns being present
at the specified settings.

TABLE IV-3. Number/percentage of questionnaire participants who agreed that place-making

patterns from the CPPS were present at the sacred and secular buildings.
Pattern list Rothko Chapel Contemporary Arts Museum
Number (no.) Percentage (%) Number (no.) Percentage (%)
Center 23 95.8% 6 25%
Bounding 24 100% 20 83.3%
Direction 17 70.8% 8 33.3%
Descent 16 66.6% 16 66.6%
Ascent 22 91.6% 14 58.3%
Passage 20 83.3% 14 58.3%
Numeric Order 20 83.3% 14 58.3%
Geometric Order 24 100% 21 87.5%
Spatial Order 21 87.5% 14 58.3%
Anthropomorphic Order 18 75% 10 41.6%
Ordered Nature 23 95.8% 18 75%
Celestial Order 21 87.5% 4 16.6%
Differentiating Boundaries 16 66.6% 8 33.3%
Ordered Views 20 83.3% 16 66.6%
Materiality 24 100% 22 91.6%
Elementals 22 91.6% 16 66.6%
Light 24 100% 15 62.5%
Ceremonial Order 24 100% 6 25%

The difference in presence of individual place-making patterns between the sacred and secular
places has been compared in the bar charts and pie charts that follow. The bar charts compare
the number (no.) of participants that answered positively (i.e., yes), to individual place-making
patterns being present at the specified settings, while the pie charts compare the percentage (%)
of participants that answered positively (i.e., yes), to individual place-making patterns being
present at the specified settings. In both types of charts, Rothko Chapel has been abbreviated
as RC, while Contemporary Arts Museum has been abbreviated as CAM.
 66

Center
A total of 23 participants answered positively (i.e., yes), to the place-making pattern Center being
present at the Rothko Chapel. This number represents 95.8% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 6 participants answered
positively (i.e., yes) to Center being present. This number represents 25% of the total number of
questionnaire participants (Figures IV-30 and 31).

25

RC
20
Number of participants

15

10

5 CAM

0
Place

FIGURE IV-30. Presence of center based on number (no.) of participants.

RC CAM

Pattern
absent Pattern
4% present
25%

Pattern
Pattern absent
present 75%
96%

FIGURE IV-31. Presence of center based on percentage (%) of participants.

 67

Bounding
A total of 24 participants answered positively (i.e., yes), to the place-making pattern Bounding
being present at the Rothko Chapel. This number represents 100% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 20 participants answered
positively (i.e., yes) to Bounding being present. This number represents 83.3% of the total
number of questionnaire participants (Figures IV-32 and 33).

25

RC

20
CAM
Number of participants

15

10

0
Place

FIGURE IV-32. Presence of bounding based on number (no.) of participants.

RC CAM

Pattern
absent
17%

Pattern Pattern
present present
100% 83%

FIGURE IV-33. Presence of bounding based on percentage (%) of participants.

 68

Direction
A total of 17 participants answered positively (i.e., yes), to the place-making pattern Direction
being present at the Rothko Chapel. This number represents 70.8% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 8 participants answered
positively (i.e., yes) to Direction being present. This number represents 33.3% of the total
number of questionnaire participants (Figures IV-34 and 35).

25

20
Number of participants

RC
15

10

CAM
5

0
Place

FIGURE IV-34. Presence of direction based on number (no.) of participants.

RC CAM

Pattern Pattern
absent present
29% 33%
Pattern Pattern
present absent
71% 67%

FIGURE IV-35. Presence of direction based on percentage (%) of participants.

 69

Descent
A total of 16 participants answered positively (i.e., yes), to the place-making pattern Descent
being present at the Rothko Chapel. This number represents 66.6% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 16 participants answered
positively (i.e., yes) to Descent being present. This number represents 66.6% of the total number
of questionnaire participants (Figures IV-36 and 37).

25

20
Number of participants

15 RC CAM

10

0
Place

FIGURE IV-36. Presence of descent based on number (no.) of participants.

RC CAM

Pattern Pattern
absent absent
33% 33%
Pattern Pattern
present present
67% 67%

FIGURE IV-37. Presence of descent based on percentage (%) of participants.

 70

Ascent
A total of 22 participants answered positively (i.e., yes), to the place-making pattern Ascent
being present at the Rothko Chapel. This number represents 91.6% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 14 participants answered
positively (i.e., yes) to Ascent being present. This number represents 58.3% of the total number
of questionnaire participants (Figures IV-38 and 39).

25

RC
20
Number of participants

15

CAM

10

0
Place

FIGURE IV-38. Presence of ascent based on number (no.) of participants.

RC CAM

Pattern
absent
8% Pattern
absent
Pattern
42%
present
Pattern 58%
present
92%

FIGURE IV-39. Presence of ascent based on percentage (%) of participants.

 71

Passage
A total of 20 participants answered positively (i.e., yes), to the place-making pattern Passage
being present at the Rothko Chapel. This number represents 83.3% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 14 participants answered
positively (i.e., yes) to Passage being present. This number represents 58.3% of the total
number of questionnaire participants (Figures IV-40 and 41).

25

20
RC
Number of participants

15

CAM

10

0
Place

FIGURE IV-40. Presence of passage based on number (no.) of participants.

RC CAM

Pattern
absent
17% Pattern
absent
Pattern
42%
present
Pattern 58%
present
83%

FIGURE IV-41. Presence of passage based on percentage (%) of participants.

 72

Numeric Order
A total of 20 participants answered positively (i.e., yes), to the place-making pattern Numeric
Order being present at the Rothko Chapel. This number represents 83.3% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 14 participants answered
positively (i.e., yes) to Numeric Order being present. This number represents 58.3% of the total
number of questionnaire participants (Figures IV-42 and 43).

25

20
RC
Number of participants

15

CAM

10

0
Place

FIGURE IV-42. Presence of numeric order based on number (no.) of participants.

RC CAM

Pattern
absent
17% Pattern
absent
Pattern
42%
present
Pattern 58%
present
83%

FIGURE IV-43. Presence of numeric order based on percentage (%) of participants.

 73

Geometric Order
A total of 24 participants answered positively (i.e., yes), to the place-making pattern Geometric
Order being present at the Rothko Chapel. This number represents 100% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 21 participants answered
positively (i.e., yes) to Geometric Order being present. This number represents 87.5% of the
total number of questionnaire participants (Figures IV-44 and 45).

25

RC

20 CAM
Number of participants

15

10

0
Place

FIGURE IV-44. Presence of geometric order based on number (no.) of participants.

RC CAM

Pattern
absent
13%

Pattern Pattern
present present
100% 87%

FIGURE IV-45. Presence of geometric order based on percentage (%) of participants.

 74

Spatial Order
A total of 21 participants answered positively (i.e., yes), to the place-making pattern Spatial
Order being present at the Rothko Chapel. This number represents 87.5% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 14 participants answered
positively (i.e., yes) to Spatial Order being present. This number represents 58.3% of the total
number of questionnaire participants (Figures IV-46 and 47).

25

20 RC
Number of participants

15

CAM

10

0
Place

FIGURE IV-46. Presence of spatial order based on number (no.) of participants.

RC CAM

Pattern
absent
13% Pattern
absent
Pattern
42%
present
Pattern 58%
present
87%

FIGURE IV-47. Presence of spatial order based on percentage (%) of participants.

 75

Anthropomorphic Order
A total of 18 participants answered positively (i.e., yes), to the place-making pattern
Anthropomorphic Order being present at the Rothko Chapel. This number represents 75% of the
total number of questionnaire participants. At the Contemporary Arts Museum, 10 participants
answered positively (i.e., yes) to Anthropomorphic Order being present. This number represents
41.6% of the total number of questionnaire participants (Figures IV-48 and 49).

25

20
Number of participants

RC
15

10
CAM

0
Place

FIGURE IV-48. Presence of anthropomorphic order based on number (no.) of participants.

RC CAM

Pattern
absent Pattern
25% present
Pattern
42%
Pattern absent
present 58%
75%

FIGURE IV-49. Presence of anthropomorphic order based on percentage (%) of participants.

 76

Ordered Nature
A total of 23 participants answered positively (i.e., yes), to the place-making pattern Ordered
Nature being present at the Rothko Chapel. This number represents 95.8% of the total number
of questionnaire participants. At the Contemporary Arts Museum, 18 participants answered
positively (i.e., yes) to Ordered Nature being present. This number represents 75% of the total
number of questionnaire participants (Figures IV-50 and 51).

25

RC
20
Number of participants

CAM
15

10

0
Place

FIGURE IV-50. Presence of ordered nature based on number (no.) of participants.

RC CAM

Pattern
absent Pattern
4% absent
25%

Pattern
Pattern present
present 75%
96%

FIGURE IV-51. Presence of ordered nature based on percentage (%) of participants.

 77

Celestial Order
A total of 21 participants answered positively (i.e., yes), to the place-making pattern Celestial
Order being present at the Rothko Chapel. This number represents 87.5% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 4 participants answered
positively (i.e., yes) to Celestial Order being present. This number represents 16.6% of the total
number of questionnaire participants (Figures IV-52 and 53).

25

20 RC
Number of participants

15

10

CAM

0
Place

FIGURE IV-52. Presence of celestial order based on number (no.) of participants.

RC CAM

Pattern Pattern
absent present
13% 17%

Pattern Pattern
present absent
87% 83%

FIGURE IV-53. Presence of celestial order based on percentage (%) of participants.

 78

Differentiating Boundaries
A total of 16 participants answered positively (i.e., yes), to the place-making pattern
Differentiating Boundaries being present at the Rothko Chapel. This number represents 66.6%
of the total number of questionnaire participants. At the Contemporary Arts Museum, 8
participants answered positively (i.e., yes) to Differentiating Boundaries being present. This
number represents 33.3% of the total number of questionnaire participants (Figures IV-54 and
55).

25

20
Number of participants

15 RC

10

CAM
5

0
Place

FIGURE IV-54. Presence of differentiating boundaries based on number (no.) of participants.

RC CAM

Pattern Pattern
absent present
33% 33%
Pattern Pattern
present absent
67% 67%

FIGURE IV-55. Presence of differentiating boundaries based on percentage (%) of participants.

 79

Ordered Views
A total of 20 participants answered positively (i.e., yes), to the place-making pattern Ordered
Views being present at the Rothko Chapel. This number represents 83.3% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 16 participants answered
positively (i.e., yes) to Ordered Views being present. This number represents 66.6% of the total
number of questionnaire participants (Figures IV-56 and 57).

25

20
RC
Number of participants

15 CAM

10

0
Place

FIGURE IV-56. Presence of ordered views based on number (no.) of participants.

RC CAM

Pattern
absent Pattern
17% absent
33%
Pattern
Pattern present
present 67%
83%

FIGURE IV-57. Presence of ordered views based on percentage (%) of participants.

 80

Materiality
A total of 24 participants answered positively (i.e., yes), to the place-making pattern Materiality
being present at the Rothko Chapel. This number represents 100% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 22 participants answered
positively (i.e., yes) to Materiality being present. This number represents 91.6% of the total
number of questionnaire participants (Figures IV-58 and 59).

25

RC
CAM
20
Number of participants

15

10

0
Place

FIGURE IV-58. Presence of materiality based on number (no.) of participants.

RC CAM

Pattern
absent
8%

Pattern Pattern
present present
100% 92%

FIGURE IV-59. Presence of materiality based on percentage (%) of participants.

 81

Elementals
A total of 22 participants answered positively (i.e., yes), to the place-making pattern Elementals
being present at the Rothko Chapel. This number represents 91.6% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 16 participants answered
positively (i.e., yes) to Elementals being present. This number represents 66.6% of the total
number of questionnaire participants (Figures IV-60 and 61).

25

RC
20
Number of participants

15 CAM

10

0
Place

FIGURE IV-60. Presence of elementals based on number (no.) of participants.

RC CAM

Pattern
absent Pattern
8% absent
33%
Pattern
Pattern present
present 67%
92%

FIGURE IV-61. Presence of elementals based on percentage (%) of participants.

 82

Light
A total of 24 participants answered positively (i.e., yes), to the place-making pattern Light being
present at the Rothko Chapel. This number represents 100% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 15 participants answered
positively (i.e., yes) to Light being present. This number represents 62.5% of the total number of
questionnaire participants (Figures IV-62 and 63).

25

RC

20
Number of participants

15
CAM

10

0
Place

FIGURE IV-62. Presence of light based on number (no.) of participants.

RC CAM

Pattern
absent
38% Pattern
present
Pattern 62%
present
100%

FIGURE IV-63. Presence of light based on percentage (%) of participants.

 83

Ceremonial Order
A total of 24 participants answered positively (i.e., yes), to the place-making pattern Ceremonial
Order being present at the Rothko Chapel. This number represents 100% of the total number of
questionnaire participants. At the Contemporary Arts Museum, 6 participants answered
positively (i.e., yes) to Ceremonial Order being present. This number represents 25% of the total
number of questionnaire participants (Figures IV-64 and 65).

25

RC

20
Number of participants

15

10

5 CAM

0
Place

FIGURE IV-64. Presence of ceremonial order based on number (no.) of participants.

RC CAM

Pattern
present
25%

Pattern
Pattern absent
present 75%
100%

FIGURE IV-65. Presence of ceremonial order based on percentage (%) of participants.

 84

Based on the opinion of questionnaire participants, the presence of the place-making patterns at
the Rothko Chapel is shown in Figure IV-66. The presence of individual place-making patterns
displayed in the figure is based on the percentage of participants that answered positively (i.e.,
yes), to the patterns being present at Rothko Chapel. The presence of individual place-making
patterns (based on the percentage of participants that answered positively – yes, to the patterns
being present at Rothko Chapel) can be arranged in hierarchical order as follows: 1) Bounding,
Geometric Order, Materiality, Light, and Ceremonial Order; 2) Center and Ordered Nature;
3) Ascent and Elementals; 4) Spatial Order and Celestial Order; 5) Passage, Numeric Order,
and Ordered Views; 6) Anthropomorphic Order; 7) Direction; 8) Descent and Differentiating
Boundaries.

FIGURE IV-66. Presence of patterns at Rothko Chapel.

 85

Based on the opinion of questionnaire participants, the presence of the place-making patterns at
the Contemporary Arts Museum is shown in Figure IV-67. The presence of individual place-
making patterns displayed in the figure is based on the percentage of participants that answered
positively (i.e., yes), to the patterns being present at Contemporary Arts Museum. The presence
of individual place-making patterns (based on the percentage of participants that answered
positively – yes, to the patterns being present at the Contemporary Arts Museum) can be
arranged in hierarchical order as follows: 1) Materiality; 2) Geometric Order; 3) Bounding;
4) Ordered Nature; 5) Descent, Ordered Views, and Elementals; 6) Light; 7) Ascent, Passage,
Numeric Order, and Spatial Order; 8) Anthropomorphic Order; 9) Direction and Differentiating
Boundaries; 10) Center and Ceremonial Order; 11) Celestial Order.

FIGURE IV-67. Presence of patterns at Contemporary Arts Museum.

 86

Greater area coverage in Figure IV-66 (presence of place-making patterns at the Rothko
Chapel) as compared to the area coverage in Figure IV-67 (presence of place-making patterns
at the Contemporary Arts Museum) indicates that a greater number of participants were aware of
the presence of the place-making patterns at the Rothko Chapel than at the contemporary Arts
Museum.

4.4.2 Assessment of Pattern Quality at Selected Buildings

The quality of expression of individual place-making patterns from the CPPS for both the sacred
and secular places, is shown in Table IV-4. The column under Pattern list displays individual
place-making patterns. Three columns – Number (no.), Score and Mean are shown under
Rothko Chapel and Contemporary Arts Museum, each. The column under Number (no.) shows
the total number of participants that answered positively (i.e., yes), to individual place-making
patterns being present at the specified settings. The column under Score shows the sum of all
values (scored on the 5 point scale for pattern quality) assigned by participants that answered
positively (i.e., yes), to individual place-making patterns being present at the specified settings.
The column under Mean represents the mean of the score for individual place-making patterns
(i.e., score divided by number of participants that answered positively (i.e., yes), to that pattern
being present at the specified settings).
 87

TABLE IV-4. Number of questionnaire participants who agreed that place-making patterns from
the CPPS were present, total and mean scores regarding the quality of expression of place-
making patterns at the sacred and secular buildings.

Pattern list Rothko Chapel Contemporary Arts Museum

Number (no.) Score Mean Number (no.) Score Mean

Center 23 100 4.34 6 15 2.5

Bounding 24 114 4.75 20 61 3.05

Direction 17 64 3.76 8 27 3.37

Descent 16 64 4.0 16 43 2.68

Ascent 22 97 4.4 14 38 2.71

Passage 20 77 3.85 14 49 3.5

Numeric Order 20 88 4.4 14 41 2.92

Geometric Order 24 110 4.58 21 73 3.47

Spatial Order 21 87 4.14 14 38 2.71

Anthropomorphic Order 18 64 3.55 10 19 1.9

Ordered Nature 23 94 4.08 18 37 2.05

Celestial Order 21 82 3.9 4 8 2.0

Differentiating Boundaries 16 53 3.31 8 19 2.37

Ordered Views 20 97 4.85 16 47 2.93

Materiality 24 98 4.08 22 73 3.31

Elementals 22 86 3.9 16 36 2.25

Light 24 109 4.54 15 34 2.26

Ceremonial Order 24 109 4.54 6 18 3.0

The difference in quality of expression of individual place-making patterns between the sacred
and secular places has been compared in the bar charts that follow. Two bar charts for each
place-making pattern – one based on the score and one based on the mean - compare the
quality of expression of individual place-making patterns between the sacred and secular places.
In both charts, Rothko Chapel has been abbreviated as RC, while Contemporary Arts Museum
has been abbreviated as CAM.
 88

Center
The quality of expression of the place-making pattern Center at the Rothko Chapel was scored
at 100. This score, when divided by 23 (i.e., 23 participants answered positively - yes, to Center
being present at the Rothko Chapel), yields a mean of 4.34. At the Contemporary Arts Museum,
the quality of expression of Center was scored at 15. This score, when divided by 6 (i.e., 6
participants answered positively - yes, to Center being present at the Contemporary Arts
Museum), yields a mean of 2.5 (Figures IV-68 and 69).

120

110

100
RC
90
Pattern quality (Score)

80

70

60
50

40

30

20

10 CAM
0
Place

FIGURE IV-68. Quality of expression of center based on score.

4.5

4 RC
Pattern quality (Mean)

3.5

2.5
CAM
2

1.5

0.5

0
Place

FIGURE IV-69. Quality of expression of center based on mean.

 89

Bounding
The quality of expression of the place-making pattern Bounding at the Rothko Chapel was
scored at 114. This score, when divided by 24 (i.e., 24 participants answered positively - yes, to
Bounding being present at the Rothko Chapel), yields a mean of 4.75. At the Contemporary Arts
Museum, the quality of expression of Bounding was scored at 61. This score, when divided by
20 (i.e., 20 participants answered positively - yes, to Bounding being present at the
Contemporary Arts Museum), yields a mean of 3.05 (Figures IV-70 and 71).

120
110 RC
100
90
Pattern quality (Score)

80
70
60
CAM
50

40
30
20
10
0
Place

FIGURE IV-70. Quality of expression of bounding based on score.

4.5 RC
4
Pattern quality (Mean)

3.5

3
CAM
2.5

1.5

0.5

0
Place

FIGURE IV-71. Quality of expression of bounding based on mean.

 90

Direction
The quality of expression of the place-making pattern Direction at the Rothko Chapel was scored
at 64. This score, when divided by 17 (i.e., 17 participants answered positively - yes, to Direction
being present at the Rothko Chapel), yields a mean of 3.76. At the Contemporary Arts Museum,
the quality of expression of Direction was scored at 27. This score, when divided by 8 (i.e., 8
participants answered positively - yes, to Direction being present at the Contemporary Arts
Museum), yields a mean of 3.37 (Figures IV-72 and 73).

120
110

100
90
Pattern quality (Score)

80
70
60 RC
50

40
30
20 CAM
10
0
Place

FIGURE IV-72. Quality of expression of direction based on score.

4.5

4
Pattern quality (Mean)

3.5 RC
3
CAM

2.5

1.5

0.5

0
Place

FIGURE IV-73. Quality of expression of direction based on mean.

 91

Descent
The quality of expression of the place-making pattern Descent at the Rothko Chapel was scored
at 64. This score, when divided by 16 (i.e., 16 participants answered positively - yes, to Descent
being present at the Rothko Chapel), yields a mean of 4.0. At the Contemporary Arts Museum,
the quality of expression of Descent was scored at 43. This score, when divided by 16 (i.e., 16
participants answered positively - yes, to Descent being present at the Contemporary Arts
Museum), yields a mean of 2.68 (Figures IV-74 and 75).

120
110

100
90
Pattern quality (Score)

80
70
60 RC
50

40
CAM
30
20
10
0
Place

FIGURE IV-74. Quality of expression of descent based on score.

4.5

4
RC
Pattern quality (Mean)

3.5

2.5 CAM
2

1.5

0.5

0
Place

FIGURE IV-75. Quality of expression of descent based on mean.

 92

Ascent
The quality of expression of the place-making pattern Ascent at the Rothko Chapel was scored
at 97. This score, when divided by 22 (i.e., 22 participants answered positively - yes, to Ascent
being present at the Rothko Chapel), yields a mean of 4.4. At the Contemporary Arts Museum,
the quality of expression of Ascent was scored at 38. This score, when divided by 14 (i.e., 14
participants answered positively - yes, to Ascent being present at the Contemporary Arts
Museum), yields a mean of 2.71 (Figures IV-76 and 77).

120
110

100
90 RC
Pattern quality (Score)

80
70
60
50

40
30 CAM
20
10
0
Place

FIGURE IV-76. Quality of expression of ascent based on score.

4.5
RC
4
Pattern quality (Mean)

3.5

2.5 CAM
2

1.5

0.5

0
Place

FIGURE IV-77. Quality of expression of ascent based on mean.

 93

Passage
The quality of expression of the place-making pattern Passage at the Rothko Chapel was scored
at 77. This score, when divided by 20 (i.e., 20 participants answered positively - yes, to Passage
being present at the Rothko Chapel), yields a mean of 3.85. At the Contemporary Arts Museum,
the quality of expression of Passage was scored at 49. This score, when divided by 14 (i.e., 14
participants answered positively - yes, to Passage being present at the Contemporary Arts
Museum), yields a mean of 3.5 (Figures IV-78 and 79).

120
110

100
90
Pattern quality (Score)

80
70 RC
60
50

40
CAM

30
20
10
0
Place

FIGURE IV-78. Quality of expression of passage based on score.

4.5

4
Pattern quality (Mean)

3.5 RC
CAM
3

2.5

1.5

0.5

0
Place

FIGURE IV-79. Quality of expression of passage based on mean.

 94

Numeric Order
The quality of expression of the place-making pattern Numeric Order at the Rothko Chapel was
scored at 88. This score, when divided by 20 (i.e., 20 participants answered positively - yes, to
Numeric Order being present at the Rothko Chapel), yields a mean of 4.4. At the Contemporary
Arts Museum, the quality of expression of Numeric Order was scored at 41. This score, when
divided by 14 (i.e., 14 participants answered positively - yes, to Numeric Order being present at
the Contemporary Arts Museum), yields a mean of 2.92 (Figures IV-80 and 81).

120
110

100
90
Pattern quality (Score)

80 RC
70
60
50

40
CAM
30
20
10
0
Place

FIGURE IV-80. Quality of expression of numeric order based on score.

4.5
RC
4
Pattern quality (Mean)

3.5

3
CAM
2.5

1.5

0.5

0
Place

FIGURE IV-81. Quality of expression of numeric order based on mean.

 95

Geometric Order
The quality of expression of the place-making pattern Geometric Order at Rothko Chapel was
scored at 110. This score, when divided by 24 (i.e., 24 participants answered positively - yes, to
Geometric Order being present at Rothko Chapel), yields a mean of 4.58. At the Contemporary
Arts Museum, the quality of expression of Geometric Order was scored at 73. This score, when
divided by 21 (i.e., 21 participants answered positively - yes, to Geometric Order being present
at the Contemporary Arts Museum), yields a mean of 3.47 (Figures IV-82 and 83).

120
110
RC
100
90
Pattern quality (Score)

80
70
CAM
60
50

40
30
20
10
0
Place

FIGURE IV-82. Quality of expression of geometric order based on score.

4.5
RC
4
Pattern quality (Mean)

3.5
CAM
3

2.5

1.5

0.5

0
Place

FIGURE IV-83. Quality of expression of geometric order based on mean.

 96

Spatial Order
The quality of expression of the place-making pattern Spatial Order at the Rothko Chapel was
scored at 87. This score, when divided by 21 (i.e., 21 participants answered positively - yes, to
Spatial Order being present at the Rothko Chapel), yields a mean of 4.14. At the Contemporary
Arts Museum, the quality of expression of Spatial Order was scored at 38. This score, when
divided by 14 (i.e., 14 participants answered positively - yes, to Spatial Order being present at
the Contemporary Arts Museum), yields a mean of 2.71 (Figures IV-84 and 85).

120
110

100
90
Pattern quality (Score)

80 RC
70
60
50

40
30 CAM
20
10
0
Place

FIGURE IV-84. Quality of expression of spatial order based on score.

4.5

4
RC
Pattern quality (Mean)

3.5

2.5 CAM
2

1.5

0.5

0
Place

FIGURE IV-85. Quality of expression of spatial order based on mean.

 97

Anthropomorphic Order
The quality of expression of Anthropomorphic Order at Rothko Chapel was scored at 64. This
score, when divided by 18 (i.e., 18 participants answered positively - yes, to Anthropomorphic
Order being present at Rothko Chapel), yields a mean of 3.55. At Contemporary Arts Museum,
the quality of expression of Anthropomorphic Order was scored at 19. This score, when divided
by 10 (i.e., 10 participants answered positively - yes, to Anthropomorphic Order being present at
Contemporary Arts Museum), yields a mean of 1.9 (Figures IV-86 and 87).

120
110

100
90
Pattern quality (Score)

80
70
60 RC
50

40
30
20
10
CAM

0
Place

FIGURE IV-86. Quality of expression of anthropomorphic order based on score.

4.5

4
Pattern quality (Mean)

3.5
RC
3

2.5

2
CAM
1.5

0.5

0
Place

FIGURE IV-87. Quality of expression of anthropomorphic order based on mean.

 98

Ordered Nature
The quality of expression of the place-making pattern Ordered Nature at the Rothko Chapel was
scored at 94. This score, when divided by 23 (i.e., 23 participants answered positively - yes, to
Ordered Nature being present at the Rothko Chapel), yields a mean of 4.08. At the
Contemporary Arts Museum, the quality of expression of Ordered Nature was scored at 37. This
score, when divided by 18 (i.e., 18 participants answered positively - yes, to Ordered Nature
being present at the Contemporary Arts Museum), yields a mean of 2.05 (Figures IV-88 and 89).

120
110

100
90 RC
Pattern quality (Score)

80
70
60
50

40
30 CAM
20
10
0
Place

FIGURE IV-88. Quality of expression of ordered nature based on score.

4.5

4
RC
Pattern quality (Mean)

3.5

2.5

2
CAM
1.5

0.5

0
Place

FIGURE IV-89. Quality of expression of ordered nature based on mean.

 99

Celestial Order
The quality of expression of the place-making pattern Celestial Order at the Rothko Chapel was
scored at 82. This score, when divided by 21 (i.e., 21 participants answered positively - yes, to
Celestial Order being present at the Rothko Chapel), yields a mean of 3.9. At the Contemporary
Arts Museum, the quality of expression of Celestial Order was scored at 8. This score, when
divided by 4 (i.e., 4 participants answered positively - yes, to Celestial Order being present at the
Contemporary Arts Museum), yields a mean of 2.0 (Figures IV-90 and 91).

120
110

100
90
Pattern quality (Score)

80
RC
70
60
50

40
30
20
10
CAM
0
Place

FIGURE IV-90. Quality of expression of celestial order based on score.

4.5

4
RC
Pattern quality (Mean)

3.5

2.5

2
CAM
1.5

0.5

0
Place

FIGURE IV-91. Quality of expression of celestial order based on mean.

 100

Differentiating Boundaries
The quality of expression of Differentiating Boundaries at Rothko Chapel was scored at 53. This
score, when divided by 16 (i.e., 16 participants answered positively - yes, to Differentiating
Boundaries being present at Rothko Chapel), yields a mean of 3.31. At Contemporary Arts
Museum, the quality of expression of Differentiating Boundaries was scored at 19. This score,
when divided by 8 (i.e., 8 participants answered positively - yes, to Differentiating Boundaries
being present at Contemporary Arts Museum), yields a mean of 2.37 (Figures IV-92 and 93).

120
110

100
90
Pattern quality (Score)

80
70
60
50
RC
40
30
20
10
CAM

0
Place

FIGURE IV-92. Quality of expression of differentiating boundaries based on score.

4.5

4
Pattern quality (Mean)

3.5

3 RC

2.5

2
CAM

1.5

0.5

0
Place

FIGURE IV-93. Quality of expression of differentiating boundaries based on mean.

 101

Ordered Views
The quality of expression of the place-making pattern Ordered Views at the Rothko Chapel was
scored at 97. This score, when divided by 20 (i.e., 20 participants answered positively - yes, to
Ordered Views being present at the Rothko Chapel), yields a mean of 4.85. At the Contemporary
Arts Museum, the quality of expression of Ordered Views was scored at 47. This score, when
divided by 16 (i.e., 16 participants answered positively - yes, to Ordered Views being present at
the Contemporary Arts Museum), yields a mean of 2.93 (Figures IV-94 and 95).

120
110

100
90 RC
Pattern quality (Score)

80
70
60
50

40 CAM
30
20
10
0
Place

FIGURE IV-94. Quality of expression of ordered views based on score.

4.5 RC

4
Pattern quality (Mean)

3.5

3
CAM
2.5

1.5

0.5

0
Place

FIGURE IV-95. Quality of expression of ordered views based on mean.

 102

Materiality
The quality of expression of the place-making pattern Materiality at the Rothko Chapel was
scored at 98. This score, when divided by 24 (i.e., 24 participants answered positively - yes, to
Materiality being present at the Rothko Chapel), yields a mean of 4.08. At the Contemporary Arts
Museum, the quality of expression of Materiality was scored at 73. This score, when divided by
22 (i.e., 22 participants answered positively - yes, to Materiality being present at the
Contemporary Arts Museum), yields a mean of 3.31 (Figures IV-96 and 97).

120
110

100
90 RC
Pattern quality (Score)

80
70
CAM
60
50

40
30
20
10
0
Place

FIGURE IV-96. Quality of expression of materiality based on score.

4.5

4
RC
Pattern quality (Mean)

3.5

3 CAM

2.5

1.5

0.5

0
Place

FIGURE IV-97. Quality of expression of materiality based on mean.

 103

Elementals
The quality of expression of the place-making pattern Elementals at the Rothko Chapel was
scored at 86. This score, when divided by 22 (i.e., 22 participants answered positively - yes, to
Elementals being present at the Rothko Chapel), yields a mean of 3.9. At the Contemporary Arts
Museum, the quality of expression of Elementals was scored at 36. This score, when divided by
16 (i.e., 16 participants answered positively - yes, to Elementals being present at the
Contemporary Arts Museum), yields a mean of 2.25 (Figures IV-98 and 99).

120
110

100
90
Pattern quality (Score)

80 RC
70
60
50

40
30 CAM
20
10
0
Place

FIGURE IV-98. Quality of expression of elementals based on score.

4.5

4
RC
Pattern quality (Mean)

3.5

2.5

2 CAM
1.5

0.5

0
Place

FIGURE IV-99. Quality of expression of elementals based on mean.

 104

Light
The quality of expression of the place-making pattern Light at the Rothko Chapel was scored at
109. This score, when divided by 24 (i.e., 24 participants answered positively - yes, to Light
being present at the Rothko Chapel), yields a mean of 4.54. At the Contemporary Arts Museum,
the quality of expression of Light was scored at 34. This score, when divided by 15 (i.e., 15
participants answered positively - yes, to Light being present at the Contemporary Arts
Museum), yields a mean of 2.26 (Figures IV-100 and 101).

120
110

100
RC

90
Pattern quality (Score)

80
70
60
50

40
30 CAM
20
10
0
Place

FIGURE IV-100. Quality of expression of light based on score.

4.5
RC
4
Pattern quality (Mean)

3.5

2.5

2 CAM
1.5

0.5

0
Place

FIGURE IV-101. Quality of expression of light based on mean.

 105

Ceremonial Order
The quality of expression of the place-making pattern Ceremonial Order at Rothko Chapel was
scored at 109. This score, when divided by 24 (i.e., 24 participants answered positively - yes, to
Ceremonial Order being present at Rothko Chapel), yields a mean of 4.54. At the Contemporary
Arts Museum, the quality of expression of Ceremonial Order was scored at 18. This score, when
divided by 6 (i.e., 6 participants answered positively - yes, to Ceremonial Order being present at
the Contemporary Arts Museum), yields a mean of 3.0 (Figures IV-102 and 103).

120
110

100
RC

90
Pattern quality (Score)

80
70
60
50

40
30
20
10 CAM
0
Place

FIGURE IV-102. Quality of expression of ceremonial order based on score.

4.5
RC
4
Pattern quality (Mean)

3.5

3
CAM
2.5

1.5

0.5

0
Place

FIGURE IV-103. Quality of expression of ceremonial order based on mean.

 106

Based on the opinion of questionnaire participants, the quality of expression of the place-making
patterns at the Rothko Chapel is shown in Figure IV-104. The quality of expression of individual
place-making patterns displayed in the figure is based on the mean of the score for the place-
making patterns (i.e., score divided by number of participants that answered positively – yes, to
individual place-making patterns being present at Rothko Chapel). The quality of expression of
individual place-making patterns (based on the mean of the score for the place-making patterns
at Rothko Chapel) can be arranged in hierarchical order as follows: 1) Bounding; 2) Geometric
Order; 3) Light and Ceremonial Order; 4) Center; 5) Materiality; 6) Ordered Views; 7) Ascent and
Ordered Nature; 8) Numeric Order; 9) Spatial Order; 10) Elementals; 11) Celestial Order;
12) Passage; 13) Direction, Descent, and Anthropomorphic Order.

FIGURE IV-104. Quality of expression of patterns at Rothko Chapel.

 107

FIGURE IV-105. Quality of expression of patterns at Contemporary Arts Museum.

Based on the opinion of questionnaire participants, the quality of expression of the place-making
patterns at the Contemporary Arts Museum is shown in Figure IV-105. The quality of expression
of individual place-making patterns displayed in the figure is based on the mean of the score for
the place-making patterns (i.e., score divided by number of participants that answered positively
– yes, to individual place-making patterns being present at Contemporary Arts Museum). The
quality of expression of individual place-making patterns (based on the mean of the score for the
place-making patterns at Contemporary Arts Museum) can be arranged in hierarchical order as
follows: 1) Materiality and Geometric Order; 2) Bounding; 3) Passage; 4) Ordered Views;
5) Descent; 6) Numeric Order; 7) Ascent and Spatial Order; 8) Ordered Nature; 9) Elementals;
10) Light; 11) Direction; 12) Anthropomorphic Order and Differentiating Boundaries;
 108

13) Ceremonial Order; 14) Center; 15) Celestial Order. Greater area coverage in Figure IV-104
(quality of expression of place-making patterns at the Rothko Chapel) as compared to the area
coverage in Figure IV-105 (quality of expression of place-making patterns at the Contemporary
Arts Museum) indicates that the Rothko Chapel has a greater quality of expression of the place-
making patterns than the Contemporary Arts Museum.

4.4.3 Comments Associated with Pattern Presence and Pattern Quality

Comments associated with the presence and quality of expression of place-making patterns at
the sacred and secular buildings are summarized below. The summary assesses differences in
the presence and quality of expression of individual place-making patterns from the CPPS at the
sacred and secular buildings. Comments associated with pattern presence and pattern quality
for the sacred and secular places are displayed separately, i.e., the comments for each place-
making pattern are displayed sequentially in two distinct categories, one for each setting as
follows: first, presence and quality of expression of specific pattern at Rothko Chapel; and
second, presence and quality of expression of specific pattern at Contemporary Arts Museum.

Presence and Quality of Expression of Center at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Center was experienced
through the following features: octagonal plan of the chapel; inner chapel spatial center;
arrangement of centralized furniture; symmetrical enclosures; centralized skylight in the ceiling.
Nine participant comments were recorded. All nine participants felt that the quality of expression
of Center was high.

The center is an imaginary focal point on the ground and in the

ceiling. It is a powerful geometrical center. Everything is
arranged around this point.

The center is very distinct. There is no mistaking it.

I see the oculus above, as the real center. It is strong due to its
brightness.

The octagonal plan of the chapel defines the center. The

modified octagon resembles wholeness and is a true
demonstration of ba-gua in Feng Shui.
 109

The intensity and meaning of the center lies in the focal point
and geometric center of the ceiling. The arrangement of wooden
benches at the center helps define the spatial center.

Centralized skylight indicates strict geometry and centralized

form.

The strong octagonal geometry creates a strong focal point.

By being surrounded by the symmetrical enclosure, the viewer

himself is centered.

The light from above strengthens inward focus and the center.
The symmetric shape of building implies center.

Presence and Quality of Expression of Center at Contemporary Arts Museum

At the Contemporary Arts Museum, four participant comments were recorded. All four
participants felt that the presence of the place-making pattern Center was not experienced.

The building has no centralized focal point.

No seeming center.
No center is experienced

This building has a condensed and intense bombardment of

activity. There is no center here.

Presence and Quality of Expression of Bounding at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Bounding was experienced
through the following features: walls; floor; ceiling; restricted views to the exterior; paintings.
Seven participant comments were recorded. All seven participants felt that the quality of
expression of Bounding was high.

It is a completely bound envelop and place. There is no

connection to the exterior.

Total enclosure, without views to the outside – very strong

bounding.

This is a somber and quiet place, well defined and contained by

its walls and ceiling.

The quality of the walls and ceiling planes give a certain life to
the space. They embody the space.

The space is intended to be an introspective space and works

perfectly with the aid of the strong boundaries. The almost
 110

absent views to the exterior and the small sliver of this

connection up in the ceiling provide this space with very strong
bounding qualities – the absence of distractions when searching
within your soul.

Staunch walls, floor, and ceiling act as strong boundaries.

Paintings reinforce and intensify the experience of bounding.

Lack of views to the outside help to bound this space.

Presence and Quality of Expression of Bounding at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Bounding was
experienced through the following features: restricted views to the exterior; roof trusses defining
ceiling; walls; floor; and uniqueness of materiality. Seven participant comments were recorded.
Three participants felt that the quality of expression of Bounding was high, while four participants
felt that it was low.

Bounding makes the function of the place very evident, at least

from the interior, forcing the visitor to experience only the
displayed art, with no connection or windows to the exterior.
It is bounded, but one is less aware of the bounding.

Roof trusses define the ceiling boundary. Strong roof boundary.

Boundary is present in this building, but seems to be lost in

translation, perhaps because it is an exhibition space.

Unique material used for bounding – strong.

One is hardly aware of bounding here, although it is present.

Bounding by perimeter wall and floor is weak.

Presence and Quality of Expression of Direction at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Direction was experienced
through the following features: orientation of site and building to cardinal points; orientation of
building entrance with plaza and obelisk; orientation of obelisk with the sky; orientation of light
entering the skylight from above; symmetrical building form. Ten participant comments were
recorded. Eight participants felt that the quality of expression of Direction was high, while two
participants felt it was low.

Pool and Plaza is on south side. Direction is evident.

 111

It has direction within the site. Direction arises due to the skylight
and its overall symmetrical form.

Direction is present in the form of light above. There seems to be

vertical direction here.

The site and building are very oriented to the points of a

compass. It does not seem random, skewed or meaningless.

The building entrance, pool, and obelisk – all provide a clear

sense of direction.

An appropriate, humble yet strong entrance to a sacred space on

an axis.

The direction here seems to be upwards. Strong vertical

direction.

The building could have been placed more at the center of the
site, rather than on the edge to one side. Direction is weak.
Direction is seen, both inside and outside. The orientation of the
obelisk with the sky and with the entrance of the building show
strong direction.

I cannot tell if the building is oriented with the cardinal points, but
it is definitely oriented with the site and landscape features. It
does not show as strongly, though.

Presence and Quality of Expression of Direction at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Direction was
experienced through the following features: orientation of the edges of the building with site
boundaries; oblique orientation of the walls of the building; pointed edges of building. Six
participant comments were recorded. Three participants felt that the presence of Direction was
not experienced, while three participants felt that the quality of expression of direction was low.

Direction is difficult to evaluate here. Somewhat present maybe –

edges of building with site boundaries.

Oblique orientation of the walls of the building, implies some

direction. Hardly noticeable.

On account of its contemporary style, I sense that compass

orthoganality would be regarded as outdated here and therefore
undesirable.

Evident slightly outside due to pointed edges of building, but not

inside.

The geometry is too acute to be at ease. Direction is absent.

 112

Direction in the conventional sense is not present here.

Presence and Quality of Expression of Descent at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Descent was experienced
through the following features: cave-like darkness inside the chapel; source of light from skylight
making one look upwards; downward contour of the ceiling; black floor color; water pool;
verticality and reflection of the obelisk in the pool. Seven participant comments were recorded.
Six participants felt that the quality of expression of Descent was high, while one participant felt
that it was low.

There are no stairs, but I feel as if I am deep underground.

Great sense of grounding.

It is completely subjective and powerful, one feels as if

descending, even though we are on the same floor level.

There seems to be no visual indicator of descent, but it seems to

be present nonetheless as one tends to keep looking upward
because that is the only source of light. Descent is weak.

It’s cave-like. The darkness inside and the black color of the floor
imply strong grounding.

The water pool outside helps a lot to ground this place.

The sculpture outside the chapel has a very strong descent

pattern. Not only does it point downwards to the bowels of the
earth, it is also reflected in the water body, thrusting its
ephemeral self into the ground.

The broken obelisk and the downward contour of the ceiling

show effective descent.

Presence and Quality of Expression of Descent at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Descent was
experienced through the following features: basement at lower level; descending stairs; lower
level clerestory windows; connection of building to ground; plinth defining building base. Ten
participant comments were recorded. Five participants felt that the quality of expression of
Descent was high, while five participants felt that it was low.

Descending stairs and low clerestory windows provide glimpses

into basement. Good descent.

Descent is present but mostly utilitarian.

 113

Goes down to another gallery – so descent is present and

strongly sensed.

Mixed feelings - there’s a basement and a prominent open stair,

but not much to see or do downstairs. A mostly empty gallery.

Building is well connected to the ground.

Building on plinth, effective in defining base.

There is a basement floor but one does not experience any of

the qualities that you would attribute to this pattern.
Two distinct levels. Descent is strong.

An empty gesture. Functional.

Yes, but only programmatically.

Presence and Quality of Expression of Ascent at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Ascent was experienced
through the following features: light entering the skylight in the ceiling; ascending ceiling planes;
vertical reveals in the walls; verticality of the obelisk; vertical paintings; geometry of the Chapel.
Eight participant comments were recorded. All eight participants felt that the quality of
expression of Ascent was high.

The opening to the sky above – just a very thin ring above,
marks the ascent feature. It is beautiful.

Oculus overhead – source of light – and ascending ceiling

planes contribute to a powerful sense of asent.

Vertical paintings and skylight draw one upwards.

The shielded skylight as the only light source is very powerful.

The most obvious of are all patterns in this chapel is the

connection to the sky above – underlined and emphasized by the
geometry of the Chapel and the reveals in the walls leading to
the top.

When one is on the inside – the skylight in the ceiling.

The broken obelisk sculpture creates a strong vertical thrust,

along with the center skylight.

Dark boundary with centralized light from above. Very effective.

 114

Presence and Quality of Expression of Ascent at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Ascent was
experienced through the following features: verticality of entry; verticality of siding on the
exterior; high trussed ceilings; hanging exhibits; basement clerestory windows. Seven participant
comments were recorded, one participant felt that the presence of Ascent was not experienced,
one participant felt that the quality of expression of Ascent was high, while five participants felt
that it was low.

Ascent is seen somewhat at the entrance and in the vertical

rhythm of metal siding.

No Ascent. The building is very horizontal.

Not much overhead but, the space frame structure – the largest
single expanse of material, punctuated by a few hanging exhibits
– up there, but not really ascending or uplifting.
Strong ascent is seen in vertical siding on the exterior.

Verticality of entry provides ascent. Not very effective.

There are high trussed ceilings that show some ascent.

Basement clerestory windows represent ascent, but it is only

programmatic.

Presence and Quality of Expression of Passage at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Passage was experienced
through the following features: main entrance of the Chapel; entrance foyer; inner portals of
Chapel; vestibules between main entrance and inner portals of Chapel; main passage on the
exterior of the chapel. Seven participant comments were recorded. Six participants felt that the
quality of expression of Passage was high, while one participant felt that it was low.

The main entrance is so simple and very strong. The importance

of the inner portals is heightened since they are the only voids
leading to the inner space. The lobby is very public, but
everything changes once you enter the inner chapel.

Would prefer central access, not two access points. Weak

passage.

Passage through 2 vestibules is straightforward and utilitarian,

but also very meaningful. It is a means of separating and
isolating the main space.
 115

The inner passages and outer main entrance offer a great

transition.

Series of spaces – front door place, transitional entry place, inner

sacred place, are carefully scaled and crafted. They offer a
profound balance while transiting.

One passage here is the small vestibule-like-spaces between the

front foyer and the chapel. This passage is pronounced and has
quite a significant effect on my experience of the main chapel
space. The main passage on the exterior of the chapel, if coming
around the side of the water body is strong, beautiful and
transitory.

Main entrance and entry vestibule truly prepare you for passage
into inner space psychologically.

Presence and Quality of Expression of Passage at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Passage was
experienced through the following features: tall narrow main entrance; low-height entrance foyer;
contrast in transition space between tall narrow main entrance and low-height entrance foyer;
threshold of dark exhibit room in the basement. Eleven participant comments were recorded.
Five participants felt that the quality of expression of Passage was high, while six participants felt
that it was low.

Could not even find the entrance - It is hidden and mediocre.

Tall opening accentuates entrance experience by making the

entrance feel narrower. Then ceiling height seems compressed
in the foyer. Great Passage.

The entrance is differentiated very strongly, clashing with the rest

of the building envelope. It being so narrow marks the distinction
divided by the exterior and interior even more. Also, the
threshold to pass into the dark exhibit room in the basement
shows good passage.

Couldn’t even see the entrance. Weak.

Well-camouflaged entry seems contrived, almost capricious.

I like the narrow entry that explodes into the interior.

Low lobby height is effective.

I like the discontinuity of the passage – tall entry and low lobby.
 116

The transitory entrance is just that – a functional space devoid of

any character except for its use.

Very uncentralized use of threshold is approximately equal to

hidden. Passage is weak.

Very controlled entrance and abrupt approach. Does not offer

passage in its true sense.

Presence and Quality of Expression of Numeric Order at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Numeric Order was
experienced through the following features: octagonal plan; six portals; inner Chapel doors
opposing each other; three panels – possible reference to trinity; fourteen panels/paintings
arranged around octagon; repetition/re-occurrence of panels/paintings. Eleven participant
comments were recorded. All eleven participants felt that the quality of expression of Numeric
Order was high.

Chapel is very much about the re-occurrence of numbers.

The three panels could be a reference to trinity. Six portals,

fourteen panels, octagonal shape imply true numeric order.

The repetition of panels, doors opposing each other, the

numbers four and eight bring great order to the space.

Its numeric order is inherent in its octagonal geometry.

The paintings and octagon layout create good numeric order.

There is significant numeric order.

The eight sides dominate the space and display strong numeric
order.

Strong geometry – repeated elements.

There is meaning in the geometric form of the chapel and the

number of panels on the walls.

The geometry of the octagonal plan is powerful.

Octagon and its historical significance in architectural and

liturgical aspects dominate this building.
 117

Presence and Quality of Expression of Numeric Order at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Numeric Order
was experienced through the following features: triangular elements - building footprint, ceiling
trusses, angled windows, projection over main entrance; regularity of trusses; four wall planes.
Five participant comments were recorded. One participant felt that the presence of numeric
order was not experienced, one participant felt that the quality of expression of Numeric Order
was high, while three participants felt that it was low.

Triangles are prevalent, but the triangle is not significant. The

connection between triangles and contemporary art is not
immediately apparent. Triangular elements are seen in the
building footprint, ceiling trusses, angled windows, and projection
over main entrance. It’s a little confusing and maybe far-fetched
as far as numeric order is concerned.

The triangular footprint emphasizes the corners. It feels chaotic,

since it is a singular form, but an irregular one. Overall numeric
order is weak.

Everything seems out of order with the exception of the trusses

which are somewhat regular and may imply numeric order.

The four wall planes show strong numeric order.

No numeric order sensed.

Presence and Quality of Expression of Geometric Order at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Geometric Order was
experienced through the following features: octagonal form of the Chapel; niches in the wall;
shadows cast on walls; octagonal dropped ceiling. Eight participant comments were recorded.
All eight participants felt that the quality of expression of Geometric Order was high.

Octagonal geometry is very well defined.

The octagon creates a very radial arrangement, emphasizes the

center of it, and makes each wall essential to the composition.
The far niches and the shadows mark the geometry as well as
the octagonal dropped ceiling very sharply.

Geometry of form is even more significant than numeric order.

The octagon dominates inside. Very powerful.

It’s very definition in form.

 118

Yes, there is geometry to this space and I think it contributes

immensely towards the other patterns as well.

Basic to the design and very strongly sensed.

Very defined order, logically shaped in balance and harmony.

Presence and Quality of Expression of Geometric Order at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Geometric Order
was experienced through the triangular shape of building; irregularity of building shape;
parallelogram shape of the building; exterior of building expressing cubic and rectilinear
geometry. Nine participant comments were recorded. Four participants felt that the quality of
expression of Geometric Order was high, while five participants felt that it was low.

Contrast with circular pool and wavy terrace edge, helps

emphasize the triangles. Good sense of geometric order.

The irregularity of the shape provides strong geometric order.

The building is either triangular or diamond shaped – cannot

really tell though. Weak geometry.

A parallelogram – different but not necessarily significant.

Shape of the building pervades inside and out. Strong.

Geometry is effectively communicated.

The geometrical layout is somewhat haphazard, but this is

probably because the intent is to provide a meandering and
exploratory path through the exhibits.

On the exterior – cubic and rectilinear geometry is present to

some extent.

There is a sense of geometric order but it is not great or clearly

defined.

Presence and Quality of Expression of Spatial Order at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Spatial Order was experienced
through the following features: singularity of space; octagonal form of Chapel; geometrical
planes of Chapel; symmetrical, orthogonal, central, diagonal, and pyramidal characteristics of
Chapel; circular/radial order inside Chapel defining center; space between vestibules and
Chapel; rectangular entrance foyer; relationship, transition, rhythm and gradual extension of
spatial sequence between inside and outside – pond – sculpture – entry – Chapel. Nine
 119

participant comments were recorded. All nine participants felt that the quality of expression of
Spatial Order was high.

Strong Symmetrical spatial arrangement.

Quite clear between the vestibule and the chapel. Once inside
the chapel, the order is circular, you either experience the center
or you are at the radial points of the octagon. Extreme order.

Very powerful symmetry, orthoganality, centrality, diagonality,

pyramidal shape – all working together to reinforce each other.

Strong pure geometric planes reveal spatial order.

Rectangular when you enter and the octagonal geometry for the
chapel create a very strong sense of hierarchy.

Rhythm of sequence is felt strongly at pond, sculpture, entry and

chapel.

Spatial order is high and extends gradually outward to the

garden.

It is one space that has meaningful variations. The outside

landscape is an extension of the inside of the chapel.

Indoor space/outdoor space – the relationship and transition are

strong.

Presence and Quality of Expression of Spatial Order at Contemporary Arts Museum

At the Contemporary Arts Museum, seven participant comments were recorded. All seven
participants felt that the presence of the place-making pattern Spatial Order was not
experienced.

This space lacks spatial order of any kind.

Very rapid progression - the gallery space opens rapidly upon

entry. No hierarchy or order at all.

Space is random and non-determinable.

It’s basically all one space. No hierarchy.

Free-flowing space with no apparent order.

Spatial relationships are disorderly. Hierarchy of spaces absent.

Cannot be identified.
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Presence and Quality of Expression of Anthropomorphic Order at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Anthropomorphic Order was
experienced through the following features: high ceilings; large inner space; door and furniture
heights; 1:1 or 1:2 proportioning system; paintings expressing profiles of human form; octagonal
shape of plan; building proportions; gradual increase in ceiling height from main entrance to
inside Chapel. Eight participant comments were recorded. All eight participants felt that the
quality of expression of Anthropomorphic Order was high.

High ceiling and large inner space – feel dwarfed. Divine scale.

It can be perceived by the heights at door thresholds and the

furniture, which make it a very human scale building.

Can’t really tell but has a good feel, as though proportions are
between 1:1 or 1:2.

Scale is humane and very comfortable – not monumental, not

clostrophobic – not too large or too small.

The space is well proportioned for the individual or a crowd.

The space is anthropomorphic in many ways. It is proportioned

to be comfortable to a smaller and closer group of people. The
dark paintings bring out the profiles of human form with stark
clarity.

This anthropomorphic proportioning lends itself automatically to

sacred space.

Octagonal shape of plan and high ceilings feel very human and
god-like simultaneously. Heights increase gradually from main
entrance to inside of Chapel.

Presence and Quality of Expression of Anthropomorphic Order at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Anthropomorphic
Order was experienced through the following features: guard and stair railings; lobby furniture;
height of entrance door; lobby height; canopy/overhang. Four participant comments were
recorded. Two participants felt that the presence of anthropomorphic order was not experienced,
while two participants felt that the quality of expression of Anthropomorphic Order was low.

Guard and stair railings and lobby desk indicate

anthropomorphic order. Very weak.

It is only present to some extent at the entrance door and lobby

with its height and lower canopy/overhang.
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No element seems to be derived from human body.

Anti-human order is no order.

Presence and Quality of Expression of Ordered Nature at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Ordered Nature was
experienced through the following features: reflecting water pool with the obelisk; bamboo
screening; groomed ground cover; sunlight and shadows cast in the inner Chapel. Twelve
participant comments were recorded. All twelve participants felt that the quality of expression of
Ordered Nature was high.

Good Landscape.
Outdoor space is relaxing.

Bamboo screening provides privacy and comfort at reflecting

pool.

It is experienced on the exterior and helps hide and setback the

chapel so that you feel you are approaching a different type of
building.

Ordered Nature is experienced on the exterior and expresses

soothing qualities.

Well groomed grounds, strong azial pool and sculpture. Not

overwrought or precious.

The chapel’s relationship with the obelisk and pool is simple yet
profound.

Experienced indoor through controlled sunlight that is allowed

into the inner chapel and the manner in which the shadows
change the nature of the space through the course of a day. Also
seen through the controlled and bound water pool and the rigid
lines of the sculture thrust into it – very male and female.

Linear line of bamboo trees provides a great walled-in garden

effect.

The garden and pool is integrated effectively into the design of

the chapel.

The pool is very effective.

Reflecting pool and upright obelisk set a somber mood for the
experience of the Chapel.
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Presence and Quality of Expression of Ordered Nature at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Ordered Nature
was experienced through the following features: ground vegetation; hedges; oak trees; metal
tree sculpture; water fountain. Eight participant comments were recorded. All eight participants
felt that the quality of expression of Ordered Nature was low.

Barely noticeable.

A little bit at the entrance.

Limited amount of area for landscape.

What landscaping there is, is relatively ordinary and arranged –

but it does not seem to reinforce the experience.

Landscaping is mediocre. The metal tree sculpture implies

nature but is awful.

Ground vegetation and oak trees provide some landscape feel to

the form of the building.

There is a water fountain and some hedges, but you hardly

notice this as the sound and movement of vehicles along the
road negate the experience.

Yes, but only a gesture.

Presence and Quality of Expression of Celestial Order at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Celestial Order was
experienced through the following features: light entering the skylight; sloped ceiling.
Eight participant comments were recorded. Seven participants felt that the quality of expression
of Celestial Order was high, while one participant felt that it was low.

Cannot really see the sky, but the skylight implies the presence
of some celestial order.

Dramatic mood change occurs inside the chapel on partly cloudy

days due to celestial order seen through the skylight – effective.

Strong celestial order perceived through the ring of light above

the drop ceiling and at its center.

I visit the chapel once a week and celestial order is apparent and
always evident through the light entering above from the roof.
 123

Bright oculus and sloped ceiling are very effective in conveying

celestial order.

The connection to the sky inside the sacred space is powerful.

Very subtle but very strong celestial order is experienced.

Skylight and dropped ceiling communicate great sense of

celestial order.

Presence and Quality of Expression of Celestial Order at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Celestial Order
was experienced through the following features: tall opening at the entrance; basement
clerestory windows. Four participant comments were recorded. Two participants felt that the
presence of Celestial Order was not experienced, while two participants felt that the quality of
expression of celestial order was low.

Celestial order is only limited to the lobby area due to the tall
opening at the entrance. It is difficult to evaluate though on an
overcast day.

Not really experienced.

Lower floors show some celestial order due to clerestory

windows.

Not perceivable from inside.

Presence and Quality of Expression of Differentiating Boundaries at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Differentiating Boundaries was
experienced through the following features: south oriented entrance; singular wide niche in
octagonal plan; differences in length, size and shape of walls and paintings; difference between
wall color and painting color; skylight in ceiling differentiating celestial boundary. Five participant
comments were recorded. All five participants felt that the quality of expression of Differentiating
Boundaries was high.

Entrance is on the south side. Good differentiation.

The fact that only one wall of the octagon works as a wide niche
makes it a different and emphasizes its importance. It breaks the
monotony and helps with differentiating the boundaries.

Boundary differentiation effectively achieved through length, size

and shape of walls and paintings.
 124

One can tell the celestial boundary by sunlight from above.

Difference in wall sizes, and wall-painting color. The walls are

solid, while the paintings are voids.

Presence and Quality of Expression of Differentiating Boundaries at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Differentiating
Boundaries was experienced through the following features: difference between wall plane with
entrance and other three planes; difference between ceiling and wall planes. Five participant
comments were recorded. Two participants felt that the presence of differentiating boundaries
was not experienced, while three participants felt that the quality of expression of Differentiating
Boundaries was low.

It is certainly lacking aesthetic appeal. No differentiating

boundaries are seen.

Various interior walls seem random in direction – probably

oriented due to curatorial needs rather than to enhance spatial
experience. But these are not the actual boundaries of the
building.

Somewhat experienced - but no orientation to cardinal directions.

I see some boundary differentiations between the wall planes

and the ceiling - nothing more than that.

The narrow entrance through a slot in the wall is the only feature
that differentiates the four vertical planes – passable perhaps.

Presence and Quality of Expression of Ordered Views at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Ordered Views was
experienced through the following features: absence of views; wall planes without openings;
singular view of diffused light entering the skylight in the ceiling; entrance sequence – displays
visual connectivity up to main Chapel space. Eight participant comments were recorded. All eight
participants felt that the quality of expression of Ordered Views was high.

It is a very introspective type of place, emphasizing the inside,

only view is toward the sky, but not directly just a very thin band
of light - highly effective.

The wall planes completely eliminate views. Very strong and

controlled

No views are ordered views.

 125

Views totally restricted. Space contains the sacred experience.

Entrance sequence - displays visual connectivity up to main

Chapel space and the lack of windows are appropriate and
needed for ordering views.

The absence of windows, along with the center skylight create

an appropriate environment for meditation and prayer.

Absence of views is powerful

Views do not exist – the perception of diffused light on the ceiling

focuses one to experience the inward self.

Presence and Quality of Expression of Ordered Views at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Ordered Views
was experienced through the following features: absence of views at eye level; controlled view of
exterior at entrance; absence of views due to building enclosure; controlled views through
basement clerestory windows. Eight participant comments were recorded. Two participants felt
that the quality of expression of Ordered Views was high, while six participants felt that it was
low.

Basement conveys a weak sense of ordered views.

The fact that there are no windows at the eye level makes the
experience strong - the only view being to and from the entrance.

Clerestory windows in basement do not offer views of any visual

interest.

Very limited views – only out towards the entrance – trifle.

The building has strong ordered views on account of the

enclosure obstructing all views to the outside.
Views through basement windows are entirely within secular
context and superficial.

Window openings are there in basement , but I do not know if

they are sacred – they seem more mundane or placed
programmatically

Weak sense of ordered views present at basement windows.

Presence and Quality of Expression of Materiality at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Materiality was experienced
through the following features: massive and reflective/coarse gray walls; simplicity of materiality
 126

palate; dark color of materiality; chunky wood furniture; differences in ground-walls-ceiling

materiality. Eight participant comments were recorded. All eight participants felt that the quality
of expression of Materiality was high.

Quite somber mood created – reflective/coarse gray walls have

softening effect.

Very heavy and dark chapel materialilty, chunky wood furniture,

both inside and outside and clear distinction between ground,
walls and ceiling work perfect. The drop-ceiling element seems
to be floating - extreme materiality.

Utterly simple palate of materials is eloquent in its simplicity.

Simplicity – good planar definition

Massive feel of wall enclosures connotes permanence and

comfort.

The stark gray walls work the best for the soul searching in this
chapel. The change in material as it leads to the opening in the
ceiling indicates the natural direction of the eye.

The materials for this building appear to be chosen meaningfully.

Materials and colors very appropriate for surroundings –

everything flows well together.

Presence and Quality of Expression of Materiality at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Materiality was
experienced through the following features: metal siding; steel space frames; pine floor;
concrete; glass. Twelve participant comments were recorded. Three participants felt that the
quality of expression of Materiality was high, while nine participants felt that it was low.

Not good use of materials – industrial feel.

Streamlined, metal has contemporary feel and contrasts with

surroundings – shiny and striking enclosure – being different is
not always good.

Metal siding draws too much attention – edgy feel.

The careful choice of material for this building makes it unique on

its exterior, and makes it disappear on the interior, giving more
importance to what the building houses than to itself.

Use of quality of materials is weak.

 127

Strong impressions of space frame, pine floor.

Roof structure dominates, in a good way.

Formal order of materiality – yes. Permanence of materials – no.

Vapid.

Consistent with vocabulary of contemporary art. Expensive

materials but meaningless and non-human.

Wood floors are least conducive to a museum experience,

making too much noise as you walk along.

Several different materials - wood, steel, glass, concrete, glass =

good variety, but weak relations.

Stainless steel looks and feels alien to the interior – causes

discomfort.

Presence and Quality of Expression of Elementals at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Elementals was experienced
through the following features: chapel walls, floor tiles, and gravel – representing earth; light
entering skylight – representing fire; pool – representing water; water ripples and movement of
bamboo groove – representing wind. Ten participant comments were recorded. All ten
participants felt that the quality of expression of Elementals was high.

Light and water. Gravel tiles suggest bowels of earth. The

Chapel is about celebration of elementals

Earth present by the selection of slate flooring. Water pool on the

outside as cleansing element. Absence of fire - even though the
form of the chapel may suggest that people could gather around
the center, where a fire was extinguished. Everything is so
simple – minimalist – it makes each element very important.

Yes, outside water very strong.

Simplicity and softness/movement of bamboo groove is

important to experience of wind. Chapel walls show solidity of
earth.

Great pool and sculpture outside.

Sense of 4 elementals are highly respected and dominant.

Actual fire is missing, but present perhaps in the form of light

which is very powerful inside.
 128

Light implying fire and pool implying water are powerful

elements, integral to the design.

Asphalt block floor shows earth, light shows fire, and pool shows
water. Ripples in pool imply wind. Great elemental use.

Water in pond, gravel, floor pavers inside – good use of

elementals.

Presence and Quality of Expression of Elementals at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Elementals was
experienced through the following features: wood floor – earth; fountain – water; air duct – wind.
Six participant comments were recorded. One participant felt that the presence of elementals
was not experienced, one participant felt that the quality of expression of Elementals was high,
while four participants felt that it was low.

Water fountain in front, but you can’t access or enjoy it.

Most striking elemental was the fountain and large – diameter air
duct in the corner and just under the roof structure. Duct is more
functional than expressing the elemental though.

Wood floor especially effective in conveying earth.

Elementals do not enhance the place.

None.

Weak.

Presence and Quality of Expression of Light at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Light was experienced through
the following features: skylight in the ceiling; high contrast of light and shadows. Eight participant
comments were recorded. All eight participants felt that the quality of expression of Light was
high.

Extremely controlled, dictates the ambiance of the space. Its use

is above a utilitarian one. The high contrast of shadows at the
door height, niches and ring on the ceiling, make light an
essential element of the space.

Almost a focus on light.

On a scale of one to five it’s a 10.

 129

Somber, subdued, contrasting light is key to the experience here.

I’ve always thought the quality of light was very good.

Very effective.

I noticed the subtle contrast between the front entrance spaces

and the chapel in terms of light. The inner space has powerful
contrast in terms of light and shadow.

The light source of the sun is diffused inside the chapel. It is

relaxing and beautiful.

Presence and Quality of Expression of Light at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Light was
experienced through the following features: vertical opening at entrance lobby; basement
clerestory windows. Six participant comments were recorded. Two participants felt that the
quality of expression of Light was high, while four participants felt that it was low.

Light is controlled and restricted. Entrance lobby is well lit by

vertical opening at entrance. Lobby has great sense of light.

Just a utilitarian sense of light - no meaning behind it. The

clerestory windows on the underground level connect you to the
exterior and allow for natural light. It is functional.

Not much of it - not exceptionally noticeable.

Adequate but not special in any sense.

Downstairs spaces offer great light for a basement.

Weak

Presence and Quality of Expression of Ceremonial Order at Rothko Chapel

At the Rothko Chapel, the presence of the place-making pattern Ceremonial Order was
experienced through the following features: arrangement of benches at the center of the Chapel;
presence of floor mats; singularity of light source; paintings; octagonal geometry expressing
circumambulation around Chapel; simplicity and unifying character of space; building’s inherent
function as Chapel and gathering space. Six participant comments were recorded. All six
participants felt that the quality of expression of Ceremonial Order was high.

The disposition and provision of benches at the center, the

presence of floor mats for meditation. The space itself is a place
for gathering.
 130

It is a simple unifying space for meditation, prayer, and

celebrations. Very powerful ceremonial order.

Octagon, single light source, and the paintings – all have great
power.

The ceremonial order here is a corollary of it being a chapel –

synonymous with ceremony the octagonal geometry contributes
to the ceremony of circumambulation around the chapel space.

That’s what the space is all about.

Chapel is based on ceremonial order.

Presence and Quality of Expression of Ceremonial Order at Contemporary Arts Museum

At the Contemporary Arts Museum, the presence of the place-making pattern Ceremonial Order
was experienced through the following features: descending stairs leading to basement; square-
shaped enclosed theater space in basement. One participant comment was recorded. The
participant felt that the quality of expression of Ceremonial Order was low.

Descending stairs leading to basement and square-shaped

enclosed theater space in basement show some ceremonial
order – very weak gesture though.

Results pertaining to comments associated with the presence and quality of expression of place-
making patterns at the Rothko Chapel and Contemporary Arts Museum are summarized in
Tables IV-5 and 6. The column under Pattern list displays individual place-making patterns. The
column under Pattern experienced by participants through identifies how, or ways in which
individual place-making patterns were experienced to be present at the sacred and secular
buildings. The column under Total number of comments recorded shows the total number of
comments that were recorded by participants at the sacred and secular buildings. The four
columns Pattern is present, Pattern is absent, Pattern quality is high, and Pattern quality is low
under Number of comments suggesting that show whether participant comments suggested that
individual place-making patterns were present or absent and whether their quality of expression
was high or low.
 131

TABLE IV-5. Summary of comments associated with the presence and quality of expression of
place-making patterns at Rothko Chapel.
Rothko Chapel
Pattern list Pattern experienced by participants through Total Number of comments suggesting that
number of Pattern Pattern Pattern Pattern
comments is is quality quality
recorded present absent is high is low
Center Octagonal plan of the chapel; inner chapel 9 9 0 9 0
spatial center; arrangement of centralized
furniture; symmetrical enclosures; centralized
skylight in the ceiling.
Bounding Walls; floor; ceiling; restricted views to the 7 7 0 7 0
exterior; paintings.
Direction Orientation of site and building to cardinal 10 10 0 8 2
points; orientation of building entrance with
plaza and obelisk; orientation of obelisk with the
sky; orientation of light entering the skylight from
above; symmetrical building form.
Descent Cave-like darkness inside the chapel; source of 7 7 0 6 1
light from skylight making one look upwards;
downward contour of the ceiling; black floor
color; water pool; verticality and reflection of the
obelisk in the pool.
Ascent Light entering the skylight in the ceiling; 8 8 0 8 0
ascending ceiling planes; vertical reveals in the
walls; verticality of the obelisk; vertical paintings;
geometry of the Chapel.
Passage Main entrance of the Chapel; entrance foyer; 7 7 0 6 1
inner portals of Chapel; vestibules between main
entrance and inner portals of Chapel; main
passage on the exterior of the chapel.
Numeric Order Octagonal plan; six portals; inner Chapel doors 11 11 0 11 0
opposing each other; three panels – possible
reference to trinity; fourteen panels/paintings
arranged around octagon; repetition/re-
occurrence of panels/paintings.
Geometric Order Octagonal form of the Chapel; niches in the wall; 8 8 0 8 0
shadows cast on walls; octagonal dropped
ceiling.
Spatial Order Singularity of space; octagonal form of Chapel; 9 9 0 9 0
geometrical planes of Chapel; symmetrical,
orthogonal, central, diagonal, and pyramidal
characteristics of Chapel; circular/radial order
inside Chapel defining center; space between
vestibules and Chapel; rectangular entrance
foyer; relationship, transition, rhythm and
gradual extension of spatial sequence between
inside and outside – pond – sculpture – entry –
Chapel.
Anthropomorphic High ceilings; large inner space; door and 8 8 0 8 0
Order furniture heights; 1:1 or 1:2 proportioning
system; paintings expressing profiles of human
form; octagonal shape of plan; building
proportions; gradual increase in ceiling height
from main entrance to inside Chapel.
Ordered Nature Reflecting water pool with the obelisk; bamboo 12 12 0 12 0
screening; groomed ground cover; sunlight and
shadows cast in the inner Chapel.
Celestial Order Light entering the skylight; sloped ceiling. 8 8 0 7 1
Differentiating South oriented entrance; singular wide niche in 5 5 0 5 0
Boundaries octagonal plan; differences in length, size and
shape of walls and paintings; difference between
wall color and painting color; skylight in ceiling
differentiating celestial boundary.
Ordered Views Absence of views; wall planes without openings; 8 8 0 8 0
singular view of diffused light entering the
skylight in the ceiling; entrance sequence –
displays visual connectivity up to main Chapel
space.
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TABLE IV-5 Continued

Rothko Chapel
Pattern list Pattern experienced by participants through Total Number of comments suggesting that
number of Pattern Pattern Pattern Pattern
comments is is quality quality
recorded present absent is high is low
Materiality Massive and reflective/coarse gray walls; 8 8 0 8 0
simplicity of materiality palate; dark color of
materiality; chunky wood furniture; differences in
ground-walls-ceiling materiality.
Elementals Chapel walls, floor tiles, and gravel – 10 10 0 10 0
representing earth; light entering skylight –
representing fire; pool – representing water;
water ripples and movement of bamboo groove
– representing wind.
Light Skylight in the ceiling; high contrast of light and 8 8 0 8 0
shadows.
Ceremonial Order Arrangement of benches at the center of the 6 6 0 6 0
Chapel; presence of floor mats; singularity of
light source; paintings; octagonal geometry
expressing circumambulation around Chapel;
simplicity and unifying character of space;
building’s inherent function as Chapel and
gathering space.
 133

TABLE IV-6. Summary of comments associated with the presence and quality of expression of
place-making patterns at Contemporary Arts Museum.
Contemporary Arts Museum
Pattern list Pattern experienced by participants through Total Number of comments suggesting that
number of Pattern Pattern Pattern Pattern
comments is is quality quality
recorded present absent is high is low
Center Pattern not experienced by participants. 4 0 4 0 0
Bounding Restricted views to the exterior; roof trusses 7 7 0 3 4
defining ceiling; walls; floor; and uniqueness of
materiality.
Direction Orientation of the edges of the building with site 6 3 3 0 3
boundaries; oblique orientation of the walls of
the building; pointed edges of building.
Descent Basement at lower level; descending stairs; 10 10 0 5 5
lower level clerestory windows; connection of
building to ground; plinth defining building base.
Ascent Verticality of entry; verticality of siding on the 7 6 1 1 5
exterior; high trussed ceilings; hanging exhibits;
basement clerestory windows.
Passage Tall narrow main entrance; low-height entrance 11 11 0 5 6
foyer; contrast in transition space between tall
narrow main entrance and low-height entrance
foyer; threshold of dark exhibit room in the
basement.
Numeric Order Triangular elements - building footprint, ceiling 5 4 1 1 3
trusses, angled windows, projection over main
entrance; regularity of trusses; four wall planes.
Geometric Order Triangular shape of building; irregularity of 9 9 0 4 5
building shape; parallelogram shape of the
building; exterior of building expressing cubic
and rectilinear geometry.
Spatial Order Pattern not experienced by participants. 7 0 7 0 0
Anthropomorphic Guard and stair railings; lobby furniture; height 4 2 2 0 2
Order of entrance door; lobby height; canopy/
overhang.
Ordered Nature Ground vegetation; hedges; oak trees; metal 8 8 0 0 8
tree sculpture; water fountain.
Celestial Order Tall opening at the entrance; basement 4 2 2 0 2
clerestory windows.
Differentiating Difference between wall plane with entrance and 5 3 2 0 3
Boundaries other three planes; difference between ceiling
and wall planes.
Ordered Views Absence of views at eye level; controlled view of 8 8 0 2 6
exterior at entrance; absence of views due to
building enclosure; controlled views through
basement clerestory windows.
Materiality Metal siding; steel space frames; pine floor; 12 12 0 3 9
concrete; glass.
Elementals Wood floor – earth; fountain – water; air duct – 6 5 1 1 4
wind.
Light Vertical opening at entrance lobby; basement 6 6 0 2 4
clerestory windows.
Ceremonial Order Descending stairs leading to basement; square- 1 1 0 0 1
shaped enclosed theater space in basement.

4.4.4 Assessment of Sacredness of Selected Buildings

The sacredness of the selected buildings is shown in Table IV-7. The column under Place
displays the selected buildings, i.e., Rothko Chapel and Contemporary Arts Museum. Two
columns – Number (no.) and Percentage (%) are shown for each place. The column under
 134

Number (no.) shows the total number of participants that answered positively (i.e., yes), to the
given place being experienced as sacred. The Percentage (%) column represents the
percentage of participants that answered positively (i.e., yes), to the given place being
experienced as sacred.

TABLE IV-7. Number/percentage of questionnaire participants who agreed that the selected
buildings were sacred.
Place Number (no.) Percentage (%)
Rothko Chapel 23 95.8%
Contemporary Arts Museum 2 8.3%

The assessment of sacredness of the selected buildings has been compared in the bar chart
(Figure IV-106) and pie charts (Figure IV-107) that follow. The bar chart compare the number
(no.) of participants that answered positively (i.e., yes), to the given place being experienced as
sacred, while the pie charts compare the percentage (%) of participants that answered positively
(i.e., yes), to the given place being experienced as sacred. In both types of charts, Rothko
Chapel has been abbreviated as RC, while Contemporary Arts Museum has been abbreviated
as CAM.

25

RC
20
Number of participants

15

10

CAM
0
Place

FIGURE IV-106. Sacredness of place based on number (no.) of participants.

 135

RC CAM

Place is
place is
not
sacred
sacred
8.3%
4.20%

Place is
Place is
not
sacred
sacred
95.80%
91.70%

FIGURE IV-107. Sacredness of place based on percentage (%) of participants.

4.4.5 Comments Associated with Sacredness of Selected Buildings

Comments associated with the sacredness of the selected buildings are analyzed below. The
analysis assesses whether the selected buildings were experienced to be sacred or secular. The
analysis of comments associated with the sacredness of each place is displayed separately, i.e.,
the analysis of comments for each place is displayed in distinct categories, one for each setting
as follows: first, sacredness experienced at Rothko Chapel; and second, sacredness
experienced at Contemporary Arts Museum.

Sacredness Experienced at Rothko Chapel

At the Rothko Chapel, sacredness was experienced due to – separation of inner space from
outside world, quietness of space, simplicity of formal elements of building, symmetry of form,
humanized proportions of building, materials, paintings, quality of light, progression of spaces –
garden to inner meditative space, chapel activities. Ten participant comments were recorded.
Nine participants felt that the Rothko Chapel was experienced as being sacred, while one
participant felt that it was not.

Creates introspection; thought provoking; separates the outside

world from your inner self; quite space, no sound. Paintings are
portals to limitless thoughts.

My understanding of sacred or holy is set apart for a special

purpose especially one related to religious or spiritual purposes.
This place is unique in that it can work even for atheists.

Sacred but non-religious. This introspective, calming, gentle,

somber space causes reflection and inner searching.
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The formal elements are defined by simple execution and an

understanding of archetypal sacred spaces make this a rare
entity on the landscape.

The Rothko Chapel is a very famous and popular place to visit in

Houston. I was truly disappointed though – not because of it’s
simplicity but because the eternity of this simplicity does not
sufficiently encompass the extremes that might have made this
place sacred. Just because it is a chapel does not mean it
should be sacred. The quality of experience within this space
does not evoke any emotion that would contribute to the sacrality
of the space. I personally feel that a lot of the sacrality attributed
to this place is because of the hype. I beg to disagree.

Sacred but more about meditation or zen – non religious and non
sacerdotal – feels more like a contemplative meditation space.

Quality of light, paintings, materials, symmetry of form,

humanized building proportions attribute sacredness.

The sense of quiet, of separation from the outside world, the

quality of light, the sense of progression from garden to a
meditative space.

The space and activities within the space are sacred making the
place sacred.

Embodies self reflection in ones self, whether as one person or

in a group – space/ place cause one to focus on the sacredness
of ones own spirit. Too many people did not treat it this way
today.

Sacredness Experienced at Contemporary Arts Museum

At the Contemporary Arts Museum, sacredness was experienced due to – atmosphere and
ambiance, ordering of spaces, nature of exhibits, visitor behavioral patterns. Four participant
comments were recorded. One participant felt that the Contemporary Arts Museum was
experienced as being sacred, while three participants felt that it was not.

It is set apart for a special purpose, whether that purpose has

anything to do with spirituality (other than what might be
exhibited, which varies) is questionable. Not Sacred for me.

This place is not sacred. But, maybe it was never intended to be.
There are 2 kinds of museums – one where the architecture
dominates the exhibits and one where the exhibits dominate the
architecture. This is in between. I see nothing wrong with this
place not being sacred. If every building in the world was sacred,
sacred would lose its meaning.
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Atmosphere and ambiance, ordering of spaces, nature of

exhibits, visitor behavioral patterns make it sacred.

A building becomes sacred when it houses the sacred. This

building does not.

Results pertaining to comments associated with the sacredness of the Rothko Chapel and
Contemporary Arts Museum are summarized in Tables IV-8 and 9. The four columns displayed
in each table (from left-to-right) identify first, characteristics that contribute to sacredness;
second, total number of comments recorded; third, number of comments suggesting that place is
experienced as sacred, and fourth, number of comments suggesting that place is not
experienced as sacred.

TABLE IV-8. Summary of comments associated with the sacredness of Rothko Chapel.
Rothko Chapel
Characteristics that contribute to sacredness Total number of Number of comments suggesting that
comments recorded Place is Place is not
experienced as experienced as
sacred sacred
Separation of inner space from outside world; quietness of 10 9 1
space; simplicity of formal elements of building; symmetry of
form; humanized proportions of building; materials; paintings;
quality of light; progression of spaces – garden to inner
meditative space; chapel activities.

TABLE IV-9. Summary of comments associated with the sacredness of Contemporary Arts
Museum.
Contemporary Arts Museum
Characteristics that contribute to sacredness Total number of Number of comments suggesting that
comments recorded Place is Place is not
experienced as experienced as
sacred sacred
Atmosphere and ambiance; ordering of spaces; nature of 4 1 3
exhibits; visitor behavioral patterns.

4.5 FOCUS GROUP DISCUSSION DATA

Qualitative data was collected by means of focus group discussions with three Houston
architects and three spiritual mentors at the sacred and secular buildings. Focus group
discussion results are categorized as follows: 1) exploration of meaning of sacred and secular;
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2) exploration of experiences elicited at selected buildings; 3) exploration of sacredness of

selected buildings; 4) exploration of architectural characteristics that impact sacredness.

4.5.1 Exploration of Meaning of Sacred and Secular

The participants were asked to describe what sacred and secular meant to them. The following
responses were elicited from participants regarding the meaning of sacred.

The sacred is hard to describe… hard to discuss. It means to be

cared for… it’s an intent… it’s a feeling… it’s something that the
heart feels… it makes your heart breathe and pulse with life… it
makes you feel alive and provides you with a greater purpose in
life.

The sacred is an experience… it’s more than an intention… its a

feeling… something that is deeply evoked and felt within… a
connection with something that is bigger and beyond…
something that is incomprehensible… yet part of everything
around, including you and me. Anything can become sacred with
intention.

The sacred means feeling something unique… it means sensing

something that is extraordinary… it is about transcendence… it
is something special and unique… it is experienced as
something ‘out of the ordinary’ or ‘other worldly’… it is ‘set apart’
from the world. The sacred works at several levels… it stems
from the heart and the head together. It is the direct experience
of a profound awareness that is felt through all the senses put
together. It is something that goes beyond what we are taught…
something that is beyond analysis… something that cannot be
comprehended with our minds. It has to do with our personal
backgrounds and past experiences. It is something that in not
found in a secular experience or secular space… the secular is
about an intellectual understanding and a functional reason for
something being a certain way… the secular is about function
and reason… the sacred is above all that… almost like a foreign
language that you can hear and are aware of… but yet, cannot
comprehend.

Everyone has a different belief of what the sacred means to

them… your past experiences can define what sacred means to
you… it is based upon your belief system. The sacred relates
with the concept of God… the nature and existence of the divine
being… the idea that God has perceived something to be holy,
and so it becomes holy… sacredness is holiness. The sacred
signifies the ‘other’… it wouldn’t exist without the secular
because then, it wouldn’t be the other. The sacred, I think is what
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we perceive subconsciously as one entity… a singularity… the

sacred, whatever it may be or whatever we believe it to be, is
something that unifies everything around us… it’s the opposite of
scatter or this-here and that-there and that-over-there. When we
look for sacredness, we are usually looking for something
specific… something specific that we may not be able to
describe appropriately in language… we probably cannot
describe the sacred in an articulate manner… but still we are
looking for something… some kind of feeling… some kind of
experience… some kind emotion or belief… something to relieve
us from the pressures of daily life… something to counter
depression or sadness in our lives… something that has the
potential to make us fulfilled and feel significant… and important
in the greater scheme of things.

The word ‘sacred’ is synonymous with the word ‘holy’ and

interestingly both these words are synonymous with the word
‘separate’.

The sacred resonates with the idea of ‘connection with God’… it

is something that is higher than the ‘everyday’.

The following responses were elicited from participants regarding the meaning of secular.

Secular means something that relates to the everyday

experience… average… normal.

Something that is not sacred… something that is not holistic…

something that is piece-meal… fragmented.

It is the opposite of the sacred, that which is not special or

unique.

Secular means the mundane or ordinary… something that is

temporary and fleeting.

It relates to that, which can be measured, quantified or defined

with ease.

Anything that is not extraordinary… anything that does not have

a sense of uniqueness, extraordinary focus or purpose to it…
something that belongs to the everyday world and does not
stand apart from the rest.

Results associated with the exploration of the meaning of sacred and secular are displayed in
the content analytic summary table (Table IV-10). The columns under Data – Sacred and Data –
Secular summarize the focus group discussion data into distinct categories that address specific
concepts pertaining to the meaning of sacred and secular. These underlying concepts evolved
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as a result of content analysis of the focus group discussion data and are listed under the
column Reference to Concepts.

TABLE IV-10. Summary of concepts associated with the meaning of sacred and secular.
Reference to concepts Data - Sacred Data - Secular
Comprehension Cannot be comprehended with our minds;
incomprehensible; beyond analysis; above function
and reason; goes beyond what we are taught; above
intellectual understanding.
Articulation Hard to describe and discuss; cannot be described Can be measured, quantified or defined with
appropriately in language or articulate manner; ease.
cannot exist without the secular; anything can
become sacred with intention; not found in secular
experience or secular space.
Universality Everyone has different beliefs regarding sacred;
definition changes with personal backgrounds,
beliefs, and past experiences.
Type of experience The sacred is a feeling; sense; emotion; belief; Secular is something that relates to the
connection; intent – more than an intention; direct everyday.
experience; profound awareness.
Ways in which Perceived subconsciously; evoked deeply; felt
experienced within; felt by heart; stems from heart and head
together; felt through all senses put together.
Characteristics of Sacred means feeling something unique; special; Anything that is not extraordinary; not unique;
experience extraordinary; out of the ordinary; the other; other secular means everyday; average; normal;
worldly; separate; set apart from the world; higher mundane; ordinary; not special; does not have a
than the everyday; about transcendence; bigger and sense of uniqueness, extraordinary focus or
beyond. purpose to it; belongs to the everyday world;
does not stand apart from the rest; about
function and reason; temporary; fleeting; not
sacred; opposite of the sacred.
Ways in which Makes heart breathe and pulse with life; provides us
experience contributes with greater purpose in life; relieves us from
pressures of daily life; counters depression or
sadness in our lives; makes us feel alive, fulfilled,
cared for; makes us feel significant and important in
the greater scheme of things.
Deity Relates with concept of God, holy, holiness; relates
with nature and existence of divine being; idea of
connection with God; idea that God perceives
something to be holy – so it becomes holy.
Unity Perceived subconsciously as one entity; part of Something that is not holistic; something that is
everything; singularity; signifies everything; opposite piece-meal; fragmented.
of scatter.

4.5.2 Exploration of Experiences Elicited at Selected Buildings

The participants were asked to describe their experiences at the sacred and secular buildings.
The following responses were elicited from participants regarding their experience at the Rothko
Chapel.

Wow… I’m in awe… the space feels very powerful and

meditative.
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I feel extremely tranquil and relaxed. The Chapel offers profound

introspection.

I feel at peace with myself and with the universe, here. I’ve been
coming to the Chapel for many years… the Chapel enables me
to connect with, for lack of a better word, a ‘higher
consciousness’… I am able to experience it directly in the
Chapel… its completely different to anything else that I
experience elsewhere… and in a very mercenary way, I want to
analyze the feeling… what exactly is this feeling… why does it
feels a certain way… how I can absorb that knowledge and
understanding and subsequently use it in my daily understanding
of architecture and practice. It feels very mercenary saying this,
but it is what I think to be put on the earth to do… I keep trying to
draw this knowledge into the intellectual aspect of my life and
profession for creative purposes… so that I can reproduce it…
so that I can describe it and pass it on to others… so that I can
teach it. I think that this study has a lot of power… these
questions are very pertinent, but are not addressed today… the
study is significant, because it is not easy to define. As
architects, when designing buildings, we are usually consumed
by function, budgets, personnel and resources… rarely will you
find a client that will let you design a building that is based on
sacred knowledge and principles... this is unfortunate.

I sense qualities of quietness… ceremonial tradition… deep

mysticism… mystical space and time… the Chapel makes you
want to explore the mystery within yourself and the mysterious
nature of the sacred experience in a deep holistic way.

This place has qualities of openness… the Chapel has a certain

quality of hush and quietness… it is very singular and unified.

It has natural and strong orientation. It is empty yet filled with

sacral meaning.

The following responses were elicited from participants regarding their experience at the
Contemporary Arts Museum.

I seem to feel busy inside the museum… it feels edgy.

The experience is one of intense activity… it feels busy … not

centered… not focused… superficial.

I feel hyper-active… there is too much happening at this place.

Ambiguous… torn… scattered… I feel torn in this space… the

space pulls me in different directions… it draws me here and
there… around the whole building… it is the opposite of
centering, a feeling that is generated on account of a variety of
things, including the space within, and the geometry of the
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building itself… you are not sure which way to walk… or where
to go… there is a sense of disorientation to this place.

Hesitation… disorientation… the Museum does not have one

direction or another to walk in… there is no direction here… at
the Rothko Chapel, it seems like there is a natural path to take…
here there seems to be hesitation upon entry.

There is confusion… experience is fleeting… whimsical… vapid.

Results associated with the exploration of experiences at the sacred and secular buildings are
displayed in the content analytic summary table (Table IV-11). The columns under Data –
Rothko Chapel and Data – Contemporary Arts Museum summarize the focus group discussion
data into distinct categories that address specific concepts pertaining to the experiences elicited
at the Rothko Chapel and the Contemporary Arts Museum. The underlying concepts that
evolved as a result of content analysis of the focus group discussion data are listed under the
column Reference to Concepts.

TABLE IV-11. Summary of concepts associated with the experiences elicited at the Rothko
Chapel and the Contemporary Arts Museum.
Reference to concepts Data - Rothko Chapel Data - Contemporary Arts Museum
Unique nature of Completely different to anything experienced
experience elsewhere;
Intensity of experience Wow; in awe; very powerful experience. Experience is superficial; fleeting; whimsical;
vapid.
Feelings of relaxation Relaxed; at peace with oneself and universe; Busy; edgy; intense activity; hyper-active; torn;
extremely tranquil; quietness; certain quality of hush. confusion; hesitation.
Feelings of mysticism Qualities of deep mysticism, mystical space and
time sensed.
Feelings of introspection Space feels meditative; enables profound
introspection; fosters exploration of mystery within
oneself; qualities of openness.
Feelings of sacredness Fosters deep and holistic exploration of mysterious
nature of sacred experience; filled with sacral
meaning; enables direct experience and connection
with higher consciousness.
Direction Natural and strong orientation. Disorientation due to internal space and
geometry of building; draws and pulls in different
directions; no direction.
Ceremonial Order Ceremonial tradition.
Path/Procession Chapel has a natural path.
Void Chapel is empty.
Unity Very singular; unified. Not centered; not focused; opposite of centering;
Too much happening; ambiguous; scattered.
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4.5.3 Exploration of Sacredness of Selected Buildings

The participants were asked to determine whether they experienced the selected buildings to be
sacred or secular and why. The Rothko Chapel was experienced to be sacred by the
participants. The following responses were elicited from participants regarding the Rothko
Chapel.

The Chapel feels sacred to me. I have always had a great sense
of affinity to this place. Its sacredness though, is not
measurable… you cannot say that one place is more sacred
than another… sacredness cannot be measured or compared
against itself… either you feel it or you don’t… the Chapel just
feels sacred. There is a sensory feeling of unification to this
place. In the West, we don’t seem to design too many spaces
that provide for the inclusion of sacredness or spaces that would
help us connect with the sacred… the practice of designing
sacred architecture seems common in other cultures such as
Asia, the Middle East… it seems to be a natural process for
these cultures.

The Rothko Chapel makes me want to slow down. The sacred is

immensely perceptible in this space. The Chapel has something
apart from what we see and experience everyday in our lives…
the experience of the Chapel is one that I don’t have very often
in Houston… I feel at peace with myself when I’m inside the
Chapel as compared to feeling scattered in my everyday life… I
feel unified with the universe here. The experience here goes to
another level… above function and reason… something that I
am not able to articulate precisely in words… architecture can
foster the function and intention of a building and take it to a
higher level, in that sense, the Chapel confirms the power of
architecture. The Chapel is designed to embrace you… it has
two unique qualities… at times, it draws something out of you…
at other times, it closes in, around you… it sometimes draws you
in and sometimes draws you out… depending on what you seek,
the Chapel could help you look inward or outward. When you
stop analyzing the space in your mind, the sacredness of the
Chapel begins to set in. The Chapel is profoundly conducive to
the experience of the sacred… it exemplifies a truly conducive
environment for the sacred experience… ‘conducive’ is the
operable word for the Chapel… it functions as a pure filter for the
sacred to perceive through. The Chapel feels sacred…
different… unique… special… quiet… and apart from the outside
world. The Chapel is about ‘a’ space… one space… a single
space that is unified, very focused and very central. The Chapel
can be sacred to people belonging to different faiths, on account
of its non-religious association.
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A place becomes sacred not only on account of physical or

environmental characteristics but also because of what happens
in the space itself… the Chapel is sacred to me because I have
knowledge about special events and memorial services that
have been conducted here in the past… it is sacred also on
account of highly respected spiritual leaders that have been
within this space, walked this ground and spoken within…
knowing what has happened in a space and subsequently
experiencing that space yourself, can make it sacred… this can
happen in any environment, but it is more pronounced in sacred
architecture on account of its formal characteristics. Architecture
can effectively reinforce the intent, purpose, and function of a
space and take it to a higher level. A sacred place can exist at
different levels... it can be sacred to an individual or to a
community… when individuals and the community, collectively
share in the sacredness of a place, that place becomes
universally sacred to everyone, as in the case of the Rothko
Chapel. The Chapel becomes sacred, knowing about all that has
happened within and by the fact that people’s experiences within
the Chapel have been sacred. Everything seems to come
together to one point at the Chapel… the architecture… the
purpose… the intent… the function… its all one… and
collectively all these, make the Chapel sacred for me.

The Chapel is sacred to me… I know that it is sacred because I

can feel it… there is something about the Chapel that makes me
feel that way… I feel in awe, when in this place… you cannot
appropriately describe this feeling in words. The space draws
you in and embraces you. You cannot measure sacredness or
quantify sacredness in terms of numbers… you can compare two
places and say that maybe one place is sacred while the other is
not. The architectural characteristics of the Chapel make it
sacred. Knowing about all that has happened in this space also
makes it sacred. Anything can become holy or sacred, if you are
aware of it in a certain way… the ground on which Moses stood
was sacred to him because he was aware of the presence of the
divine… the sacred had announced its presence at that place
and he was aware of this presence… our awareness of the
divine here, makes this place sacred for us… its a cyclic reaction
- when a space becomes conducive to our awareness of the
sacred, we feel that the place is sacred… space makes it easier
for us to experience the sacred and then our very awareness of
it, draws us further into the sacred experience… our unique
experience in the Chapel, contributes to our awareness of the
sacred here… and both these aspects put together, make this
place sacred for us. It would be very difficult to experience
sacredness in a place like Walmart or any other place that is not
conducive to projecting or expressing the sacred… the Chapel is
almost like a conductor for the sacred to manifest itself… the
Chapel makes it very easy for us to experience the sacred. The
Chapel provides a profound sense of unification to your heart,
mind and soul.
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Projecting what and how your heart feels about sacredness onto
a place, can contribute to making that place sacred. Sacred
intent is crucial to creating sacred place... sacred places rarely
exist without anyone intending them to be sacred. Sacred
architecture creates an aura of oneness with the universe… it
brings about an inward experience that cannot be fully studied or
analyzed. The Rothko Chapel has a sense of transcendence… it
has something different from the city and urban profanity that is
experienced everyday in our lives. It seems like we have become
more peaceful, since we first entered the Chapel… it takes a
while for the Chapel to act on you. Place can become sacred if it
has some connection with the divine or if it is dedicated to some
significant event or person in history… the Chapel also functions
as a shrine to the memory and work of Mark Rothko. Creating
places that are not only functional but also sacred, is one of the
primary goals of architecture… to make a place sacred or holy,
you have to intentionally be aware of doing just that. A great deal
of ancient knowledge regarding the creation of sacred
architecture has been lost… modern people do not comprehend
or have appropriate knowledge on how to do this anymore…
there seemed to be a great deal of understanding on how to do
this in the past… perhaps it was just understood better in the
past. Incorporating a sacred space in the household has not
really been part of our culture… the media, technology,
television, and the internet occupy prime locations in our homes
and in our lives... people today, seem to want large rooms in
their residences for media purposes – media rooms with state-of-
the-art home theatre systems… but the thought process on
incorporating a sacred space in our homes is slowly gaining
momentum… there is a lot of interest on this subject today… it
would be wonderful to have a small and separate space in the
house that fosters and contributes to the experience of
sacredness.

Space in itself is not capable of being holy or sacred… God is

holy… nature and man become holy through the presence of
God… when Moses confronted the burning bush, it was the
divine presence of God that made the place sacred… Moses had
to take off his shoes because it the ground upon which he was
standing had become hallowed through the presence of God… it
was the presence of God in that time and place that made it
sacred… place becomes sacred on account of what happens at
the place including, rituals and ceremonies that take place within
its confines. The Rothko Chapel is sacred and has a sense of
timelessness to it. It feels different and very special. It is unique
and ideal for escaping from the worries of the mundane world…
in that sense this place is sacred to me. It promotes and fosters
a relationship between what is holy and what is material… it
encourages you in the pursuit of the sacred and the greater
concept of Unity. The Chapel functions as a channel or filter for
the sacred to manifest through. The experience within, could be
classified as ‘something else’… something totally different from
everything else that you experience in the mundane world.
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Because the Chapel is non-denominational, you don’t have to

belong to a particular faith to experience its sacredness and for
this very reason, the Chapel could be sacred to anyone and
everyone, including atheists.

The Contemporary Arts Museum was not experienced to be sacred by the participants. The
following responses were elicited from participants regarding the Contemporary Arts Museum.

This place does not feel sacred to me… it is a secular place. It

feels like a very busy space… this space has a constant chatter
to it, which is distracting. It feels like the opposite of Rothko
Chapel.

This place expresses complete polar properties as compared to

the Rothko Chapel… a great deal of contrast and difference can
be perceived between the two places, despite their similarities in
scale and underlying function as galleries. We all seem to agree
about the essence of difference between the two places… we
essentially have the same thoughts as far as differences
between the two places are concerned, but seem to express
these differences in different ways. People come to the
Contemporary Arts Museum and Rothko Chapel for different
reasons… one could feel comfortable at both places for very
different reasons.

The Museum does not feel sacred. It feels extremely busy…

your attention is over-stimulated in this place. The photograph of
the young woman in the lower level of the museum is
extraordinary... I could not resist paying attention to it… the
photograph felt sacred to me… this feeling has nothing to do with
the architecture of the Museum itself… by contrast, the
characteristics of the Rothko Chapel, make it significantly more
conducive to experience the sacred… you feel attuned with the
Chapel and seem to be deeply aware of its sacredness.

There is significant contrast between the first floor and lower

floor of the Museum… the lower floor feels different compared to
the first floor, on account of all the photographs on the wall…
there is a sense of order to their arrangement… it has to do with
the content of the photographs… the people and their
expressions… perhaps it also has to do with the arrangement of
the photographs in a linear row within the space… but this
feeling has nothing to do with the character of the building itself.
The Rothko Chapel makes you want to bow your head, cross
your hands, as if in prayer, sit, relax, whereas here, you want to
fight your way through the exhibits as quickly as possible… you
feel in haste at this place.

The experience here, instead of being one that quiets you or

slows you, is the complete opposite… I wouldn’t come here to
quiet down or relax. This building is reflective of the western
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contemporary thought process in architectural expression… it

feels vapid. The Polaroid photographs exhibited in the lower
level of the Museum draw you into the moment… nothing else
seems to matter, when you are viewing them… the power of art
is apparent in the Polaroid’s… but this experience has really
nothing to do with the building… except that the building allows
this to happen in a purely functional way.

The Polaroid photographs seem to be elements that foster a

meditative feel to the lower level of the Museum … you can
focus on the photographic portraits of people and meditate all
day long.

Results associated with the exploration of sacredness of the sacred and secular buildings are
displayed in the content analytic summary table (Table IV-12). The columns under Data –
Rothko Chapel and Data – Contemporary Arts Museum summarize the focus group discussion
data into distinct categories that address specific concepts pertaining to the sacredness of the
Rothko Chapel and the Contemporary Arts Museum. The underlying concepts that evolved as a
result of content analysis of the focus group discussion data are listed under the column
Reference to Concepts.
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TABLE IV-12. Summary of concepts associated with the sacredness of the Rothko Chapel and
the Contemporary Arts Museum.
Reference to concepts Data - Rothko Chapel Data - Contemporary Arts Museum
Articulation of Cannot be articulated precisely in words; above
experience function and reason; cannot be appropriately
described in words; cannot be fully studied or
analyzed; sacredness experienced when analysis of
space ceases.
Ability of place to Immensely perceptible to sacredness; profoundly Not sacred; secular; opposite of experience
contribute to sacredness conducive to sacredness; truly conducive to elicited at Chapel; complete polar properties
sacredness; sacredness easily experienced; place is compared to Chapel; great deal of contrast and
sacred because one experiences it as sacred; one difference perceived as compared to Chapel,
feels attuned with Chapel and deeply aware of its despite similarities in scale and underlying
sacredness; architectural characteristics, function as galleries; everyone agrees about
physical/environmental characteristics contribute to essence of difference between Chapel and
sacredness; embodies formal characteristics of Museum; everyone has similar thoughts about
sacred architecture; architecture effectively differences between Chapel and Museum.
reinforces the intent, purpose, and function and
takes it to a higher level; space makes it easy to
experience the sacred; characteristics of Chapel,
make it significantly more conducive to experience
the sacred; place dedicated to significant event or
person in history is sacred – Chapel functions as
shrine to memory and work of Mark Rothko.
Measure of sacredness Sacredness cannot be measured or compared;
of place sacredness cannot be measured or quantified in
terms of numbers; sacredness is either experienced
at a place or not; places can be compared to
determine only whether they are sacred or not.
Universailty of Sacred to different faiths due to non-religious
sacredness of place association; non-denominational nature makes
Chapel universally sacred; universally sacred to all;
sacred place can be sacred to an individual or to a
community - when individuals and community,
collectively share in the sacredness of place, the
place becomes universally sacred.
Ways in which place Functions as pure filter for sacredness; functions as
contributes to conductor for sacred to manifest; functions as
sacredness channel/filter for sacred to manifest; encourages one
in the pursuit of sacred; confirms power of
architecture - fosters function and intention of
building and takes it to a higher level; designed to
embrace; takes time for Chapel to act on an
individual; promotes and fosters a relationship
between what is holy and what is material.
Unique nature of Different; unique; uncommon; something else, very
experience special; great sense of affinity felt; apart from
experience of outside world; apart from everyday
experience; totally different from everything else one
experiences in the mundane world; different from city
and urban profanity experienced in everyday life.
Intensity of experience In awe.
Feelings of relaxation Quiet; peaceful; makes one want to slow down; very busy space; extremely busy; constant
quiets and slows; ideal for escaping from worries of chatter; distracting; haste; attention is over-
mundane world; peace with oneself experienced as stimulated; opposite of quiet and slow; does not
compared to feeling scattered in everyday life; quiet down or relax; makes one want to fight
makes you want to bow head, cross hands, as if in his/her way through the exhibits really quickly.
prayer, sit and relax.
Feelings of introspection Two unique qualities – helps one look inward or
outward, depending on what is sought; space draws
one in with embrace; inward experience.
Center Very central.
Ceremonial Order Ceremonial activities; rituals; activities that take
place within its confines; knowledge about all that
has happened within space; knowledge about
activities (special events, memorials) conducted
within space; presence of highly respected spiritual
leaders within space; knowledge of activities within
space; knowledge that other individual experience
given place as sacred.
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TABLE IV-12 Continued

Reference to concepts Data - Rothko Chapel Data - Contemporary Arts Museum
Intention Sacred intent is crucial to creating sacred place;
projecting what and how ones heart feels about
sacredness onto a place; sacred places rarely exist
without sacred intent; anything can become holy or
sacred with awareness; place becomes sacred when
space becomes conducive to our awareness of the
sacred; to make place sacred, one has to
intentionally be aware of creating sacred space; very
difficult to experience sacredness when place is not
conducive to projecting or expressing the sacred.
Objects Chapel functions as shrine to memory and work of Polaroid photographs are sacred – has nothing
Mark Rothko. to do with architecture of Museum; Polaroid
photographs draw one into the moment – has
nothing to do with the building, except that
building allows exhibition to happen functionally;
Polaroid photographs foster a meditative feel to
lower level – one can focus on photographs and
meditate; significant contrast between first floor
and lower floor, on account of content
(expressions of people) of Polaroid photographs
– has nothing to do with the character of the
building; sense of order to arrangement of
Polaroid photographs.
Timelessness Chapel has sense of timelessness.
Unity One space, ‘a'space, single space – unified; very
focused; unity expressed through architecture,
purpose, intent, function – collectively these
contribute to sacredness; provides profound sense of
unification to heart, mind and soul; sensory feeling of
unification; creates aura of oneness with the
universe; encourages one in the pursuit of Unity;
unified with the universe.
Deity sense of transcendence; connection with the divine;
awareness of divine; presence of God.
Difference in knowledge Ancient knowledge regarding creation of sacred
about sacred place- architecture has been lost; modern people do not
making comprehend or have appropriate knowledge on how
to create sacred place; there seemed to be greater
understanding on creating sacred places in the past
– possibly because it was better understood in the
past; media, technology, television, and internet
occupy prime locations in modern homes and lives;
museum is reflective of western contemporary
thought process in architectural expression – vapid.
Difference in interest Practice of designing sacred architecture seems
about sacred place- more common in eastern than western cultures;
making inclusion of sacred spaces seen as natural process
for eastern cultures; creating sacred places – one of
the primary goals of architecture; incorporating
sacred spaces in dwellings is not part of western
cultures; intent on incorporating sacred spaces in
dwellings is gaining momentum in west; greater
interest in sacred place-making is currently being
generated in west; dedication of small and separate
space in dwellings that foster and contribute to
experience of sacredness is highly desirable.
Miscellaneous People visit Museum and Chapel for different
Comments reasons – one can feel comfortable at both
places for very different reasons.
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4.5.4 Exploration of Architectural Characteristics that Impact Sacredness

The participants were asked to identify what architectural characteristics contributed to their
experience of sacredness (if at all) at the sacred and secular buildings. The following responses
were elicited from participants regarding architectural characteristics that contributed to the
experience of sacredness at Rothko Chapel.

The Chapel has a tremendous sense of light and contributes

immensely to the experience of the sacred within this place. The
absence of sound… the whispers… the silence inside the
Chapel contribute to the peaceful and profound experience of
sacredness within the Chapel. Natural materials or earth-related
materials expressed at the Chapel contribute to an enormous
sense of grounding… this experience of grounding draws you
within the womb of the Chapel and then subsequently helps you
breathe and reach out to the divine. There is a sense of peaceful
containment at the Chapel. The Chapel has an immense sense
of focus to it… the very geometry of the building and the light
entering through the skylight in the ceiling, engenders a profound
sense of centrality and focus to the Chapel. It is not only one or
two of these factors, but everything in totality that affects me and
makes this place sacred for me.

The acoustics of the Chapel are phenomenal and have an

amazing, almost trance-like effect on people… this seems to be
especially more pronounced when a large group is inside the
Chapel… sound seems to have a spectacular effect on people
inside the Chapel. I think a sacred place can occur in natural
landscape too… I have experienced this before at places, where
there seemed to be something really strong and beautiful about
the landscape.

The sacredness experienced within, has a lot to so with the

quality of sound, quietness and stillness of this Chapel. The
quality of light within, contributes immensely to the sacred
experience. The sound and light make you feel very different
inside the Chapel… there is something about the sound and light
that evokes sacredness at this place and it touches you in a way
that you cannot describe… it can almost be likened to
breathing… the light, sound and the architecture of the Chapel,
open and close your heart… your heart is able to breath freely
inside the Chapel.

The formal aspects of the Chapel’s architecture make it different

and sacred for me. The power of Chapel is that the space fosters
the sacred experience and embraces you. There is a sense of
grounding that welcomes you upon entry. The sacredness
experienced within the Chapel has a lot to do with the scale,
shape and geometry of the building… the space of the building…
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the proportions of the building. The chapel is based on the shape

of an octagon… the octagon is considered the most pristine and
perfect shape in Feng Shui, for various reasons, one being that it
has eight sides… it relates to the Ba Gua… the eight sides of the
Chapel lend itself to a cyclic process of movement that tends to
slow you down… the eight sides makes you want to slow down
and experience the space within… it seems like the octagonal
geometry was purposefully intended to slow you down. The
quality of light is simply out of this world. Ornamentation of any
sort has been left out, which makes the inside and outside of the
Chapel feel like a void in space. The strongest aspect of the
Chapel is that it has an extraordinary sense of focus and
centrality. It is constructed with materials of the Earth, and even
though its color palette is very neutral and earthy, it has a
profound impact and affect on me. No matter how carefully an
architect designs a building, the space will be used in the
manner that people want to use it… as architects, we have little
control over how people will specifically use a space, but we can
definitely foster and encourage people to use it the way we
intend them to, at least to a certain degree. The Chapel is a
great example of how an architect can encourage people to
meditate and introspect.

The Chapel has an amazing quality of sound and light to it. The
geometry and spatial characteristics of Rothko Chapel have a
focus to it, and this in turn helps you focus. Other things that
make it sacred are landscape elements around the building,
including the water pool with the obelisk… the shallow pool with
the image of the obelisk reflected on the surface of the water
feels serene. The architecture of the Chapel reinforces the
sacred. The texture of materials used… their colors… the light…
the sound… the paintings… the geometry… the emptiness within
the Chapel… all these factors collectively set the mood for the
sacredness that is experience within the Chapel.

The Chapel is unique because it functions to a great extent to

block the outside world and withhold the sacred experience
within… the large solid walls isolate you from the mundane world
outside… separating the sacred from what is mundane. The light
and sound qualities within the Chapel are simply amazing… the
sound inside the Chapel has an eerie quality to it - almost like a
whisper with an echo, which is barely perceptible. The Chapel
has an profound sense of centrality to it… its centrality is the
most dominant aspect of its architectural character… it is
symmetrical and formal in many ways – its axes, form, spatial
alignment, spatial hierarchy, entry/exit sequence, and these
characteristics seem to be deliberately designed into the
Chapel… these features converge into one strong experience at
the Chapel… the combination of all these features, produces a
very powerful effect… these qualities enhance and foster the
experience of the sacred within the Chapel… they come together
in unison to uplift the experience within the Chapel.
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The Contemporary Arts Museum was not experienced to be sacred by the participants. The
following responses were elicited from participants regarding architectural characteristics at the
Contemporary Arts Museum.

Both, the Rothko Chapel and the Contemporary Arts Museum

have similar functions, but the experience within each building is
completely different… the geometry of the buildings… the
experience of approaching and entering each building… the
quality of light and sound within each building… these features
are completely different in each building. You are subjected to
excessively different influences in here… you have a hard time
deciding which way to turn or which way to proceed in. The form
or geometry of the Museum is not apparent when you are inside
the building… the octagonal geometry of the Rothko Chapel is
apparent when you are inside the Chapel… you literally have to
walk all around the building to realize that it is a parallelogram.
The materiality and texture of the concrete columns in the lower
level of the Museum seem to resonate with you. The interior of
the Museum is flexible in terms of spatial divisions and can be
easily organized into several different arrangements, depending
on the nature of the exhibits… at the Rothko Chapel, it would be
very difficult to rearrange the interior space, on account of the
permanent nature of the exhibits.

The geometry of the Museum makes you want to turn around

hastily at the acute and obtuse corners. There seems to be so
much going on in here… at the Rothko Chapel, there is
nothingness. I am very aware of the parallelogram and the
point… there is something that is unsettling about that. The
space itself does not feel conducive to the sacred experience.

The geometry of the building is disconcerting… the geometry

feels alien-like… it makes you want to move constantly… you
don’t feel like slowing down, or sitting, or relaxing… you feel like
you have to constantly move… the Museum doesn’t lend itself to
relaxing or experiencing the space within… people seem to
move around the Museum rather quickly and rapidly… your eyes
seem to constantly change focus and tend to jump to different
locations within the space… the Museum is about movement… it
makes me feel like a child… the Museum has a child-like energy
to it… at the Rothko Chapel, movement is significantly slower
and quieter. The Museum was designed to be contemporary and
busy, and it is successful to that extent. The Museum feels
disturbing in a way… there is a sense of hesitation upon entry…
probably on account of the overly low entrance foyer and the
inherent geometry of the Museum, itself… the Museum feels off-
balance compared to the Rothko Chapel, where I feel very
balanced and calm. There seems to be a natural quality to the
concrete columns in the lower level of the Museum… a feature
that this building otherwise does not display… the lower level
expresses materials in a very natural way… the lower level is
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homogeneous in the way that it expresses materials. The

building cannot be experienced as one space… it has a series of
spaces that change with every exhibition… the Museum is able
to function in many different ways depending on how the interior
space is divided… the space feels very malleable and
temporary… the partitions can be moved around and the space
can be divided in many different ways… the Museum can accept
change very easily … it can be compared to a supermarket,
where things come in and go out frequently… the experience in
here is constantly changing and morphing… the power and
energy of the Museum, if any, are its ever-changing exhibits, and
not the building itself… the Rothko Chapel in contrast, is
timeless… it is designed around explicit and permanent pieces of
art… it is not designed to be a constantly changing
environment… the Chapel is a very conscious and fixed
container for those pieces of art… in that sense, the Chapel is
not controlled by time.

The Museum has a skewed geometry to it… it is a rectangle that

has been skewed into a parallelogram… it feels strange entering
the building at an obtuse apex of the parallelogram… the form
seems to be deliberately intended that way, to throw you off
balance, disorient and shock you… and rightfully so, since it is
meant to be a cutting edge Avant-garde building that houses
contemporary art. I was attracted to the concrete columns in the
lower level of the Museum... they have very interesting
features… they are rectangular in shape with chamfered
corners… the concrete columns have the imprints of wooden
forms and the actual grain of the wood… the column surface is
textured and resembles the surface texture of wood… they have
richness of texture and appearance. People come to the
Museum to see exhibits that are constantly changing. The
building feels inherently divisive… the scattering tendency of this
building is opposite to what the sacred represents. The Museum
has similarities with sub-urban mansions – the entrance here is
tall and out of scale… upon passing through this tall entry, you
end up in a low-scaled lounge space that has no definition and
feels weird in proportion… at the Rothko Chapel, you have to
enter through a smaller human-scaled entrance before
proceeding into the inner sanctum… the entrance at the Chapel
feels like architectural feature that Frank Lloyd Wright would
design… there seems to be such flavor in the experience of
scale at the Rothko Chapel, not only upon entry, but also when
you are deep within its inner belly… scale plays a huge role in
architecture. The designs of the two buildings were dealt with,
and approached very differently… the difference in experience
between the two places is due to different design intentions for
each place and the incorporation of different design features at
each place. The Contemporary Arts Museum is a reflection of
modern life… the Museum is vapid, fast, morphing, evolving… it
portrays chaos… confusion… uncertainty... these feelings
contrast with what is sacred. The Museum does not have a
sense of orientation, neither does it have any directional axes …
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even the symmetry that arises out of the shape of the

parallelogram is not really apparent, regardless of whether you
are inside or outside.

When you enter the Museum, you feel a sense of clutter… the
space is busy and edgy. The shape of Museum – the different
angles, the angular corners, the edges are disturbing and
distracting… there seems to be a lack of orientation… there is a
significant contrast between your experience of the Museum and
the Rothko Chapel… upon entry, the Chapel leads you… its
feels like somebody exquisitely planned a specific journey for
someone entering the Chapel as compared to the haphazard
feeling experienced upon entering the Museum. As architects we
need to come up with the right terminology for a sacred space in
our households… some language or terminology to help realize
a specific space for the sacred in everyday architecture… it
could be as simple as having a niche in the wall, if not an actual
space… maybe call it a shrine… temple… prayer space…
meditation space… contemplation space. There are times when
we need centering… symmetry… axiality… as experienced in
the Rothko Chapel… there is an immense degree of comfort in
that… there is a certain degree of longing for that… but there is
also a part of us that craves for novelty… we feel the need to be
the surprised, shocked and unsettled… feelings that some of us
experienced in the Contemporary Arts Museum… as humans we
are part secular and part sacred… our buildings reflect that.

Results associated with the exploration of architectural characteristics that impact sacredness (if
at all) of the sacred and secular buildings are displayed in the content analytic summary table
(Table IV-13). The columns under Data – Rothko Chapel and Data – Contemporary Arts
Museum summarize the focus group discussion data into distinct categories that address
specific concepts pertaining to architectural characteristics that impact sacredness (if at all) of
the Rothko Chapel and the Contemporary Arts Museum. The underlying concepts that evolved
as a result of content analysis of the focus group discussion data are listed under the column
Reference to Concepts.
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TABLE IV-13. Summary of concepts associated with the architectural characteristics that impact
sacredness of the Rothko Chapel and the Contemporary Arts Museum.
Reference to concepts Data - Rothko Chapel Data - Contemporary Arts Museum
Center Centering experience; immense sense of focus;
spatial characteristics of Chapel have focus - help
one focus; profound sense of centrality; profound
sense of centrality and focus; strongest aspect of
Chapel is extraordinary sense of focus and centrality;
most dominant aspect of architecture is centrality.
Bounding Large solid walls present; sense of peaceful
containment; very conscious and fixed container for
pieces of art.
Direction Symmetrical and formal – axes and alignment are Does not have sense of orientation; no
deliberately designed to enhance and foster directional axes; lack of orientation.
sacredness; axiality present.
Descent Natural or earth-related materials contribute to
enormous sense of grounding; grounding draws one
within womb of Chapel and helps one breath and
reach out to divine; sense of grounding welcomes
one upon entry.
Passage Symmetrical and formal entry/exit sequence are Experience of approaching and entering is
deliberately designed into Chapel to enhance and completely different as compared to Chapel;
foster sacredness; one has to enter through smaller sense of hesitation upon entry - on account of
human-scaled entrance before proceeding into inner overly low entrance foyer and inherent
sanctum; much flavor in experience of scale at entry; geometry; feels strange entering building at
leads you upon entry – specifically and exquisitely obtuse apex of parallelogram; entrance is tall
planned journey upon entering Chapel. and out of scale; upon passing through tall entry,
one ends up in low-scaled lounge space that
has no definition and feels weird in proportion -
similar to sub-urban mansions; haphazard
feeling experienced upon entering.
Numeric Order Eight sides of Chapel facilitate cyclic process of
movement that tend to slow one down; eight sides
makes one want to slow down and experience space
within.
Geometric Order Symmetry present; octagonal geometry is apparent Geometry is completely different as compared to
when one is inside; design is based on octagon - Chapel; form or geometry is not apparent when
considered most pristine and perfect shape in Feng one is inside; skewed geometry – rectangle is
Shui; octagon relates to Ba Gua; octagonal geometry skewed into parallelogram; one has to literally
purposefully intended to slow one down; geometry of walk all around building to realize building is a
building contributes to sacredness; geometry parallelogram; symmetry arising out of
contributes to sacredness; shape of building parallelogram is not really apparent, regardless
contributes to sacredness; symmetry and form are of one being inside or outside; geometry makes
deliberately designed into Chapel to enhance and one want to turn around hastily at acute and
foster sacredness; geometry of building engenders obtuse corners; geometry of building is
profound sense of centrality and focus; geometry of disconcerting; geometry feels alien-like – makes
Chapel has focus – help one focus. one want to move constantly; one is highly
aware of parallelogram and point – unsettling;
geometry contributes to sense of hesitation upon
entry; form is deliberately intended to disorient,
shock, and throw individuals off balance; shape
of Museum - different angles, angular corners,
edges are disturbing and distracting.
Spatial Order Power of Chapel lies in space - fosters the sacred Space does not feel conducive to sacred
experience and embraces the individual; spatial experience; one has hard time deciding which
characteristics of building contribute to sacredness; way to turn or which way to proceed in.
symmetrical and formal spatial hierarchy are
deliberately designed into Chapel to enhance and
foster sacredness; spatial characteristics of Chapel
have focus – help one focus;
Anthropomorphic Order Human-scaled entrance; scale plays huge role; scale Entrance is tall and out of scale; lounge space
of building contributes to sacredness; proportions of feels weird in proportion – similar to sub-urban
building contribute to sacredness; much flavor in mansions.
experience of scale at entry and inner space.
Ordered Nature Landscape elements – water pool with obelisk
contribute to sacredness.
Ordered Views Functions to great extent to block outside world and
withhold sacred experience within - makes Chapel
unique; large solid walls isolate one from mundane
world outside, separating sacred from mundane.
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TABLE IV-13 Continued

Reference to concepts Data - Rothko Chapel Data - Contemporary Arts Museum
Materiality Natural or earth-related materials contribute to Lower level expresses materials in very natural
enormous sense of grounding; constructed with way; lower level is homogeneous in expressing
materials of the Earth; color palette of materials is materials; materiality and texture of concrete
very neutral and earthy – has profound impact and columns in lower level resonate with individuals;
affect on individuals; texture and color of materials concrete columns in lower level have natural
contribute to sacredness. quality – a feature that is otherwise not
displayed; concrete columns in lower level are
attractive/have very interesting features –
rectangular with chamfered corners, imprinted
with wooden forms and actual grain of wood;
column surface is textured and resembles
surface texture of wood – richness of texture
and appearance.
Elementals Shallow pool with image of reflected obelisk is
serene.
Light Light contributes to sacredness; tremendous sense Quality of light is completely different as
of light – contributes immensely to sacredness; compared to Chapel.
quality of light contributes immensely to sacredness;
light evokes sacredness and touches one in ways
that cannot be described – likened to breathing
(opens and closes your heart); light makes one feel
very different; light entering through skylight in ceiling
engenders profound sense of centrality and focus;
quality of light is out of this world; amazing quality of
light; light qualities are simply amazing.
Path/Procession Movement inside Chapel is significantly slower and Architecture of Museum is about movement; one
quieter. feels like he/she has to constantly move; people
move around rather quickly and rapidly.
Void Ornamentation is left out, making inside and outside
feel like voids in space; nothingness present;
emptiness within Chapel contributes to sacredness.
Sound Sound makes one feel very different; sound Sound is completely different as compared to
contributes to sacredness; quality of sound, Chapel.
quietness and stillness contribute immensely to
sacredness; sound evokes sacredness and touches
one in ways that cannot be described – likened to
breathing (opens and closes your heart); absence of
sound/presence of silence and whispers – contribute
to peaceful and profound experience of sacredness;
acoustics are phenomenal; acoustics have amazing
trance-like effect on people – especially more
pronounced with larger groups; sound has
spectacular effect; amazing quality of sound; sound
qualities are simply amazing; sound inside Chapel
has eerie quality – whisper-like qualities with barely
perceptible echo.
Objects Paintings contribute to sacredness. power and energy are its ever-changing exhibits,
not the building;
Timelessness Permanent exhibits; Chapel designed around explicit
and permanent pieces of art – not designed to be
constantly changing environment – Chapel not
controlled by time – timeless.
Unity Building characteristics do not act in isolation - Busy and edgy; so much going on; sense of
everything in totality affects individuals and makes clutter; inherently divisive; unsettling; novelty,
place sacred; texture and color of materials, light, surprise and shock experienced; scattering
sound, paintings, geometry, emptiness within chapel tendency is opposite to what sacred represents;
– collectively set mood for sacredness; combination significant contrast in experience as compared
of axes, form, spatial alignment, spatial hierarchy, to Chapel; one is subjected to excessively
entry/exit sequence produce a very powerful effect – different influences; cannot be experienced as
features converge into one strong experience and one space – series of spaces that change with
come together in unison to uplift experience within exhibitions; reflects modern life and contrasts
Chapel. with what is sacred – vapid, fast, morphing,
evolving; chaotic, confusion, uncertainty;
experience constantly changes and morphs.
Ability of place to Formal aspects of architecture make it different and
contribute to sacredness sacred; architecture of Chapel reinforces the sacred.
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TABLE IV-13 Continued

Reference to concepts Data - Rothko Chapel Data - Contemporary Arts Museum
Feelings of relaxation Architecture of Chapel opens and closes your heart Disturbing experience; feels off-balance
– the heart is able to breathe freely; very balanced compared to Chapel; one doesn’t feel like
and calm. slowing down, or sitting, or relaxing; architecture
doesn’t lend itself to relaxing or experiencing
space within; eyes constantly change focus and
jump to different locations within space; makes
one feel like a child – has child-like energy;
designed to be busy – successful to that extent.
Feelings of introspection Architects have little control over how people will
specifically use a space – they can only foster and
encourage people to use a space in ways it is
intended to be used to a certain degree – Chapel is
great example of how architects can encourage
people to meditate and introspect.
Ancillary differences Difficult to rearrange interior space due to permanent Design is dealt with, and approached very
nature of the exhibits. differently as compared to Chapel; cutting edge
Avant-garde building that houses contemporary
art; though functions are similar, experience is
completely different as compared to Chapel;
difference in experience as compared to Chapel
is due to different design intentions and
incorporation of different design features;
designed to be contemporary – successful to
that extent; space feels very malleable and
temporary; space accepts change very easily;
interior is flexible in terms of spatial divisions
and can be easily organized into several
different arrangements, depending on nature of
exhibits; functions in different ways depending
on how interior space is divided; partitions can
be moved around and space can be divided in
different ways; changing exhibits; likened to
supermarket – things come in and go out
frequently; people come to Museum to see
exhibits that are constantly changing.
Miscellaneous Certain degree of longing/part of us needs centering; Part of us craves for novelty, need to be the
Comments symmetry; axiality as experienced in Chapel – surprised, shocked, unsettled as experienced in
provides immense degree of comfort; architects Museum; buildings reflect part sacred and part
need to define correct language or terminology for secular nature of humans.
sacred space (shrine, temple, prayer space,
meditation space, contemplation space) in dwellings
to facilitate the incorporation of specific sacred
space in everyday architecture – could be actual
space or niche in wall.
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CHAPTER V
DISCUSSION

5.1 INTRODUCTION

Data collected and analyzed in the study, by means of grounded theory methods, are discussed
accordingly: 1) Differences in pattern presence at selected buildings; 2) Differences in pattern
quality at selected buildings; 3) Sacredness of selected buildings; 4) Characteristics that
contribute to sacredness; 5) Concepts associated with meaning of sacred and secular; and
6) Development of place-making pattern matrix.

Combined findings from graphical data and questionnaire data were utilized to explore
differences in pattern presence between the sacred and secular buildings. Both questionnaire
data and graphical data showed that there were a higher number of place-making patterns
present at the sacred place, i.e., Rothko Chapel, than at the secular place, i.e., Contemporary
Arts Museum.

Combined findings from questionnaire data and focus group discussion data were utilized to
explore differences in pattern quality between the sacred and secular buildings. Both
questionnaire data and focus group discussion data showed that the quality of expression of the
place-making patterns was higher at the sacred place, i.e., Rothko Chapel, than at the secular
place, i.e., Contemporary Arts Museum.

Questionnaire data helped to validate focus group discussion data on whether the Rothko
Chapel and the Contemporary Arts Museum were experienced to be sacred or secular.
Collectively, questionnaire data and focus group discussion data revealed that the Rothko
Chapel was experienced to be sacred, while the Contemporary Arts Museum was not. In
addition, focus group discussion data was utilized to explore experiences elicited at the sacred
and secular buildings that contributed to Rothko Chapel being experienced as sacred and
Contemporary Arts Museum not being experienced as sacred.

Combined findings from questionnaire data and focus group discussion data were utilized to
identify characteristics that contributed to sacredness of the selected buildings. Fifteen
characteristics identified by questionnaire data and focus group discussion data seemed to
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correspond with the place-making patterns from the CPPS at the Rothko Chapel. In addition,
questionnaire data and focus group discussion data collectively revealed that eight
characteristics, not associated with the place-making patterns from the CPPS, seemed to
contribute to the sacredness of the Rothko Chapel.

Focus group discussion data also revealed certain concepts associated with the meaning of
sacred and secular. Concepts derived through focus group discussions that could not be
classified under any of the above stated discussions, were also included under this category.

A place-making pattern matrix is developed based on graphical data, questionnaire data, and
focus group discussion data that were collected and analyzed in the research. The matrix is
composed of nineteen items arranged in three concentric layers on the basis of their hierarchical
importance (in terms of pattern presence and pattern quality) in contributing to sacredness of
place. The place-making pattern matrix is meant to serve as a guide for architects in creating
sacred place.

5.2 DIFFERENCES IN PATTERN PRESENCE AT SELECTED BUILDINGS

Questionnaire data associated with differences in presence of place-making patterns at the

sacred and secular buildings helped to validate the findings of graphical data gathered by means
of case study analyses. Differences in the presence of individual place-making patterns from the
CPPS, between the sacred and secular buildings are identified below. In the discussions that
follow, if 16 or more questionnaire participants (representing 66.6% or greater percentage values
of questionnaire participants, i.e., high range percentage values) agreed that a specific pattern
was present at a given setting, then that pattern was observed to be present rather than absent
by participants at that setting, i.e., the likelihood of that pattern being present at that setting is
fairly certain. Similarly, if 8 or less questionnaire participants (representing 33.3% or lower
percentage values of questionnaire participants, i.e., low range percentage values) agreed that a
specific pattern was present at a given setting, then that pattern was observed to be absent
rather than present by participants at that setting, i.e., the likelihood of that pattern being absent
at that setting is fairly certain. If 9 to 15 questionnaire participants (representing 33.4% to 66.5%
of questionnaire participants, i.e., mid range percentage values) agreed that a specific pattern
was present at a given setting, then that pattern could be present or absent at that setting, i.e.,
the likelihood of that pattern being present or absent at that setting is uncertain. However, in
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cases of such uncertainty associated with pattern presence, it is more likely that the specific
pattern is present rather than absent at the given setting, if 13 or more questionnaire participants
(representing 54.1% or higher percentage values of questionnaire participants, i.e., tending more
towards high range percentage values) observed it to be present at that setting. On the other
hand, it is more likely that the specific pattern is absent rather than present at the given setting, if
11 or less questionnaire participants (representing 45.8% or lower percentage values of
questionnaire participants – tending more towards low range percentage values) observed it to
be present at that setting.

Based on questionnaire data, the difference in percentage values associated with pattern
presence at the sacred and secular buildings was calculated, i.e., Difference in percentage
values = percentage value of participants that answered positively (i.e., yes), to individual place-
making patterns being present at Rothko Chapel minus percentage value of participants that
answered positively (i.e., yes), to individual place-making patterns being present at
Contemporary Arts Museum.

Questionnaire data revealed how, or in what ways, individual place-making patterns from the
CPPS were observed to be present at the sacred and secular buildings. This data helped to
validate graphical data associated with ways in which individual place-making patterns from the
CPPS physically corresponded with the architecture of the sacred and secular buildings, and to
identify which characteristics were strongest contributors to the presence of individual place-
making patterns at the sacred and secular buildings.

5.2.1 Difference in Presence of Center

Graphical data revealed that the place-making pattern Center was observed to be present at the
sacred building, i.e., Rothko Chapel, while it was observed to be absent at the secular building,
i.e., Contemporary Arts Museum. A total of 23 out of 24 questionnaire participants (representing
95.8% of the total number of questionnaire participants) agreed that Center was present at the
Rothko Chapel, while at the Contemporary Arts Museum, 6 out of 24 questionnaire participants
(representing 25% of the total number of questionnaire participants) agreed that Center was
present. Questionnaire data, therefore, successfully validates graphical data at the Rothko
Chapel as well as the Contemporary Arts Museum, i.e., Center is present at the Rothko Chapel,
while it is absent at the Contemporary Arts Museum. Based on questionnaire data, the difference
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in percentage values associated with the presence of Center at the Rothko Chapel over the
Contemporary Arts Museum is 70.8%.

Graphical data revealed that the presence of Center at the Rothko Chapel was experienced
through the spatial center of the octagonal shaped plan of the Chapel. Questionnaire data
revealed that the presence of Center at the Rothko Chapel was experienced through:
1) octagonal plan of the chapel; 2) inner chapel spatial center; 3) arrangement of centralized
furniture; 4) symmetrical enclosures; and 5) centralized skylight in the ceiling. Based on
questionnaire data (participant comments), the strongest contributors to the presence of Center
at the Rothko Chapel were observed to be: 1) symmetry of the octagonal shape; and
2) centralized skylight.

Based on questionnaire data, contributors to the presence of Center at the Contemporary Arts
Museum could not be determined, as all four participant comments recorded, indicated that the
presence of Center was not experienced.

5.2.2 Difference in Presence of Bounding

Graphical data revealed that the place-making pattern Bounding was observed to be present at
the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e., Contemporary Arts
Museum. A total of 24 out of 24 questionnaire participants (representing 100% of the total
number of questionnaire participants) agreed that Bounding was present at the Rothko Chapel,
while at the Contemporary Arts Museum, 20 out of 24 questionnaire participants (representing
83.3% of the total number of questionnaire participants) agreed that Bounding was present.
Questionnaire data, therefore, successfully validates graphical data at the Rothko Chapel as well
as the Contemporary Arts Museum, i.e., Bounding is present at the Rothko Chapel as well as the
Contemporary Arts Museum. Based on questionnaire data, the difference in percentage values
associated with the presence of Bounding at the Rothko Chapel over the Contemporary Arts
Museum is 16.7%.

Graphical data revealed that the presence of Bounding at the Rothko Chapel was experienced
through the walls, floor, and ceiling of the Chapel. Questionnaire data revealed that the presence
of Bounding at the Rothko Chapel was experienced through: 1) walls; 2) floor; 3) ceiling;
4) restricted views to the exterior; and 5) paintings. Based on questionnaire data, the strongest
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contributors to the presence of Bounding at the Rothko Chapel were observed to be: 1) walls;
2) ceiling; and 3) restricted views to the exterior.

Graphical data revealed that the presence of Bounding at the Contemporary Arts Museum was
experienced through the walls, floor, and ceiling of the Museum. Questionnaire data revealed
that the presence of Bounding at the Contemporary Arts Museum was experienced through:
1) restricted views to the exterior; 2) roof trusses defining ceiling; 3) walls; 4) floor; and
5) uniqueness of materiality. Based on questionnaire data, the strongest contributors to the
presence of Bounding at the Contemporary Arts Museum were observed to be: 1) restricted
views to the exterior; and 2) roof trusses defining ceiling.

5.2.3 Difference in Presence of Direction

Graphical data revealed that the place-making pattern Direction was observed to be present at
the sacred building, i.e., Rothko Chapel, while it was observed to be absent at the secular
building, i.e., Contemporary Arts Museum. A total of 17 out of 24 questionnaire participants
(representing 70.8% of the total number of questionnaire participants) agreed that Direction was
present at the Rothko Chapel, while at the Contemporary Arts Museum, 8 out of 24
questionnaire participants (representing 33.3% of the total number of questionnaire participants)
agreed that Direction was present. Questionnaire data, therefore, successfully validates
graphical data at the Rothko Chapel as well as the Contemporary Arts Museum, i.e., Direction is
present at the Rothko Chapel, while it is absent at the Contemporary Arts Museum. Based on
questionnaire data, the difference in percentage values associated with the presence of
Direction at the Rothko Chapel over the Contemporary Arts Museum is 37.5%.

Graphical data revealed that the presence of Direction at the Rothko Chapel was experienced
through the alignment of the Chapel entrance with the pool on the south. Questionnaire data
revealed that the presence of Direction at the Rothko Chapel was experienced through:
1) orientation of site and building to cardinal points; 2) orientation of building entrance with plaza
and obelisk; 3) orientation of obelisk with the sky; 4) orientation of light entering the skylight from
above; and 5) symmetrical building form. Based on questionnaire data, the strongest
contributors to the presence of Direction at the Rothko Chapel were observed to be:
1) orientation of building entrance with plaza and obelisk; and 2) orientation of light entering the
skylight from above.
 163

Although graphical data revealed that Direction at the Contemporary Arts Museum was
experienced to be absent, questionnaire data revealed that its presence was experienced
through: 1) orientation of the edges of the building with site boundaries; 2) oblique orientation of
the walls of the building; and 3) pointed edges of building. Questionnaire data indicated that
there were no strong contributors to the presence of Direction at the Contemporary Arts
Museum.

5.2.4 Difference in Presence of Descent

Graphical data revealed that the place-making pattern Descent was observed to be present at
the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e., Contemporary Arts
Museum. A total of 16 out of 24 questionnaire participants (representing 66.6% of the total
number of questionnaire participants) agreed that Descent was present at the Rothko Chapel,
while at the Contemporary Arts Museum, 16 out of 24 questionnaire participants (representing
66.6% of the total number of questionnaire participants) agreed that Descent was present.
Questionnaire data, therefore, successfully validates graphical data at the Rothko Chapel as well
as the Contemporary Arts Museum, i.e., Descent is present at the Rothko Chapel as well as the
Contemporary Arts Museum. Based on questionnaire data, the difference in percentage values
associated with the presence of Descent at the Rothko Chapel over the Contemporary Arts
Museum is 0%.

Graphical data revealed that the presence of Descent at the Rothko Chapel was experienced
through the darkness inside the Chapel. Questionnaire data revealed that the presence of
Descent at the Rothko Chapel was experienced through: 1) cave-like darkness inside the
chapel; 2) source of light from skylight making one look upwards; 3) downward contour of the
ceiling; 4) black floor color; 5) water pool; and 6) verticality and reflection of the obelisk in the
pool. Based on questionnaire data, the strongest contributors to the presence of Descent at the
Rothko Chapel were observed to be: 1) darkness inside the Chapel; and 2) verticality of the
obelisk.

Graphical data revealed that the presence of Descent at the Contemporary Arts Museum was
experienced through the descending stairs leading to the lower level of the Museum.
Questionnaire data revealed that the presence of Descent at the Contemporary Arts Museum
was experienced through: 1) basement at lower level; 2) descending stairs; 3) lower level
 164

clerestory windows; 4) connection of building to ground; and 5) plinth defining building base.
Based on questionnaire data, the strongest contributors to the presence of Descent at the
Contemporary Arts Museum were observed to be: 1) basement at lower level; and
2) descending stairs.

5.2.5 Difference in Presence of Ascent

Graphical data revealed that the place-making pattern Ascent was observed to be present at the
sacred building, i.e., Rothko Chapel, while it was observed to be absent at the secular building,
i.e., Contemporary Arts Museum. A total of 22 out of 24 questionnaire participants (representing
91.6% of the total number of questionnaire participants) agreed that Ascent was present at the
Rothko Chapel, while at the Contemporary Arts Museum, 14 out of 24 questionnaire participants
(representing 58.3% of the total number of questionnaire participants) agreed that Ascent was
present. Questionnaire data, therefore, successfully validates graphical data at the Rothko
Chapel, but is not as successful in validating graphical data at the Contemporary Arts Museum,
i.e., Ascent is present at the Rothko Chapel, while its presence at the Contemporary Arts
Museum is uncertain. Although the presence of Ascent at the Contemporary Arts Museum could
not be successfully ascertained, it is more likely that Ascent is present rather than absent at the
setting, as more than half the number of questionnaire participants felt that it was present. Based
on questionnaire data, the difference in percentage values associated with the presence of
Ascent at the Rothko Chapel over the Contemporary Arts Museum is 33.3%.

Graphical data revealed that the presence of Ascent at the Rothko Chapel was experienced
through the light entering the skylight in the ceiling of the Chapel. Questionnaire data revealed
that the presence of Ascent at the Rothko Chapel was experienced through: 1) light entering the
skylight in the ceiling; 2) ascending ceiling planes; 3) vertical reveals in the walls; 4) verticality of
the obelisk; 5) vertical paintings; and 6) geometry of the Chapel. Questionnaire data indicated
that there were no strong contributors to the presence of Ascent at the Contemporary Arts
Museum.

Although graphical data revealed that Ascent at the Contemporary Arts Museum was
experienced to be absent, questionnaire data revealed that its presence was experienced
through: 1) verticality of entry; 2) verticality of siding on the exterior; 3) high trussed ceilings;
4) hanging exhibits; 5) basement clerestory windows. Based on questionnaire data, the
 165

strongest contributors to the presence of Ascent at the Contemporary Arts Museum were
observed to be: 1) verticality of entry; and 2) verticality of siding on the exterior.

5.2.6 Difference in Presence of Passage

Graphical data revealed that the place-making pattern Passage was observed to be present at
the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e., Contemporary Arts
Museum. A total of 20 out of 24 questionnaire participants (representing 83.3% of the total
number of questionnaire participants) agreed that Passage was present at the Rothko Chapel,
while at the Contemporary Arts Museum, 14 out of 24 questionnaire participants (representing
58.3% of the total number of questionnaire participants) agreed that Passage was present.
Questionnaire data, therefore, successfully validates graphical data at the Rothko Chapel, but is
unsuccessful in validating graphical data at the Contemporary Arts Museum, i.e., Passage is
present at the Rothko Chapel, while its presence at the Contemporary Arts Museum is uncertain.
Although the presence of Passage at the Contemporary Arts Museum could not be successfully
ascertained, it is more likely that Passage is present rather than absent at the setting, as more
than half the number of questionnaire participants felt that it was present. Based on
questionnaire data, the difference in percentage values associated with the presence of Passage
at the Rothko Chapel over the Contemporary Arts Museum is 25%.

Graphical data revealed that the presence of Passage at the Rothko Chapel was experienced
through the main entrance doorway of the Chapel. Questionnaire data revealed that the
presence of passage at the Rothko Chapel was experienced through: 1) main entrance of the
Chapel; 2) entrance foyer; 3) inner portals of Chapel; 4) vestibules between main entrance and
inner portals of Chapel; and 5) main passage on the exterior of the chapel. Based on
questionnaire data, the strongest contributor to the presence of Passage at the Rothko Chapel
were observed to be: 1) main entrance of the Chapel; and 2) vestibules between main entrance
and inner portals of Chapel.

Graphical data revealed that the presence of Passage at the Contemporary Arts Museum was
experienced through the main entrance doorway of the Museum. Questionnaire data revealed
that the presence of Passage at the Contemporary Arts Museum was experienced through:
1) tall narrow main entrance; 2) low-height entrance foyer; 3) contrast in transition space
between tall narrow main entrance and low-height entrance foyer; and 4) threshold of dark
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exhibit room in the basement. Based on questionnaire data, the strongest contributor to the
presence of Passage at the Contemporary Arts Museum was observed to be the contrast in
transition space between tall narrow main entrance and low-height entrance foyer.

5.2.7 Difference in Presence of Numeric Order

Graphical data revealed that the place-making pattern Numeric Order was observed to be
present at the sacred building, i.e., Rothko Chapel, while it was observed to be absent at the
secular building, i.e., Contemporary Arts Museum. A total of 20 out of 24 questionnaire
participants (representing 83.3% of the total number of questionnaire participants) agreed that
Numeric Order was present at the Rothko Chapel, while at the Contemporary Arts Museum, 14
out of 24 questionnaire participants (representing 58.3% of the total number of questionnaire
participants) agreed that Numeric Order was present. Questionnaire data, therefore, successfully
validates graphical data at the Rothko Chapel, but is unsuccessful in validating graphical data at
the Contemporary Arts Museum, i.e., Numeric Order is present at the Rothko Chapel, while its
presence at the Contemporary Arts Museum is uncertain. Although the presence of Numeric
Order at the Contemporary Arts Museum could not be successfully ascertained, it is more likely
that Numeric Order is present rather than absent at the setting, as more than half the number of
questionnaire participants felt that it was present. Based on questionnaire data, the difference in
percentage values associated with the presence of Numeric Order at the Rothko Chapel over
the Contemporary Arts Museum is 25%.

Graphical data revealed that the presence of Numeric Order at the Rothko Chapel was
experienced through the eight sides of the Chapel. Questionnaire data revealed that the
presence of Numeric Order at the Rothko Chapel was experienced through: 1) octagonal plan;
2) six portals; 3) inner Chapel doors opposing each other; 4) three panels – possible reference to
trinity; 5) fourteen panels/paintings arranged around octagon; and 6) repetition/re-occurrence of
panels/paintings. Based on questionnaire data, the strongest contributors to the presence of
Numeric Order at the Rothko Chapel were observed to be: 1) eight sides of the Chapel; and
2) fourteen panels/paintings arranged around octagon.

Although graphical data revealed that Numeric Order at the Contemporary Arts Museum was
experienced to be absent, questionnaire data revealed that its presence was experienced
through: 1) triangular elements - building footprint, ceiling trusses, angled windows, projection
 167

over main entrance; 2) regularity of trusses; and 3) four wall planes. Questionnaire data
indicated that there were no strong contributors to the presence of Numeric Order at the
Contemporary Arts Museum.

5.2.8 Difference in Presence of Geometric Order

Graphical data revealed that the place-making pattern Geometric Order was observed to be
present at the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e.,
Contemporary Arts Museum. A total of 24 out of 24 questionnaire participants (representing
100% of the total number of questionnaire participants) agreed that Geometric Order was
present at the Rothko Chapel, while at the Contemporary Arts Museum, 21 out of 24
questionnaire participants (representing 87.5% of the total number of questionnaire participants)
agreed that Geometric Order was present. Questionnaire data, therefore, successfully validates
graphical data at the Rothko Chapel as well as the Contemporary Arts Museum, i.e., Geometric
Order is present at the Rothko Chapel as well as the Contemporary Arts Museum. Based on
questionnaire data, the difference in percentage values associated with the presence of
Geometric Order at the Rothko Chapel over the Contemporary Arts Museum is 12.5%.

Graphical data revealed that the presence of Geometric Order at the Rothko Chapel was
experienced through the octagonal shape of the Chapel. Questionnaire data revealed that the
presence of Geometric Order at the Rothko Chapel was experienced through: 1) octagonal form
of the Chapel; 2) niches in the wall; 3) shadows cast on walls; and 4) octagonal dropped ceiling.
Based on questionnaire data, the strongest contributors to the presence of Geometric Order at
the Rothko Chapel were observed to be: 1) octagonal form of the Chapel; and 2) symmetry of
form.

Graphical data revealed that the presence of Geometric Order at the Contemporary Arts
Museum was experienced through the parallelogram shape of the Museum. Questionnaire data
revealed that the presence of Geometric Order at the Contemporary Arts Museum was
experienced through: 1) triangular shape of building; 2) irregularity of building shape;
3) parallelogram shape of the building; and 4) exterior of building expressing cubic and
rectilinear geometry. Based on questionnaire data, the strongest contributor to the presence of
Geometric Order at the Contemporary Arts Museum was observed to be the parallelogram
shape of the building.
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5.2.9 Difference in Presence of Spatial Order

Graphical data revealed that the place-making pattern Spatial Order was observed to be present
at the sacred building, i.e., Rothko Chapel, while it was observed to be absent at the secular
building, i.e., Contemporary Arts Museum. A total of 21 out of 24 questionnaire participants
(representing 87.5% of the total number of questionnaire participants) agreed that Spatial Order
was present at the Rothko Chapel, while at the Contemporary Arts Museum, 14 out of 24
questionnaire participants (representing 58.3% of the total number of questionnaire participants)
agreed that Spatial Order was present. Questionnaire data, therefore, successfully validates
graphical data at the Rothko Chapel, but is unsuccessful in validating graphical data at the
Contemporary Arts Museum, i.e., Spatial Order is present at the Rothko Chapel, while its
presence at the Contemporary Arts Museum is uncertain. Although the presence of Spatial
Order at the Contemporary Arts Museum could not be successfully ascertained, it is more likely
that Spatial Order is present rather than absent at the setting, as more than half the number of
questionnaire participants felt that it was present. Based on questionnaire data, the difference in
percentage values associated with the presence of Spatial Order at the Rothko Chapel over the
Contemporary Arts Museum is 29.2%.

Graphical data revealed that the presence of Spatial Order at the Rothko Chapel was
experienced through the hierarchical arrangement of spaces from the center of the Chapel to the
outdoors. Questionnaire data revealed that the presence of Spatial Order at the Rothko Chapel
was experienced through: 1) singularity of space; 2) octagonal form of Chapel; 3) geometrical
planes of Chapel; 4) symmetrical, orthogonal, central, diagonal, and pyramidal characteristics of
Chapel; 5) circular/radial order inside Chapel defining center; 6) space between vestibules and
Chapel; 7) rectangular entrance foyer; and 8) relationship, transition, rhythm and gradual
extension of spatial sequence between inside and outside – pond – sculpture – entry – Chapel.
Based on questionnaire data, the strongest contributor to the presence of Spatial Order at the
Rothko Chapel was observed to be the hierarchical arrangement of spaces from the center of
the Chapel to the outdoors.

Based on questionnaire data, contributors to the presence of Spatial Order at the Contemporary
Arts Museum could not be determined, as all seven participant comments recorded, indicated
that the presence of Spatial Order was not experienced.
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5.2.10 Difference in Presence of Anthropomorhic Order

Graphical data revealed that the place-making pattern Anthropomorphic Order was observed to
be present at the sacred building, i.e., Rothko Chapel, while it was observed to be absent at the
secular building, i.e., Contemporary Arts Museum. A total of 18 out of 24 questionnaire
participants (representing 75% of the total number of questionnaire participants) agreed that
Anthropomorphic Order was present at the Rothko Chapel, while at the Contemporary Arts
Museum, 10 out of 24 questionnaire participants (representing 41.6% of the total number of
questionnaire participants) agreed that Anthropomorphic Order was present. Questionnaire data,
therefore, successfully validates graphical data at the Rothko Chapel, but is unsuccessful in
validating graphical data at the Contemporary Arts Museum, i.e., Anthropomorphic Order is
present at the Rothko Chapel, while its presence at the Contemporary Arts Museum is uncertain.
Although the presence of Anthropomorphic Order at the Contemporary Arts Museum could not
be successfully ascertained, it is more likely that Anthropomorphic Order is absent rather than
present at the setting, as more than half the number of questionnaire participants felt that it was
absent. Based on questionnaire data, the difference in percentage values associated with the
presence of Anthropomorphic Order at the Rothko Chapel over the Contemporary Arts Museum
is 33.4%.

Graphical data revealed that the presence of Anthropomorphic Order at the Rothko Chapel was
experienced through the high ceilings of the Chapel. Questionnaire data revealed that the
presence of Anthropomorphic Order at the Rothko Chapel was experienced through: 1) high
ceilings; 2) large inner space; 3) door and furniture heights; 4) 1:1 or 1:2 proportioning system;
5) paintings expressing profiles of human form; 6) octagonal shape of plan; 7) building
proportions; and 8) gradual increase in ceiling height from main entrance to inside Chapel.
Based on questionnaire data, the strongest contributor to the presence of Anthropomorphic
Order at the Rothko Chapel was observed to be the high ceilings.

Although graphical data revealed that Anthropomorphic Order at the Contemporary Arts
Museum was experienced to be absent, questionnaire data revealed that its presence was
experienced through: 1) guard and stair railings; 2) lobby furniture; 3) height of entrance door;
4) lobby height; and 5) canopy/overhang. Questionnaire data indicated that there were no strong
contributors to the presence of Anthropomorphic Order at the Contemporary Arts Museum.
 170

5.2.11 Difference in Presence of Ordered Nature

Graphical data revealed that the place-making pattern Ordered Nature was observed to be
present at the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e.,
Contemporary Arts Museum. A total of 23 out of 24 questionnaire participants (representing
95.8% of the total number of questionnaire participants) agreed that Ordered Nature was present
at the Rothko Chapel, while at the Contemporary Arts Museum, 18 out of 24 questionnaire
participants (representing 75% of the total number of questionnaire participants) agreed that
Ordered Nature was present. Questionnaire data, therefore, successfully validates graphical
data at the Rothko Chapel as well as the Contemporary Arts Museum, i.e., Ordered Nature is
present at the Rothko Chapel as well as the Contemporary Arts Museum. Based on
questionnaire data, the difference in percentage values associated with the presence of Ordered
Nature at the Rothko Chapel over the Contemporary Arts Museum is 20.8%.

Graphical data revealed that the presence of Ordered Nature at the Rothko Chapel was
experienced through the water pool with bamboo screening. Questionnaire data revealed that
the presence of Ordered Nature at the Rothko Chapel was experienced through: 1) reflecting
water pool with the obelisk; 2) bamboo screening; 3) groomed ground cover; and 4) sunlight and
shadows cast in the inner Chapel. Based on questionnaire data, the strongest contributor to the
presence of Ordered Nature at the Rothko Chapel was observed to be the reflecting water pool
with the obelisk.

Graphical data revealed that the presence of Ordered Nature at the Contemporary Arts Museum
was experienced through the vegetative shrubs on the site. Questionnaire data revealed that the
presence of Ordered Nature at the Contemporary Arts Museum was experienced through:
1) ground vegetation; 2) hedges; 3) oak trees 4) metal tree sculpture; and 5) water fountain.
Based on questionnaire data, the strongest contributor to the presence of Ordered Nature at the
Contemporary Arts Museum was observed to be the hedges.

5.2.12 Difference in Presence of Celestial Order

Graphical data revealed that the place-making pattern Celestial Order was observed to be
present at the sacred building, i.e., Rothko Chapel, while it was observed to be absent at the
secular building, i.e., Contemporary Arts Museum. A total of 21 out of 24 questionnaire
 171

participants (representing 87.5% of the total number of questionnaire participants) agreed that
Celestial Order was present at the Rothko Chapel, while at the Contemporary Arts Museum, 4
out of 24 questionnaire participants (representing 16.6% of the total number of questionnaire
participants) agreed that Celestial Order was present. Questionnaire data, therefore,
successfully validates graphical data at the Rothko Chapel as well as the Contemporary Arts
Museum, i.e., Celestial Order is present at the Rothko Chapel, while it is absent at the
Contemporary Arts Museum. Based on questionnaire data, the difference in percentage values
associated with the presence of Celestial Order at the Rothko Chapel over the Contemporary
Arts Museum is 70.9%.

Graphical data revealed that the presence of Celestial Order at the Rothko Chapel was
experienced through light entering the skylight in the ceiling. Questionnaire data revealed that
the presence of Celestial Order at the Rothko Chapel was experienced through 1) light entering
the skylight; and 2) sloped ceiling. Based on questionnaire data, the strongest contributor to the
presence of Celestial Order at the Rothko Chapel was observed to be the light entering the
skylight in the ceiling.

Although graphical data revealed that Celestial Order at the Contemporary Arts Museum was
experienced to be absent, questionnaire data revealed that its presence was experienced
through: 1) tall opening at the entrance; and 2) basement clerestory windows. Questionnaire
data indicated that there were no strong contributors to the presence of Celestial Order at the
Contemporary Arts Museum.

5.2.13 Difference in Presence of Differentiating Boundaries

Graphical data revealed that the place-making pattern Differentiating Boundaries was observed
to be present at the sacred building, i.e., Rothko Chapel, while it was observed to be absent at
the secular building, i.e., Contemporary Arts Museum. A total of 16 out of 24 questionnaire
participants (representing 66.6% of the total number of questionnaire participants) agreed that
Differentiating Boundaries was present at the Rothko Chapel, while at the Contemporary Arts
Museum, 8 out of 24 questionnaire participants (representing 33.3% of the total number of
questionnaire participants) agreed that Differentiating Boundaries was present. Questionnaire
data, therefore, successfully validates graphical data at the Rothko Chapel as well as the
Contemporary Arts Museum, i.e., Differentiating Boundaries is present at the Rothko Chapel,
 172

while it is absent at the Contemporary Arts Museum. Based on questionnaire data, the difference
in percentage values associated with the presence of Differentiating Boundaries at the Rothko
Chapel over the Contemporary Arts Museum is 33.3%.

Graphical data revealed that the presence of Differentiating Boundaries at the Rothko Chapel
was experienced through varying offsets in the wall planes of the Chapel. Questionnaire data
revealed that the presence of Differentiating Boundaries at the Rothko Chapel was experienced
through: 1) south oriented entrance; 2) singular wide niche in octagonal plan; 3) differences in
length, size and shape of walls and paintings; 4) difference between wall color and painting
color; and 5) skylight in ceiling differentiating celestial boundary. Based on questionnaire data,
the strongest contributor to the presence of Differentiating Boundaries at the Rothko Chapel was
observed to be the differences in length, size and shape of walls and paintings.

Although graphical data revealed that Differentiating Boundaries at the Contemporary Arts
Museum was experienced to be absent, questionnaire data revealed that its presence was
experienced through: 1) difference between wall plane with entrance and other three planes; and
2) difference between ceiling and wall planes. Questionnaire data indicated that there were no
strong contributors to the presence of Differentiating Boundaries at the Contemporary Arts
Museum.

5.2.14 Difference in Presence of Ordered Views

Graphical data revealed that the place-making pattern Ordered Views was observed to be
present at the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e.,
Contemporary Arts Museum. A total of 20 out of 24 questionnaire participants (representing
83.3% of the total number of questionnaire participants) agreed that Ordered Views was present
at the Rothko Chapel, while at the Contemporary Arts Museum, 16 out of 24 questionnaire
participants (representing 66.6% of the total number of questionnaire participants) agreed that
Ordered Views was present. Questionnaire data, therefore, successfully validates graphical data
at the Rothko Chapel as well as the Contemporary Arts Museum, i.e., Ordered Views is present
at the Rothko Chapel as well as the Contemporary Arts Museum. Based on questionnaire data,
the difference in percentage values associated with the presence of Ordered Views at the
Rothko Chapel over the Contemporary Arts Museum is 16.7%.
 173

Graphical data revealed that the presence of Ordered Views at the Rothko Chapel was
experienced through the large solid walls of the Chapel restricting all views to the outside.
Questionnaire data revealed that the presence of Ordered Views at the Rothko Chapel was
experienced through: 1) absence of views; 2) wall planes without openings; 3) singular view of
diffused light entering the skylight in the ceiling; and 4) entrance sequence - displays visual
connectivity up to main Chapel space. Based on questionnaire data, the strongest contributors to
the presence of Ordered Views at the Rothko Chapel were observed to be: 1) large solid walls of
the Chapel restricting all views to the outside; and 2) singular view of diffused light entering the
skylight in the ceiling.

Graphical data revealed that the presence of Ordered Views at the Contemporary Arts Museum
was experienced through the walls of the Museum restricting all views to the outside.
Questionnaire data revealed that the presence of Ordered Views at the Contemporary Arts
Museum was experienced through: 1) absence of views at the eye level; 2) controlled view of
exterior at entrance; 3) absence of views due to building enclosure; and 4) controlled views
through basement clerestory windows. Based on questionnaire data, the strongest contributors
to the presence of Ordered Views at the Contemporary Arts Museum were observed to be:
1) absence of views due to building enclosure; and 2) controlled views through basement
clerestory windows.

5.2.15 Difference in Presence of Materiality

Graphical data revealed that the place-making pattern Materiality was observed to be present at
the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e., Contemporary Arts
Museum. A total of 24 out of 24 questionnaire participants (representing 100% of the total
number of questionnaire participants) agreed that Materiality was present at the Rothko Chapel,
while at the Contemporary Arts Museum, 22 out of 24 questionnaire participants (representing
91.6% of the total number of questionnaire participants) agreed that Materiality was present.
Questionnaire data, therefore, successfully validates graphical data at the Rothko Chapel as well
as the Contemporary Arts Museum, i.e., Materiality is present at the Rothko Chapel as well as
the Contemporary Arts Museum. Based on questionnaire data, the difference in percentage
values associated with the presence of Materiality at the Rothko Chapel over the Contemporary
Arts Museum is 8.4%.
 174

Graphical data revealed that the presence of Materiality at the Rothko Chapel was experienced
through the gray walls of the Chapel. Questionnaire data revealed that the presence of
Materiality at the Rothko Chapel was experienced through: 1) massive and reflective/coarse gray
walls; 2) simplicity of materiality palate; 3) dark color of materiality; 4) chunky wood furniture; and
5) differences in ground-walls-ceiling materiality. Based on questionnaire data, the strongest
contributor to the presence of Materiality at the Rothko Chapel was observed to be the gray
walls of the Chapel.

Graphical data revealed that the presence of Materiality at the Contemporary Arts Museum was
experienced through the metallic siding of the Museum. Questionnaire data revealed that the
presence of Materiality at the Contemporary Arts Museum was experienced through: 1) metal
siding; 2) steel space frames; 3) pine floor; 4) concrete; and 5) glass. Based on questionnaire
data, the strongest contributors to the presence of Materiality at the Contemporary Arts Museum
were observed to be: 1) metal siding; 2) steel space frames; and 3) pine floor.

5.2.16 Difference in Presence of Elementals

Graphical data revealed that the place-making pattern Elementals was observed to be present at
the sacred building, i.e., Rothko Chapel, as well as the secular building, i.e., Contemporary Arts
Museum. A total of 22 out of 24 questionnaire participants (representing 91.6% of the total
number of questionnaire participants) agreed that Elementals was present at the Rothko Chapel,
while at the Contemporary Arts Museum, 16 out of 24 questionnaire participants (representing
66.6% of the total number of questionnaire participants) agreed that Elementals was present.
Questionnaire data, therefore, successfully validates graphical data at the Rothko Chapel as well
as the Contemporary Arts Museum, i.e., Elementals is present at the Rothko Chapel as well as
the Contemporary Arts Museum. Based on questionnaire data, the difference in percentage
values associated with the presence of Elementals at the Rothko Chapel over the Contemporary
Arts Museum is 25%.

Graphical data revealed that the presence of Elementals at the Rothko Chapel was experienced
through the walls – earth, skylight – fire, pool – water, and movement of bamboo groove – wind.
Questionnaire data revealed that the presence of Elementals at the Rothko Chapel was
experienced through: 1) Chapel walls, floor tiles, and gravel – representing earth; 2) light
entering skylight – representing fire; 3) pool – representing water; and 4) water ripples and
 175

movement of bamboo groove – representing wind. Based on questionnaire data, the strongest
contributors to the presence of Elementals at the Rothko Chapel were observed to be: 1) Chapel
walls, floor tiles, and gravel – representing earth; 2) light entering skylight – representing fire;
and 3) pool – representing water.

Graphical data revealed that the presence of Elementals at the Contemporary Arts Museum was
experienced through the fountain – water. Questionnaire data revealed that the presence of
Elementals at the Contemporary Arts Museum was experienced through: 1) wood floor – earth;
2) fountain – water; and 3) air duct – wind. Based on questionnaire data, the strongest
contributor to the presence of Elementals at the Contemporary Arts Museum were observed to
be the fountain – water.

5.2.17 Difference in Presence of Light

Graphical data revealed that the place-making pattern Light was observed to be present at the
sacred building, i.e., Rothko Chapel, as well as the secular building, i.e., Contemporary Arts
Museum. A total of 24 out of 24 questionnaire participants (representing 100% of the total
number of questionnaire participants) agreed that Light was present at the Rothko Chapel, while
at the Contemporary Arts Museum, 15 out of 24 questionnaire participants (representing 62.5%
of the total number of questionnaire participants) agreed that Light was present. Questionnaire
data, therefore, successfully validates graphical data at the Rothko Chapel, but is unsuccessful
in validating graphical data at the Contemporary Arts Museum, i.e., Light is present at the
Rothko Chapel, while its presence at the Contemporary Arts Museum is uncertain. Although the
presence of Light at the Contemporary Arts Museum could not be successfully ascertained, it is
more likely that Light is present rather than absent at the setting, as more than half the number
of questionnaire participants felt that it was present. Based on questionnaire data, the difference
in percentage values associated with the presence of Light at the Rothko Chapel over the
Contemporary Arts Museum is 37.5%.

Graphical data revealed that the presence of Light at the Rothko Chapel was experienced
through sunlight entering the skylight in the ceiling and contrasting with darkness inside the
Chapel. Questionnaire data revealed that the presence of Light at the Rothko Chapel was
experienced through: 1) skylight in the ceiling; and 2) high contrast of light and shadows. Based
 176

on questionnaire data, the strongest contributors to the presence of Light at the Rothko Chapel
were observed to be: 1) skylight; and 2) high contrast of light and shadows.

Graphical data revealed that the presence of Light at the Contemporary Arts Museum was
experienced through sunlight entering the basement clerestory windows of the Museum.
Questionnaire data revealed that the presence of Light at the Contemporary Arts Museum was
experienced through: 1) vertical opening at entrance lobby; and 2) basement clerestory
windows. Based on questionnaire data, the strongest contributor to the presence of Light at the
Contemporary Arts Museum was observed to be the basement clerestory windows.

5.2.18 Difference in Presence of Ceremonial Order

Graphical data revealed that the place-making pattern Ceremonial Order was observed to be
present at the sacred building, i.e., Rothko Chapel, while it was observed to be absent at the
secular building, i.e., Contemporary Arts Museum. A total of 24 out of 24 questionnaire
participants (representing 100% of the total number of questionnaire participants) agreed that
Ceremonial Order was present at the Rothko Chapel, while at the Contemporary Arts Museum, 6
out of 24 questionnaire participants (representing 25% of the total number of questionnaire
participants) agreed that Ceremonial Order was present. Questionnaire data, therefore,
successfully validates graphical data at the Rothko Chapel as well as the Contemporary Arts
Museum, i.e., Ceremonial Order is present at the Rothko Chapel, while it is absent at the
Contemporary Arts Museum. Based on questionnaire data, the difference in percentage values
associated with the presence of Ceremonial Order at the Rothko Chapel over the Contemporary
Arts Museum is 75%.

Graphical data revealed that the presence of Ceremonial Order at the Rothko Chapel was
experienced through interaction of people with the paintings and Chapel itself. Questionnaire
data revealed that the presence of Ceremonial Order at the Rothko Chapel was experienced
through: 1) arrangement of benches at the center of the Chapel; 2) presence of floor mats;
3) singularity of light source; 4) paintings; 5) octagonal geometry expressing circumambulation
around Chapel; 6) simplicity and unifying character of space; and 7) building’s inherent function
as Chapel and gathering space. Based on questionnaire data, the strongest contributors to the
presence of Ceremonial Order at the Rothko Chapel were observed to be: 1) octagonal
 177

geometry expressing circumambulation around Chapel; and 2) building’s inherent function as

Chapel and gathering space.

Although graphical data revealed that Ceremonial Order at the Contemporary Arts Museum was
experienced to be absent, questionnaire data revealed that its presence was experienced
through: 1) descending stairs leading to basement; and 2) square-shaped enclosed theater
space in basement. Questionnaire data indicated that there were no strong contributors to the
presence of Ceremonial Order at the Contemporary Arts Museum.

5.2.19 Summary of Differences in Pattern Presence at Selected Buildings

Differences in percentage values of the presence of place-making patterns at the sacred and
secular buildings are shown in Table V-1. The column under Pattern list displays individual
place-making patterns. The column under Percentage (%) value of pattern presence shows the
percentage value of the presence of individual place-making patterns at the sacred and secular
buildings. The column under Difference in percentage (%) values shows the difference in
percentage (%) values associated with pattern presence at the Rothko Chapel over the
Contemporary Arts Museum based on questionnaire data, i.e., Difference in percentage (%)
values = percentage value of presence of individual place-making patterns at Rothko Chapel
minus percentage value of presence of individual place-making patterns at Contemporary Arts
Museum. In the table, Rothko Chapel has been abbreviated as RC, while Contemporary Arts
Museum has been abbreviated as CAM.
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TABLE V-1. Differences in percentage (%) values of pattern presence at selected buildings.
Pattern List Percentage (%) value of pattern presence Difference in percentage (%) values
RC CAM RC - CAM
Center 95.8% 25.0% 70.8%
Bounding 100.0% 83.3% 16.7%
Direction 70.8% 33.3% 37.5%
Descent 66.6% 66.6% 0%
Ascent 91.6% 58.3% 33.3%
Passage 83.3% 58.3% 25%
Numeric Order 83.3% 58.3% 25%
Geometric Order 100.0% 87.5% 12.5%
Spatial Order 87.5% 58.3% 29.2%
Anthropomorphic Order 75.0% 41.6% 33.4%
Ordered Nature 95.8% 75.0% 20.8%
Celestial Order 87.5% 16.6% 70.9%
Differentiating Boundaries 66.6% 33.3% 33.3%
Ordered Views 83.3% 66.6% 16.7%
Materiality 100.0% 91.6% 8.4%
Elementals 91.6% 66.6% 25%
Light 100.0% 62.5% 37.5%
Ceremonial Order 100.0% 25.0% 75%

Table V-2 shows the organization of the eighteen place-making patterns in descending order
based on the differences in percentage values associated with their pattern quality. The column
under Pattern list displays individual place-making patterns. The column under Difference in
percentage (%) values shows the shows the difference in percentage (%) values associated with
pattern presence at the Rothko Chapel over the Contemporary Arts Museum based on
questionnaire data, i.e., Difference in percentage (%) values = percentage value of presence of
individual place-making patterns at Rothko Chapel minus percentage value of presence of
individual place-making patterns at Contemporary Arts Museum. In the table, Rothko Chapel has
been abbreviated as RC, while Contemporary Arts Museum has been abbreviated as CAM.
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TABLE V-2. Descending order of patterns based on percentage (%) difference in pattern
presence.
Pattern list Difference in percentage (%) values
RC - CAM
Ceremonial Order 75%
Celestial Order 70.9%
Center 70.8%
Light 37.5%
Direction 37.5%
Anthropomorphic Order 33.4%
Ascent 33.3%
Differentiating Boundaries 33.3%
Spatial Order 29.2%
Passage 25%
Numeric Order 25%
Elementals 25%
Ordered Nature 20.8%
Bounding 16.7%
Ordered Views 16.7%
Geometric Order 12.5%
Materiality 8.4%
Descent 0%

The following Figure V-1 shows the difference in percentage values associated with pattern
presence at the Rothko Chapel over the Contemporary Arts Museum based on questionnaire
data, i.e., percentage value of participants that answered positively (i.e., yes), to individual place-
making patterns being present at Rothko Chapel minus percentage value of participants that
answered positively (i.e., yes), to individual place-making patterns being present at
Contemporary Arts Museum. The place-making patterns are arranged in descending order
based on the difference in percentage values associated with their pattern quality.
 180

100%

Ceremonial Order
90%

Celestial Order
Percentage difference in pattern presence

80%

Center
70%

Differentiating Boundaries
Anthropomorphic Order
60%

50%

Direction

Spatial Order

Numeric Order
Light

Ascent

Ordered Nature
40%

Elementals
Passage

Ordered Views

Geometric Order
30%

Bounding

Materiality
20%

Descent
10%

0%

Place-making patterns

FIGURE V-1. Percentage (%) difference in pattern presence between selected buildings.

Questionnaire data revealed that the difference in percentage value of presence of the place-
making pattern Ceremonial Order was highest. Questionnaire data revealed that three place-
making patterns (i.e., Ceremonial Order, Celestial Order, Center) displayed exceedingly high
differences in percentage values associated with pattern presence at the Rothko Chapel over
the Contemporary Arts Museum. This could indicate the importance of the presence of the
place-making patterns Ceremonial Order, Celestial Order, and Center in contributing to
sacredness of place, i.e., the presence of the place-making patterns Ceremonial Order, Celestial
Order, and Center may have greater impact in contributing to sacredness of place as compared
to the presence of the place-making pattern Descent. It is also likely that these three place-
making patterns may be exclusive to sacred place, i.e., Ceremonial Order, Celestial Order, and
Center are more likely to be present in sacred place than secular place.

The place-making pattern Materiality displayed exceedingly low differences in percentage values
associated with pattern presence at the Rothko Chapel over the Contemporary Arts Museum.
This is because Materiality is inherently present in all architectural built-form, i.e., construction
 181

materials are required for the physical manifestation of all architectural built-form. The place-
making pattern Descent displayed no difference in percentage values of presence. This is
interesting to note, because actual physical descent was present at the Contemporary Arts
Museum (as experienced through the lower basement level), while at the Rothko Chapel,
physical descent in the form of a lower level did not exist – Descent was experienced by
questionnaire participants through darkness inside the Rothko Chapel.

Based on questionnaire data, the eighteen place-making patterns can be arranged in

descending order of their difference in percentage values as follows: 1) Ceremonial Order;
2) Celestial Order; 3) Center; 4) Light; 5) Direction; 6) Anthropomorphic Order; 7) Ascent;
8) Differentiating Boundaries; 9) Spatial Order; 10) Passage; 11) Numeric Order; 12) Elementals;
13) Ordered Nature; 14) Bounding; 15) Ordered Views; 16) Geometric Order; 17) Materiality;
18) Descent. The order of listing indicates the difference in presence of the place-making
patterns at the Rothko Chapel over the Contemporary Arts Museum in descending order. It is
likely that the order of listing of the place-making patterns from left to right (i.e., highest
difference to no difference in pattern presence) indicates the importance of the presence of the
place-making patterns in contributing to sacredness of place, i.e., presence of the place-making
patterns (in descending hierarchical order) Ceremonial Order, Celestial Order, Center, Light,
Direction, and Anthropomorphic Order, may have greater impact in contributing to sacredness of
place than the presence of the place-making patterns (in descending hierarchical order) Ordered
Nature, Bounding, Ordered Views, Geometric Order, Materiality, and Descent.

The correspondence of pattern presence with the architecture of the sacred and secular
buildings is summarized in Table V-3. The column under Pattern list displays individual place-
making patterns. The column under Correspondence of pattern presence with architecture
based on graphical data shows how, or in what ways, individual place-making patterns from the
CPPS were observed to be present at the sacred and secular buildings based on graphical data.
The column under Correspondence of pattern presence with architecture based on
questionnaire data shows which characteristics were strongest contributors to the presence of
individual place-making patterns at the sacred and secular buildings based on questionnaire
data (participant comments). The column under Correspondence of pattern presence with
architecture based collectively on graphical data and questionnaire data shows which
characteristics are strongest contributors to the presence of individual place-making patterns
based collectively on graphical data and questionnaire data. In the table, Rothko Chapel has
been abbreviated as RC, while Contemporary Arts Museum has been abbreviated as CAM.
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TABLE V-3. Correspondence of pattern presence with architecture of selected buildings.

Pattern list Correspondence of pattern Correspondence of pattern Correspondence of pattern
presence with architecture presence with architecture based presence with architecture
based on graphical data on questionnaire data based collectively on
graphical data and
questionnaire data
RC CAM RC CAM RC CAM
Center Spatial center of Pattern is Symmetry of the Pattern is Spatial center Pattern is
the octagonal absent. octagonal shape; absent. of the absent.
shaped plan of centralized octagonal
the Chapel. skylight. shaped plan of
the Chapel.
Bounding Walls, floor, and Walls, floor, Walls; ceiling; Restricted Walls and Ceiling.
ceiling of the and ceiling of restricted views views to the ceiling of the
Chapel. the Museum. to the exterior. exterior; roof chapel.
trusses defining
ceiling.
Direction Alignment of the Pattern is Orientation of No strong Alignment of No strong
Chapel entrance absent. building entrance contributors. the Chapel contributors.
with the pool on with plaza and entrance with
the south. obelisk; the pool on the
orientation of south.
light entering the
skylight from
above.
Descent Darkness inside Descending Darkness inside Basement at Darkness Descending
the Chapel. stairs leading the Chapel; lower level; inside the stairs leading
to the lower verticality of the descending Chapel. to the lower
level of the obelisk. stairs. level of the
Museum. Museum.
Ascent Light entering the Pattern is Light entering the No strong Light entering No strong
skylight in the absent. skylight in the contributors. the skylight in contributors.
ceiling of the ceiling of the the ceiling of
Chapel. Chapel. the Chapel.
Passage Main entrance Main Main entrance of Contrast in Main entrance Main
doorway of the entrance the Chapel; transition space doorway of the entrance
Chapel. doorway of vestibules between tall Chapel. doorway of
the Museum. between main narrow main the Museum.
entrance and entrance and
inner portals of low-height
Chapel. entrance foyer.
Numeric Order Eight sides of the Pattern is Eight sides of the No strong Eight sides of No strong
Chapel. absent. Chapel; fourteen contributors. the Chapel. contributors.
panels/paintings
arranged around
octagon.
Geometric Order Octagonal shape Parallelogram Octagonal form Parallelogram Octagonal Parallelogram
of the Chapel. shape of the of the Chapel; shape of the shape of the shape of the
Museum. symmetry of building. Chapel. Museum.
form.
Spatial Order Hierarchical Pattern is Hierarchical Pattern is Hierarchical Pattern is
arrangement of absent. arrangement of absent. arrangement of absent.
spaces from the spaces from the spaces from
center of the center of the the center of
Chapel to the Chapel to the the Chapel to
outdoors. outdoors. the outdoors.
Anthropomorphic High ceilings of Pattern is High ceilings. No strong High ceilings of No strong
Order the Chapel. absent. contributors. the Chapel. contributors.
Ordered Nature Water pool with Vegetative Reflecting water Hedges. Water pool. Vegetative
bamboo shrubs on the pool with the shrubs on the
screening. site. obelisk. site.
Celestial Order Light entering the Pattern is Light entering the No strong Light entering No strong
skylight in the absent. skylight in the contributors. the skylight in contributors.
ceiling. ceiling. the ceiling.
Differentiating Varying offsets in Pattern is differences in No strong Varying offsets No strong
Boundaries the wall planes of absent. length, size and contributors. in the wall contributors.
the Chapel. shape of walls planes of the
and paintings. Chapel.
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TABLE V-3 Continued

Pattern list Correspondence of pattern Correspondence of pattern Correspondence of pattern
presence with architecture presence with architecture based presence with architecture
based on graphical data on questionnaire data based collectively on
graphical data and
questionnaire data
RC CAM RC CAM RC CAM
Ordered Views Large solid walls Walls of the Large solid walls Absence of Large solid Walls of the
of the Chapel Museum of the Chapel views due to walls of the Museum
restricting all restricting all restricting all building Chapel restricting all
views to the views to the views to the enclosure; restricting all views to the
outside. outside. outside; singular controlled views to the outside.
view of diffused views through outside.
light entering the basement
skylight in the clerestory
ceiling. windows.
Materiality Gray walls of the Metallic Gray walls of the Metal siding; Gray walls of Metallic
Chapel. siding of the Chapel. steel space the Chapel. siding of the
Museum. frames; pine Museum.
floor.
Elementals Walls – earth, Fountain – Chapel walls, Fountain – Walls – earth, Fountain –
skylight – fire, water. floor tiles, and water skylight – fire, water
pool – water, and gravel – pool – water.
movement of representing
bamboo groove – earth; light
wind. entering skylight
– representing
fire; pool –
representing
water.
Light Sunlight entering Sunlight Skylight; high Basement Sunlight Sunlight
the skylight in the entering the contrast of light clerestory entering the entering the
ceiling and basement and shadows. windows. skylight in the basement
contrasting with clerestory ceiling and clerestory
darkness inside windows of contrasting with windows of
the Chapel. the Museum. darkness inside the Museum.
the Chapel.
Ceremonial Order Interaction of Pattern is Octagonal No strong Interaction of No strong
people with the absent. geometry contributors. people with the contributors.
paintings and the expressing paintings and
Chapel. circumambulation the Chapel
around Chapel; itself.
building’s
inherent function
as Chapel and
gathering space.

Questionnaire data (participant comments) helped to validate the correspondence of pattern

presence with the architecture of the sacred and secular buildings, i.e., certain characteristics
were experienced to be strongest contributors to the presence of individual place-making
characteristics based collectively on graphical data and questionnaire data (participant
comments). Strongest contributors to the presence of the place-making patterns at the Rothko
Chapel, based collectively on graphical data and questionnaire data (participant comments),
were as follows: Center – spatial center of the octagonal shaped plan of the Chapel; Bounding –
walls and ceiling of the chapel; Direction – alignment of the Chapel entrance with the pool on the
south; Descent – darkness inside the Chapel; Ascent – light entering the skylight in the ceiling of
the Chapel; Passage – main entrance doorway of the Chapel; Numeric Order – eight sides of the
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Chapel; Geometric Order – octagonal shape of the Chapel; Spatial Order – hierarchical
arrangement of spaces from the center of the Chapel to the outdoors; Anthropomorphic Order –
high ceilings of the Chapel; Ordered Nature – water pool; Celestial Order – light entering the
skylight in the ceiling; Differentiating Boundaries – varying offsets in the wall planes of the
Chapel; Ordered Views – large solid walls of the Chapel restricting all views to the outside;
Materiality – gray walls of the Chapel; Elementals – walls (earth), skylight (fire), pool (water);
Light – sunlight entering the skylight in the ceiling and contrasting with darkness inside the
Chapel; Ceremonial Order – interaction of people with the paintings and the Chapel.

Based collectively on graphical data and questionnaire data (participant comments), strongest
contributors to the presence of only nine place-making patterns could be validated at the
Contemporary Arts Museum as follows: Bounding – ceiling; Descent – descending stairs leading
to the lower level of the Museum; Passage – main entrance doorway of the Museum; Geometric
Order – parallelogram shape of the Museum; Ordered Nature – vegetative shrubs on the site;
Ordered Views – walls of the Museum restricting all views to the outside; Materiality – metallic
siding of the Museum; Elementals – fountain – water; Light – sunlight entering the basement
clerestory windows of the Museum. Questionnaire data (participant comments) revealed that
seven place-making patterns (i.e., Direction, Ascent, Numeric Order, Anthropomorphic Order,
Celestial Order, Differentiating Boundaries, Ceremonial Order) were found not to have any
strong contributors, while graphical data revealed that these seven place-making patterns were
absent. Two place-making patterns (i.e., Center, Spatial Order) were found to be absent at the
Contemporary Arts Museum, based collectively on graphical data and questionnaire data
(participant comments).

The presence of individual place-making patterns based on graphical data and questionnaire
data at the sacred and secular buildings is summarized in Table V-4. The column under Pattern
list displays individual place-making patterns. The column under Pattern presence based on
graphical data shows the presence of individual place-making patterns based on graphical data.
The column under Pattern presence based on questionnaire data shows the presence of
individual place-making patterns based on questionnaire data. The column under Pattern
presence based on combination of data shows the presence of individual place-making patterns
based collectively on graphical data and questionnaire data. In the table, Rothko Chapel has
been abbreviated as RC, while Contemporary Arts Museum has been abbreviated as CAM.
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TABLE V-4. Differences in pattern presence at selected buildings.

Pattern list Pattern presence based Pattern presence based on Pattern presence based on
on graphical data questionnaire data combination of data
RC CAM RC CAM RC CAM
Center Present Absent Present Absent Present Absent
Bounding Present Present Present Present Present Present
Direction Present Absent Present Absent Present Absent
Descent Present Present Present Present Present Present
Ascent Present Absent Present Most likely present Present Inconclusive
Passage Present Present Present Most likely present Present Present
Numeric Order Present Absent Present Most likely present Present Inconclusive
Geometric Order Present Present Present Present Present Present
Spatial Order Present Absent Present Most likely present Present Inconclusive
Anthropomorphic Order Present Absent Present Most likely absent Present Absent
Ordered Nature Present Present Present Present Present Present
Celestial Order Present Absent Present Absent Present Absent
Differentiating Boundaries Present Absent Present Absent Present Absent
Ordered Views Present Present Present Present Present Present
Materiality Present Present Present Present Present Present
Elementals Present Present Present Present Present Present
Light Present Present Present Most likely present Present Present
Ceremonial Order Present Absent Present Absent Present Absent

Based on graphical data, all eighteen place-making patterns (i.e., Center, Bounding, Direction,
Descent, Ascent, Passage, Numeric Order, Geometric Order, Spatial Order, Anthropomorphic
Order, Ordered Nature, Celestial Order, Differentiating Boundaries, Ordered Views, Materiality,
Elementals, Light, Ceremonial Order) were observed to be present at the Rothko Chapel, while
at the Contemporary Arts Museum, only nine place-making patterns (i.e., Bounding, Descent,
Passage, Geometric Order, Ordered Nature, Ordered Views, Materiality, Elementals, Light) were
observed to be present. Nine place-making patterns (i.e., Center, Direction, Ascent, Numeric
Order, Spatial Order, Anthropomorphic Order, Celestial Order, Differentiating Boundaries,
Ceremonial Order) were observed to be absent.

Questionnaire data validated the presence of all eighteen place-making patterns at the Rothko
Chapel. At the Contemporary Arts Museum, questionnaire data validated the presence of
nine place-making patterns (i.e., Bounding, Descent, Passage, Geometric Order, Ordered
Nature, Ordered Views, Materiality, Elementals, Light). Questionnaire data also validated the
absence of six place-making patterns (i.e., Center, Direction, Anthropomorphic Order, Celestial
Order, Differentiating Boundaries, Ceremonial Order) at the Contemporary Arts Museum.
Questionnaire data did not seem to agree with graphical data on the presence of three place-
making patterns (i.e., Ascent, Numeric Order, Spatial Order) at the Contemporary Arts Museum,
i.e., graphical data revealed that Ascent, Numeric Order, and Spatial Order were observed to be
absent, while questionnaire data indicated that these patterns were experienced to be most likely
present.
 186

Graphical data and questionnaire data, collectively revealed that all eighteen place-making
patterns (i.e., Center, Bounding, Direction, Descent, Ascent, Passage, Numeric Order,
Geometric Order, Spatial Order, Anthropomorphic Order, Ordered Nature, Celestial Order,
Differentiating Boundaries, Ordered Views, Materiality, Elementals, Light, Ceremonial Order)
were present at the Rothko Chapel. Based collectively on graphical data and questionnaire data,
nine place-making patterns (i.e., Bounding, Descent, Passage, Geometric Order, Ordered
Nature, Ordered Views, Materiality, Elementals, Light) were present at the Contemporary Arts
Museum, while six place-making patterns (i.e., Center, Direction, Anthropomorphic Order,
Celestial Order, Differentiating Boundaries, Ceremonial Order) were absent. The presence of
three place-making patterns (i.e., Ascent, Numeric Order, Spatial Order) at the Contemporary
Arts Museum was inconclusive. Although the presence of Ascent, Numeric Order and Spatial
Order was inconclusive, questionnaire data pertaining to the correspondence of pattern
presence with the architecture of the sacred and secular buildings (see Table V-3) revealed that
these three place-making patterns were found not to have any strong contributors. In the final
analysis, both graphical data and questionnaire data revealed that there were a higher number
of place-making patterns present at the sacred place, i.e., Rothko Chapel, than at the secular
place, i.e., Contemporary Arts Museum.

5.3 DIFFERENCES IN PATTERN QUALITY AT SELECTED BUILDINGS

Differences in the quality of expression of individual place-making patterns from the CPPS,
between the sacred and secular buildings are identified below. In the discussions that follow,
mean values associated with pattern quality equal to 4.0 or higher than 4.0 (high range mean
values) indicate that a specific pattern was experienced to be high in quality of expression by
participants at that setting, i.e., the likelihood of the quality of expression of that pattern being
high at that setting is fairly certain. Similarly, mean values equal to 2.0 or less than 2.0 (low
range mean values) indicate that a specific pattern was experienced to be low in quality of
expression by participants at that setting, i.e., the likelihood of the quality of expression of that
pattern being low at that setting is fairly certain. Mean values higher that 2.0 but less than 4.0
(mid range mean values) indicate that a specific pattern is intermediate in quality of expression.
However, in cases where the quality of expression of place-making patterns is intermediate,
mean values higher than 3.1 (tending more towards high range mean values), indicate that the
pattern is experienced by participants to be intermediate to high at that setting. On the other
hand, mean values lower than 2.9 (tending more towards low range mean values), indicate that
 187

the pattern is experienced by participants to be intermediate to low at that setting. Focus group
discussion data, associated with the quality of expression of specific place-making patterns at
the sacred and secular buildings, helped to validate questionnaire data associated with pattern
quality.

Based on questionnaire data, the difference in mean values associated with pattern quality at the
sacred and secular buildings was calculated, i.e., Mean value difference in pattern quality =
mean value of quality of expression of individual place-making patterns at Rothko Chapel minus
mean value of quality of expression of individual place-making patterns at Contemporary Arts
Museum.

5.3.1 Difference in Quality of Expression of Center

Questionnaire data revealed that the quality of expression of the place-making pattern Center
was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was experienced
to be intermediate to low at the secular building, i.e., Contemporary Arts Museum. Questionnaire
data revealed that the mean value of the quality of expression of Center at the Rothko Chapel
was 4.34, while at the Contemporary Arts Museum, the mean value of the quality of expression
of Center was 2.5. Based on questionnaire data, the difference in mean values associated with
the quality of expression of Center at the Rothko Chapel over the Contemporary Arts Museum is
1.84.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Center. Analysis of focus group discussion responses, associated with the quality of expression
of Center is as follows:

… very central… centering experience… immense sense of

focus… spatial characteristics of Chapel have focus – help one
focus… profound sense of centrality… profound sense of
centrality and focus… strongest aspect of Chapel is
extraordinary sense of focus and centrality… most dominant
aspect of architecture is centrality…
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Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Center at the Rothko Chapel, i.e., the quality of expression of
the place-making pattern Center is high at the Rothko Chapel. At the Contemporary Arts
Museum, the quality of expression of Center could not be validated by means of focus group
discussions, as there were no responses associated with its presence or otherwise. However,
based on questionnaire data, the quality of expression of Center at the Contemporary Arts
Museum is intermediate to low.

5.3.2 Difference in Quality of Expression of Bounding

Questionnaire data revealed that the quality of expression of the place-making pattern Bounding
was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was experienced
to be intermediate to high at the secular building, i.e., Contemporary Arts Museum.
Questionnaire data revealed that the mean value of the quality of expression of Bounding at the
Rothko Chapel was 4.75, while at the Contemporary Arts Museum, the mean value of the quality
of expression of Bounding was 3.05. Based on questionnaire data, the difference in mean values
associated with the quality of expression of Bounding at the Rothko Chapel over the
Contemporary Arts Museum is 1.7.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Bounding. Analysis of focus group discussion responses, associated with the quality of
expression of Bounding is as follows:

… large solid walls present… sense of peaceful containment…

very conscious and fixed container for pieces of art…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Bounding at the Rothko Chapel, i.e., the quality of expression of
the place-making pattern Bounding is high at the Rothko Chapel. At the Contemporary Arts
Museum, the quality of expression of Bounding could not be validated by means of focus group
discussions, as there were no responses associated with its presence or otherwise. However,
based on questionnaire data, the quality of expression of Bounding at the Contemporary Arts
Museum is intermediate to high.
 189

5.3.3 Difference in Quality of Expression of Direction

Questionnaire data revealed that the quality of expression of the place-making pattern Direction
was experienced to be intermediate to high at the sacred building, i.e., Rothko Chapel, as well
as the secular building, i.e., Contemporary Arts Museum. Questionnaire data revealed that the
mean value of the quality of expression of Direction at the Rothko Chapel was 3.76, while at the
Contemporary Arts Museum, the mean value of the quality of expression of Direction was 3.37.
Based on questionnaire data, the difference in mean values associated with the quality of
expression of Direction at the Rothko Chapel over the Contemporary Arts Museum is 0.39.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Direction. Analysis of focus group discussion responses, associated with the quality of
expression of Direction is as follows:

… natural and strong orientation… symmetrical and formal -

axes and alignment are deliberately designed to enhance and
foster sacredness… axiality present…

Focus group discussion data revealed that the Contemporary Arts Museum had a low quality of
expression of Direction. Analysis of focus group discussion responses, associated with the
quality of expression of Direction is as follows:

… does not have sense of orientation… no directional axes…

lack of orientation… disorientation due to internal space and
geometry of building… draws and pulls in different directions…
no direction…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Direction at the Rothko Chapel, i.e., the quality of expression of
the place-making pattern Direction is intermediate to high at the Rothko Chapel. At the
Contemporary Arts Museum, however, focus group discussion data is unsuccessful in validating
questionnaire data, i.e., questionnaire data indicates that the quality of expression of Direction is
intermediate to high, while focus group discussion data suggests that the quality of expression of
Direction is low.
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5.3.4 Difference in Quality of Expression of Descent

Questionnaire data revealed that the quality of expression of the place-making pattern Descent
was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was experienced
to be intermediate to low at the secular building, i.e., Contemporary Arts Museum. Questionnaire
data revealed that the mean value of the quality of expression of Descent at the Rothko Chapel
was 4.00, while at the Contemporary Arts Museum, the mean value of the quality of expression
of Descent was 2.68. Based on questionnaire data, the difference in mean values associated
with the quality of expression of Descent at the Rothko Chapel over the Contemporary Arts
Museum is 1.32.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Descent. Analysis of focus group discussion responses, associated with the quality of
expression of Descent is as follows:

… natural or earth-related materials contribute to enormous

sense of grounding… grounding draws one within womb of
Chapel and helps one breath and reach out to divine… sense of
grounding welcomes one upon entry…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Descent at the Rothko Chapel, i.e., the quality of expression of
the place-making pattern Descent is high at the Rothko Chapel. At the Contemporary Arts
Museum, the quality of expression of Descent could not be validated by means of focus group
discussions, as there were no responses associated with its presence or otherwise. However,
based on questionnaire data, the quality of expression of Descent at the Contemporary Arts
Museum is intermediate to high.

5.3.5 Difference in Quality of Expression of Ascent

Questionnaire data revealed that the quality of expression of the place-making pattern Ascent
was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was experienced
to be intermediate to low at the secular building, i.e., Contemporary Arts Museum. Questionnaire
data revealed that the mean value of the quality of expression of Ascent at the Rothko Chapel
 191

was 4.4, while at the Contemporary Arts Museum, the mean value of the quality of expression of
Ascent was 2.71. Based on questionnaire data, the difference in mean values associated with
the quality of expression of Ascent at the Rothko Chapel over the Contemporary Arts Museum is
1.69.

At the Rothko Chapel and the Contemporary Arts Museum, the quality of expression of Ascent
could not be validated by means of focus group discussions, as there were no responses
associated with its presence or otherwise at either setting. However, based on questionnaire
data, the quality of expression of Ascent at the Rothko Chapel is high, while at the Contemporary
Arts Museum its quality of expression is intermediate to low.

5.3.6 Difference in Quality of Expression of Passage

Questionnaire data revealed that the quality of expression of the place-making pattern Passage
was experienced to be intermediate to high at the sacred building, i.e., Rothko Chapel, as well
as the secular building, i.e., Contemporary Arts Museum. Questionnaire data revealed that the
mean value of the quality of expression of Passage at the Rothko Chapel was 3.85, while at the
Contemporary Arts Museum, the mean value of the quality of expression of Passage was 3.5.
Based on questionnaire data, the difference in mean values associated with the quality of
expression of Passage at the Rothko Chapel over the Contemporary Arts Museum is 0.35.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Passage. Analysis of focus group discussion responses, associated with the quality of
expression of Passage is as follows:

… symmetrical and formal entry/exit sequence are deliberately

designed into Chapel to enhance and foster sacredness… one
has to enter through smaller human-scaled entrance before
proceeding into inner sanctum; much flavor in experience of
scale at entry; leads you upon entry – specifically and exquisitely
planned journey upon entering Chapel…
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Focus group discussion data revealed that the Contemporary Arts Museum had a low quality of
expression of Passage. Analysis of focus group discussion responses, associated with the
quality of expression of Passage is as follows:

… experience of approaching and entering is completely

different as compared to Chapel… sense of hesitation upon
entry - on account of overly low entrance foyer and inherent
geometry… feels strange entering building at obtuse apex of
parallelogram… entrance is tall and out of scale… upon passing
through tall entry, one ends up in low-scaled lounge space that
has no definition and feels weird in proportion - similar to sub-
urban mansions… haphazard feeling experienced upon
entering…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Passage at the Rothko Chapel, i.e., the quality of expression of
the place-making pattern Passage is intermediate to high at the Rothko Chapel. At the
Contemporary Arts Museum, however, focus group discussion data is unsuccessful in validating
questionnaire data, i.e., questionnaire data indicates that the quality of expression of Passage is
intermediate to high, while focus group discussion data suggests that the quality of expression of
Passage is low.

5.3.7 Difference in Quality of Expression of Numeric Order

Questionnaire data revealed that the quality of expression of the place-making pattern Numeric
Order was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was
experienced to be intermediate to low at the secular building, i.e., Contemporary Arts Museum.
Questionnaire data revealed that the mean value of the quality of expression of Numeric Order
at the Rothko Chapel was 4.4, while at the Contemporary Arts Museum, the mean value of the
quality of expression of Numeric Order was 2.92. Based on questionnaire data, the difference in
mean values associated with the quality of expression of Numeric Order at the Rothko Chapel
over the Contemporary Arts Museum is 1.48.
 193

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Numeric Order. Analysis of focus group discussion responses, associated with the quality of
expression of Numeric Order is as follows:

… eight sides of Chapel facilitate cyclic process of movement

that tend to slow one down… eight sides makes one want to
slow down and experience space within…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Numeric Order at the Rothko Chapel, i.e., the quality of
expression of the place-making pattern Numeric Order is high at the Rothko Chapel. At the
Contemporary Arts Museum, the quality of expression of Numeric Order could not be validated
by means of focus group discussions, as there were no responses associated with its presence
or otherwise. However, based on questionnaire data, the quality of expression of Numeric Order
at the Contemporary Arts Museum is intermediate to low.

5.3.8 Difference in Quality of Expression of Geometric Order

Questionnaire data revealed that the quality of expression of the place-making pattern
Geometric Order was experienced to be high at the sacred building, i.e., Rothko Chapel, while it
was experienced to be intermediate to high at the secular building, i.e., Contemporary Arts
Museum. Questionnaire data revealed that the mean value of the quality of expression of
Geometric Order at the Rothko Chapel was 4.58, while at the Contemporary Arts Museum, the
mean value of the quality of expression of Geometric Order was 3.47. Based on questionnaire
data, the difference in mean values associated with the quality of expression of Geometric Order
at the Rothko Chapel over the Contemporary Arts Museum is 1.11.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Geometric Order. Analysis of focus group discussion responses, associated with the quality of
expression of Geometric Order is as follows:

… symmetry present… octagonal geometry is apparent when

one is inside… design is based on octagon – considered most
pristine and perfect shape in Feng Shui and relates to Ba Gua…
 194

octagonal geometry purposefully intended to slow one down…

geometry of building contributes to sacredness… geometry
contributes to sacredness… shape of building contributes to
sacredness… symmetry and form are deliberately designed into
Chapel to enhance and foster sacredness… geometry of building
engenders profound sense of centrality and focus… geometry of
Chapel has focus – help one focus…

Focus group discussion data revealed that the Contemporary Arts Museum had a low quality of
expression of Geometric Order. Analysis of focus group discussion responses, associated with
the quality of expression of Geometric Order is as follows:

… geometry is completely different as compared to Chapel…

form or geometry is not apparent when one is inside… skewed
geometry – rectangle is skewed into parallelogram… one has to
literally walk all around building to realize building is a
parallelogram… symmetry arising out of parallelogram is not
really apparent, regardless of one being inside or outside…
geometry makes one want to turn around hastily at acute and
obtuse corners… geometry of building is disconcerting…
geometry feels alien-like – makes one want to move constantly…
one is highly aware of parallelogram and point – unsettling…
geometry contributes to sense of hesitation upon entry… form is
deliberately intended to disorient, shock, and throw individuals
off balance… shape of Museum – different angles, angular
corners, edges are disturbing and distracting…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Geometric Order at the Rothko Chapel, i.e., the quality of
expression of the place-making pattern Geometric Order is high at the Rothko Chapel. At the
Contemporary Arts Museum, however, focus group discussion data is unsuccessful in validating
questionnaire data, i.e., questionnaire data indicates that the quality of expression of Geometric
Order is intermediate to high, while focus group discussion data suggests that the quality of
expression of Geometric Order is low.
 195

5.3.9 Difference in Quality of Expression of Spatial Order

Questionnaire data revealed that the quality of expression of the place-making pattern Spatial
Order was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was
experienced to be intermediate to low at the secular building, i.e., Contemporary Arts Museum.
Questionnaire data revealed that the mean value of the quality of expression of Spatial Order at
the Rothko Chapel was 4.14, while at the Contemporary Arts Museum, the mean value of the
quality of expression of Spatial Order was 2.71. Based on questionnaire data, the difference in
mean values associated with the quality of expression of Spatial Order at the Rothko Chapel
over the Contemporary Arts Museum is 1.43.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Spatial Order. Analysis of focus group discussion responses, associated with the quality of
expression of Spatial Order is as follows:

… power of Chapel lies in space - fosters the sacred experience

and embraces the individual… spatial characteristics of building
contribute to sacredness… symmetrical and formal spatial
hierarchy are deliberately designed into Chapel to enhance and
foster sacredness… spatial characteristics of Chapel have focus
– help one focus…

Focus group discussion data revealed that the Contemporary Arts Museum had a low quality of
expression of Spatial Order. Analysis of focus group discussion responses, associated with the
quality of expression of Spatial Order is as follows:

… space does not feel conducive to sacred experience… one

has hard time deciding which way to turn or which way to
proceed in…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Spatial Order at the Rothko Chapel as well as the Contemporary
Arts Museum, i.e., the quality of expression of the place-making pattern Spatial Order is high at
the Rothko Chapel, while at the Contemporary Arts Museum its quality of expression is
intermediate to low.
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5.3.10 Difference in Quality of Expression of Anthropomorphic Order

Questionnaire data revealed that the quality of expression of the place-making pattern
Anthropomorphic Order was experienced to be intermediate to high at the sacred building, i.e.,
Rothko Chapel, while it was experienced to be low at the secular building, i.e., Contemporary
Arts Museum. Questionnaire data revealed that the mean value of the quality of expression of
Anthropomorphic Order at the Rothko Chapel was 3.55, while at the Contemporary Arts
Museum, the mean value of the quality of expression of Anthropomorphic Order was 1.9. Based
on questionnaire data, the difference in mean values associated with the quality of expression of
Anthropomorphic Order at the Rothko Chapel over the Contemporary Arts Museum is 1.65.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Anthropomorphic Order. Analysis of focus group discussion responses, associated with the
quality of expression of Anthropomorphic Order is as follows:

… human-scaled entrance… scale plays huge role… scale of

building contributes to sacredness… proportions of building
contribute to sacredness… much flavor in experience of scale at
entry and inner space…

Focus group discussion data revealed that the Contemporary Arts Museum had a low quality of
expression of Anthropomorphic Order. Analysis of focus group discussion responses, associated
with the quality of expression of Anthropomorphic Order is as follows:

… entrance is tall and out of scale… lounge space feels weird in

proportion – similar to sub-urban mansions…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Anthropomorphic Order at the Rothko Chapel as well as the
Contemporary Arts Museum, i.e., the quality of expression of the place-making pattern
Anthropomorphic Order is intermediate to high at the Rothko Chapel, while at the Contemporary
Arts Museum its quality of expression is low.
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5.3.11 Difference in Quality of Expression of Ordered Nature

Questionnaire data revealed that the quality of expression of the place-making pattern Ordered
Nature was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was
experienced to be intermediate to low at the secular building, i.e., Contemporary Arts Museum.
Questionnaire data revealed that the mean value of the quality of expression of Ordered Nature
at the Rothko Chapel was 4.08, while at the Contemporary Arts Museum, the mean value of the
quality of expression of Ordered Nature was 2.05. Based on questionnaire data, the difference in
mean values associated with the quality of expression of Ordered Nature at the Rothko Chapel
over the Contemporary Arts Museum is 2.03.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Ordered Nature. Analysis of focus group discussion responses, associated with the quality of
expression of Ordered Nature is as follows:

… landscape elements – water pool with obelisk contribute to

sacredness…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Ordered Nature at the Rothko Chapel, i.e., the quality of
expression of the place-making pattern Ordered Nature is high at the Rothko Chapel. At the
Contemporary Arts Museum, the quality of expression of Ordered Nature could not be validated
by means of focus group discussions, as there were no responses associated with its presence
or otherwise. However, based on questionnaire data, the quality of expression of Ordered Nature
at the Contemporary Arts Museum is intermediate to low.

5.3.12 Difference in Quality of Expression of Celestial Order

Questionnaire data revealed that the quality of expression of the place-making pattern Celestial
Order was experienced to be intermediate to high at the sacred building, i.e., Rothko Chapel,
while it was experienced to be low at the secular building, i.e., Contemporary Arts Museum.
Questionnaire data revealed that the mean value of the quality of expression of Celestial Order
at the Rothko Chapel was 3.9, while at the Contemporary Arts Museum, the mean value of the
quality of expression of Celestial Order was 2.0. Based on questionnaire data, the difference in
 198

mean values associated with the quality of expression of Celestial Order at the Rothko Chapel
over the Contemporary Arts Museum is 1.9.

At the Rothko Chapel and the Contemporary Arts Museum, the quality of expression of Celestial
Order could not be validated by means of focus group discussions, as there were no responses
associated with its presence or otherwise at either setting. However, based on questionnaire
data, the quality of expression of Celestial Order at the Rothko Chapel is intermediate to high,
while at the Contemporary Arts Museum its quality of expression is low.

5.3.13 Difference in Quality of Expression of Differentiating Boundaries

Questionnaire data revealed that the quality of expression of the place-making pattern
Differentiating Boundaries was experienced to be intermediate to high at the sacred building, i.e.,
Rothko Chapel, while it was experienced to be intermediate to low at the secular building, i.e.,
Contemporary Arts Museum. Questionnaire data revealed that the mean value of the quality of
expression of Differentiating Boundaries at the Rothko Chapel was 3.31, while at the
Contemporary Arts Museum, the mean value of the quality of expression of Differentiating
Boundaries was 2.37. Based on questionnaire data, the difference in mean values associated
with the quality of expression of Differentiating Boundaries at the Rothko Chapel over the
Contemporary Arts Museum is 0.94.

At the Rothko Chapel and the Contemporary Arts Museum, the quality of expression of
Differentiating Boundaries could not be validated by means of focus group discussions, as there
were no responses associated with its presence or otherwise at either setting. However, based
on questionnaire data, the quality of expression of Differentiating Boundaries at the Rothko
Chapel is intermediate to high, while at the Contemporary Arts Museum its quality of expression
is intermediate to low.

5.3.14 Difference in Quality of Expression of Ordered Views

Questionnaire data revealed that the quality of expression of the place-making pattern Ordered
Views was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was
experienced to be intermediate to low at the secular building, i.e., Contemporary Arts Museum.
 199

Questionnaire data revealed that the mean value of the quality of expression of Ordered Views
at the Rothko Chapel was 4.85, while at the Contemporary Arts Museum, the mean value of the
quality of expression of Ordered Views was 2.93. Based on questionnaire data, the difference in
mean values associated with the quality of expression of Ordered Views at the Rothko Chapel
over the Contemporary Arts Museum is 1.92.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Ordered Views. Analysis of focus group discussion responses, associated with the quality of
expression of Ordered Views is as follows:

… functions to great extent to block outside world and withhold

sacred experience within - makes Chapel unique… large solid
walls isolate one from mundane world outside, separating sacred
from mundane…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Ordered Views at the Rothko Chapel, i.e., the quality of
expression of the place-making pattern Ordered Views is high at the Rothko Chapel. At the
Contemporary Arts Museum, the quality of expression of Ordered Views could not be validated
by means of focus group discussions, as there were no responses associated with its presence
or otherwise. However, based on questionnaire data, the quality of expression of Ordered Views
at the Contemporary Arts Museum is intermediate to low.

5.3.15 Difference in Quality of Expression of Materiality

Questionnaire data revealed that the quality of expression of the place-making pattern Materiality
was experienced to be high at the sacred building, i.e., Rothko Chapel, while it was experienced
to be intermediate to high at the secular building, i.e., Contemporary Arts Museum.
Questionnaire data revealed that the mean value of the quality of expression of Materiality at the
Rothko Chapel was 4.08, while at the Contemporary Arts Museum, the mean value of the quality
of expression of Materiality was 3.31. Based on questionnaire data, the difference in mean
values associated with the quality of expression of Materiality at the Rothko Chapel over the
Contemporary Arts Museum is 0.77.
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Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Materiality. Analysis of focus group discussion responses, associated with the quality of
expression of Materiality is as follows:

… natural or earth-related materials contribute to enormous

sense of grounding… constructed with materials of the Earth…
color palette of materials is very neutral and earthy – has
profound impact and affect on individuals… texture and color of
materials contribute to sacredness…

Focus group discussion data revealed that the Contemporary Arts Museum had a high quality of
expression of Materiality. Analysis of focus group discussion responses, associated with the
quality of expression of Materiality is as follows:

… lower level expresses materials in very natural way… lower

level is homogeneous in expressing materials… materiality and
texture of concrete columns in lower level resonate with
individuals… concrete columns in lower level have natural quality
– a feature that is otherwise not displayed… concrete columns in
lower level are attractive/have very interesting features –
rectangular with chamfered corners, imprinted with wooden
forms and actual grain of wood… column surface is textured and
resembles surface texture of wood – richness of texture and
appearance…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Materiality at the Rothko Chapel as well as the Contemporary
Arts Museum, i.e., the quality of expression of the place-making pattern Materiality is high at the
Rothko Chapel, while at the Contemporary Arts Museum its quality of expression is intermediate
to high.
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5.3.16 Difference in Quality of Expression of Elementals

Questionnaire data revealed that the quality of expression of the place-making pattern
Elementals was experienced to be intermediate to high at the sacred building, i.e., Rothko
Chapel, while it was experienced to be intermediate to low at the secular building, i.e.,
Contemporary Arts Museum. Questionnaire data revealed that the mean value of the quality of
expression of Elementals at the Rothko Chapel was 3.9, while at the Contemporary Arts
Museum, the mean value of the quality of expression of Elementals was 2.25. Based on
questionnaire data, the difference in mean values associated with the quality of expression of
Elementals at the Rothko Chapel over the Contemporary Arts Museum is 1.65.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Elementals. Analysis of focus group discussion responses, associated with the quality of
expression of Elementals is as follows:

… shallow pool with image of reflected obelisk is serene…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Elementals at the Rothko Chapel, i.e., the quality of expression
of the place-making pattern Elementals is intermediate to high at the Rothko Chapel. At the
Contemporary Arts Museum, the quality of expression of Elementals could not be validated by
means of focus group discussions, as there were no responses associated with its presence or
otherwise. However, based on questionnaire data, the quality of expression of Elementals at the
Contemporary Arts Museum is intermediate to low.

5.3.17 Difference in Quality of Expression of Light

Questionnaire data revealed that the quality of expression of the place-making pattern Light was
experienced to be high at the sacred building, i.e., Rothko Chapel, while it was experienced to
be intermediate to low at the secular building, i.e., Contemporary Arts Museum. Questionnaire
data revealed that the mean value of the quality of expression of Light at the Rothko Chapel was
4.54, while at the Contemporary Arts Museum, the mean value of the quality of expression of
Light was 2.26. Based on questionnaire data, the difference in mean values associated with the
quality of expression of Light at the Rothko Chapel over the Contemporary Arts Museum is 2.28.
 202

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Light. Analysis of focus group discussion responses, associated with the quality of expression of
Light is as follows:

… light contribute to sacredness… tremendous sense of light –

contributes immensely to sacredness… quality of light
contributes immensely to sacredness… light evokes sacredness
and touches one in ways that cannot be described – likened to
breathing (opens and closes your heart)… light makes one feel
very different… light entering through skylight in ceiling
engenders profound sense of centrality and focus… quality of
light is out of this world… amazing quality of light… light qualities
are simply amazing…

Focus group discussion data revealed that the Contemporary Arts Museum had a low quality of
expression of Light. Analysis of focus group discussion responses, associated with the quality of
expression of Light is as follows:

… quality of light is completely different as compared to

Chapel…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Light at the Rothko Chapel as well as the Contemporary Arts
Museum, i.e., the quality of expression of the place-making pattern Light is high at the Rothko
Chapel, while at the Contemporary Arts Museum its quality of expression is intermediate to low.

5.3.18 Difference in Quality of Expression of Ceremonial Order

Questionnaire data revealed that the quality of expression of the place-making pattern
Ceremonial Order was experienced to be high at the sacred building, i.e., Rothko Chapel, while
it was experienced to be intermediate at the secular building, i.e., Contemporary Arts Museum.
Questionnaire data revealed that the mean value of the quality of expression of Ceremonial
Order at the Rothko Chapel was 4.54, while at the Contemporary Arts Museum, the mean value
of the quality of expression of Ceremonial Order was 3.0. Based on questionnaire data, the
 203

difference in mean values associated with the quality of expression of Ceremonial Order at the
Rothko Chapel over the Contemporary Arts Museum is 1.54.

Focus group discussion data revealed that the Rothko Chapel had a high quality of expression of
Ceremonial Order. Analysis of focus group discussion responses, associated with the quality of
expression of Ceremonial Order is as follows:

… ceremonial tradition… ceremonial activities… rituals…

activities that take place within its confines… knowledge about
all that has happened within space… knowledge about activities
(special events, memorials) conducted within space… presence
of highly respected spiritual leaders within space… knowledge of
activities within space… knowledge that other individuals
experience the Chapel as sacred…

Focus group discussion data, therefore, successfully validates questionnaire data associated
with the quality of expression of Ceremonial Order at the Rothko Chapel, i.e., the quality of
expression of the place-making pattern Ceremonial Order is high at the Rothko Chapel. At the
Contemporary Arts Museum, the quality of expression of Ceremonial Order could not be
validated by means of focus group discussions, as there were no responses associated with its
presence or otherwise. However, based on questionnaire data, the quality of expression of
Ceremonial Order at the Contemporary Arts Museum is intermediate.

5.3.19 Summary of Differences in Pattern Quality at Selected Buildings

Differences in mean values of the quality of expression of place-making patterns at the sacred
and secular buildings are shown in Table V-5. The column under Pattern list displays individual
place-making patterns. The column under Mean value of pattern quality shows the mean value
of the quality of expression of individual place-making patterns at the sacred and secular
buildings. The column under Difference in Mean values shows the difference in mean values
associated with pattern quality at the Rothko Chapel over the Contemporary Arts Museum based
on questionnaire data, i.e., Difference in mean values = mean value of quality of expression of
individual place-making patterns at Rothko Chapel minus mean value of quality of expression of
 204

individual place-making patterns at Contemporary Arts Museum. In the table, Rothko Chapel has
been abbreviated as RC, while Contemporary Arts Museum has been abbreviated as CAM.

TABLE V-5. Differences in mean values of pattern quality at selected buildings.

Pattern list Mean value of pattern quality Difference in mean values
RC CAM RC - CAM
Center 4.34 2.5 1.84
Bounding 4.75 3.05 1.7
Direction 3.76 3.37 0.39
Descent 4 2.68 1.32
Ascent 4.4 2.71 1.69
Passage 3.85 3.5 0.35
Numeric Order 4.4 2.92 1.48
Geometric Order 4.58 3.47 1.11
Spatial Order 4.14 2.71 1.43
Anthropomorphic Order 3.55 1.9 1.65
Ordered Nature 4.08 2.05 2.03
Celestial Order 3.9 2 1.9
Differentiating Boundaries 3.31 2.37 0.94
Ordered Views 4.85 2.93 1.92
Materiality 4.08 3.31 0.77
Elementals 3.9 2.25 1.65
Light 4.54 2.26 2.28
Ceremonial Order 4.54 3 1.54

Table V-6 shows the organization of the eighteen place-making patterns in descending order
based on the difference in mean values associated with their pattern quality. The column under
Pattern list displays individual place-making patterns. The column under Difference in mean
values shows the difference in mean values associated with pattern quality at the Rothko Chapel
over the Contemporary Arts Museum based on questionnaire data, i.e., Difference in mean
values = mean value of quality of expression of individual place-making patterns at Rothko
Chapel minus mean value of quality of expression of individual place-making patterns at
Contemporary Arts Museum. In the table, Rothko Chapel has been abbreviated as RC, while
Contemporary Arts Museum has been abbreviated as CAM.
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TABLE V-6. Descending order of patterns based on mean difference in pattern quality.
Pattern list Difference in mean values
RC - CAM
Light 2.28
Ordered Nature 2.03
Ordered Views 1.92
Celestial Order 1.9
Center 1.84
Bounding 1.7
Ascent 1.69
Anthropomorphic Order 1.65
Elementals 1.65
Ceremonial Order 1.54
Numeric Order 1.48
Spatial Order 1.43
Descent 1.32
Geometric Order 1.11
Differentiating Boundaries 0.94
Materiality 0.77
Direction 0.39
Passage 0.35

The following Figure V-2 shows the difference in mean values associated with pattern quality at
the Rothko Chapel over the Contemporary Arts Museum based on questionnaire data, i.e., mean
value of quality of expression of individual place-making patterns at Rothko Chapel minus mean
value of quality of expression of individual place-making patterns at Contemporary Arts Museum.
The place-making patterns are arranged in descending order based on the difference in mean
values associated with their pattern quality.
 206

4.5

4
Mean difference in pattern quality

3.5

Anthropomorphic Order
Ordered Nature
3

Ordered Views

Celestial Order

Ceremonial Order

Differentiating Boundaries
Light

2.5

Numeric Order
Elementals
Bounding

Spatial Order
Center

Geometric Order
Ascent
2

Descent
1.5

Materiality
1

Direction

Passage
0.5

0
Place-making patterns

FIGURE V-2. Mean difference in pattern quality between selected buildings.

Questionnaire data revealed that the difference in mean value of the quality of expression of the
place-making pattern Light was highest, while the difference in the quality of expression of the
place-making pattern Passage was lowest. This could indicate the importance of the quality of
expression of the place-making pattern Light in contributing to sacredness of place, i.e., high
quality of expression of the place-making pattern Light may have greater impact in contributing
to sacredness of place, as compared to the quality of expression of the place-making pattern
Passage. It is also likely that the high quality of expression of the place-making pattern Light may
be exclusive to sacred place.

Based on questionnaire data, the eighteen place-making patterns can be arranged in

descending order of their difference in mean values as follows: 1) Light; 2) Ordered Nature;
3) Ordered Views; 4) Celestial Order; 5) Center; 6) Bounding; 7) Ascent; 8) Anthropomorphic
Order; 9) Elementals; 10) Ceremonial Order; 11) Numeric Order; 12) Spatial Order; 13) Descent;
14) Geometric Order; 15) Differentiating Boundaries; 16) Materiality; 17) Direction; 18) Passage.
The order of listing indicates the difference in quality of expression of the place-making patterns
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at the Rothko Chapel over the Contemporary Arts Museum in descending order. It is likely that
the order of listing of the place-making patterns from left to right (i.e., highest difference to least
difference in pattern quality) indicates the importance of the quality of expression of the place-
making patterns in contributing to sacredness of place, i.e., high quality of the place-making
patterns (in descending hierarchical order) Light, Ordered Nature, Ordered Views, Celestial
Order, Center, and Bounding may have greater impact in contributing to sacredness of place
than the quality of expression of the place-making patterns (in descending hierarchical order)
Descent, Geometric Order, Differentiating Boundaries, Materiality, Direction, and Passage.

The quality of expression of individual place-making patterns based on questionnaire data and
focus group discussion data at the sacred and secular buildings is summarized in Table V-7. The
column under Pattern list displays individual place-making patterns. The column under Pattern
quality based on questionnaire data shows the quality of expression of individual place-making
patterns based on questionnaire data. The column under Pattern quality based on focus group
discussion data shows the quality of expression of individual place-making patterns based on
focus group discussion data. The column under Pattern quality based on combination of data
shows the quality of expression of individual place-making patterns based collectively on
questionnaire data and focus group discussion data. In the table, Rothko Chapel has been
abbreviated as RC, while Contemporary Arts Museum has been abbreviated as CAM.
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TABLE V-7. Summary of pattern quality based on questionnaire data and focus group discussion
data.
Pattern list Pattern quality based on Pattern quality based on focus Pattern quality based on
questionnaire data group discussion data combination of data
RC CAM RC CAM RC CAM
Center High Intermediate High Indeterminable High Low
to low
Bounding High Intermediate High Indeterminable High High
to high
Direction Intermediate Intermediate High Low High Inconclusive
to high to high
Descent High Intermediate High Indeterminable High Low
to low
Ascent High Intermediate Indeterminable Indeterminable High Low
to low
Passage Intermediate Intermediate High Low High Inconclusive
to high to high
Numeric Order High Intermediate High Indeterminable High Low
to low
Geometric Order High Intermediate High Low High Inconclusive
to high
Spatial Order High Intermediate High Low High Low
to low
Anthropomorphic Order Intermediate low High Low High Low
to high
Ordered Nature High Intermediate High Indeterminable High Low
to low
Celestial Order Intermediate low Indeterminable Indeterminable High Low
to high
Differentiating Intermediate Intermediate Indeterminable Indeterminable High Low
Boundaries to high to low
Ordered Views High Intermediate High Indeterminable High Low
to low
Materiality High Intermediate High High High High
to high
Elementals Intermediate Intermediate High Indeterminable High Low
to high to low
Light High Intermediate High Low High Low
to low
Ceremonial Order High Intermediate High Indeterminable High Intermediate

Based on questionnaire data, the quality of expression of twelve place-making patterns (i.e.,
Center, Bounding, Descent, Ascent, Numeric Order, Geometric Order, Spatial Order, Ordered
Nature, Ordered Views, Materiality, Light, Ceremonial Order) was experienced to be high at the
Rothko Chapel. The quality of expression of six place-making patterns (i.e., Direction, Passage,
Anthropomorphic Order, Celestial Order, Differentiating Boundaries, Elementals) was
experienced to be intermediate to high at the Rothko Chapel. At the Contemporary Arts
Museum, there were no place-making patterns whose quality of expression was experienced to
be high. The quality of expression of five place-making patterns (i.e., Bounding, Direction,
Passage, Geometric Order, Materiality) was experienced to be intermediate to high, while the
quality of expression of one place-making pattern (i.e., Ceremonial Order) was experienced to
be intermediate at the Contemporary Arts Museum. The quality of expression of ten place-
making patterns (i.e., Center, Descent, Ascent, Numeric Order, Spatial Order, Ordered Nature,
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Differentiating Boundaries, Ordered Views, Elementals, Light) was experienced to be

intermediate to low, while the quality of expression of two place-making patterns (i.e.,
Anthropomorphic Order, Celestial Order) was experienced to be low at the Contemporary Arts
Museum.

Based on focus group discussion data the quality of expression of fifteen place-making patterns
(i.e., Center, Bounding, Direction, Descent, Passage, Numeric Order, Geometric Order, Spatial
Order, Anthropomorphic Order, Ordered Nature, Ordered Views, Materiality, Elementals, Light,
Ceremonial Order) was experienced to be high at the Rothko Chapel. The quality of expression
of three place-making patterns (i.e., Ascent, Celestial Order, Differentiating Boundaries) was
indeterminable at the Rothko Chapel. At the Contemporary Arts Museum, the quality of
expression of one place-making pattern (i.e., Materiality) was experienced to be high, while the
quality of expression of six place-making patterns (i.e., Direction, Passage, Geometric Order,
Spatial Order, Anthropomorphic Order, Light) was experienced to be low. The quality of
expression of eleven place-making patterns (i.e., Center, Bounding, Descent, Ascent, Numeric
Order, Ordered Nature, Celestial Order, Differentiating Boundaries, Ordered Views, Elementals,
Ceremonial Order) was indeterminable at the Contemporary Arts Museum.

Focus group discussion data validated the quality of expression of fifteen place-making patterns
(i.e., Center, Bounding, Direction, Descent, Passage, Numeric Order, Geometric Order, Spatial
Order, Anthropomorphic Order, Ordered Nature, Ordered Views, Materiality, Elementals, Light,
Ceremonial Order) at the Rothko Chapel. The quality of expression of the remaining three place-
making patterns (Ascent, Celestial Order, Differentiating Boundaries) was indeterminable
through focus group discussion data. At the Contemporary Arts Museum, focus group discussion
data validated the quality of expression of four place-making patterns (Spatial Order,
Anthropomorphic Order, Materiality, Light). Of the remaining fourteen place-making patterns at
the Contemporary Arts Museum, the quality of expression of eleven place-making patterns (i.e.,
Center, Bounding, Descent, Ascent, Numeric Order, Ordered Nature, Celestial Order,
Differentiating Boundaries, Ordered Views, Elementals, Ceremonial Order) was indeterminable
through focus group discussion data. Focus group discussion data did not seem to agree with
questionnaire data on the quality of expression of three place-making patterns (i.e., Direction,
Passage, Geometric Order) at the Contemporary Arts Museum, i.e., questionnaire data revealed
that the quality of expression of Direction, Passage, and Geometric Order was experienced as
intermediate to high, while focus group discussion data revealed that their quality of expression
was low.
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Questionnaire data and focus group discussion data collectively revealed that the quality of
expression of all eighteen place-making patterns (i.e., Center, Bounding, Direction, Descent,
Ascent, Passage, Numeric Order, Geometric Order, Spatial Order, Anthropomorphic Order,
Ordered Nature, Celestial Order, Differentiating Boundaries, Ordered Views, Materiality,
Elementals, Light, Ceremonial Order) was high at the Rothko Chapel. Based collectively on
questionnaire data and focus group discussion data, the quality of expression of only two place-
making patterns (i.e., Bounding, Materiality) was high at the Contemporary Arts Museum. The
quality of expression of one place-making pattern (i.e., Ceremonial Order) was intermediate,
while the quality of expression of twelve place-making patterns (i.e., Center, Descent, Ascent,
Numeric Order, Spatial Order, Anthropomorphic Order, Ordered Nature, Celestial Order,
Differentiating Boundaries, Ordered Views, Elementals, Light) was low at the Contemporary Arts
Museum. The quality of expression of three place-making patterns (i.e., Direction, Passage,
Geometric Order) at the Contemporary Arts Museum was inconclusive. In the final analysis,
both, questionnaire data and focus group discussion data revealed that the quality of expression
of individual place-making patterns at the Rothko Chapel was higher than the quality of
expression of the place-making patterns at the Contemporary Arts Museum.

5.4 SACREDNESS OF SELECTED BUILDINGS

Questionnaire data and focus group discussion data associated with the sacredness of the
Rothko Chapel and the Contemporary Arts Museum are discussed as follows: 1) Sacredness of
Rothko Chapel and Contemporary Arts Museum; and 2) Experiences elicited at Rothko Chapel
and Contemporary Arts Museum.

5.4.1 Sacredness of Rothko Chapel and Contemporary Arts Museum

A total of 23 out of 24 questionnaire participants (representing 95.8% of the total number of

questionnaire participants) agreed that Rothko Chapel was experienced to be sacred. Focus
group discussion data validated questionnaire data and revealed that the Rothko Chapel was
experienced to be sacred. Analysis of focus group discussion responses, suggesting that Rothko
Chapel was experienced to be sacred is as follows:
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…fosters deep and holistic exploration of mysterious nature of

sacred experience… filled with sacral meaning…enables direct
experience and connection with higher consciousness…
immensely perceptible to sacredness… profoundly conducive to
sacredness… truly conducive to sacredness… sacredness easily
experienced… formal aspects of architecture make it different
and sacred… architecture of Chapel reinforces the sacred…
place is sacred because one experiences it as sacred… one
feels attuned with Chapel and deeply aware of its sacredness…
architectural characteristics, physical/environmental
characteristics contribute to sacredness… embodies formal
characteristics of sacred architecture… architecture effectively
reinforces the intent, purpose, and function and takes it to a
higher level… space makes it easy to experience the sacred…
characteristics of Chapel, make it significantly more conducive to
experience the sacred… place dedicated to significant event or
person in history is sacred – Chapel functions as shrine to
memory and work of Mark Rothko…

At the Contemporary Arts Museum, only 2 out of 24 questionnaire participants (representing

8.3% of the total number of questionnaire participants) felt that the contemporary Arts Museum
was sacred. The two participants experienced the Contemporary Arts Museum to be sacred on
account of objects that were exhibited. Focus group discussion data validated questionnaire data
and revealed that the Contemporary Arts Museum was not experienced to be sacred by majority
of the participants. Analysis of focus group discussion responses, suggesting that Contemporary
Arts Museum was not experienced to be sacred is as follows:

…not sacred… secular… opposite of experience elicited at

Chapel… complete polar properties compared to Chapel… great
deal of contrast and difference perceived as compared to
Chapel, despite similarities in scale and underlying function as
galleries… everyone agrees about essence of difference
between Chapel and Museum… everyone has similar thoughts
about differences between Chapel and Museum…
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In summary, questionnaire data and focus group discussion data, collectively revealed that the
Rothko Chapel was experienced as sacred, while the Contemporary Arts Museum was not.

5.4.2 Experiences Elicited at Rothko Chapel and Contemporary Arts Museum

Articulation of Experience
Precise articulation of experiences elicited at Rothko Chapel was difficult, as suggested by the
analysis of focus group discussion responses:

… cannot be articulated precisely in words… above function and

reason… cannot be appropriately described in words… cannot
be fully studied or analyzed… sacredness experienced when
analysis of space ceases…

Measure of Sacredness
Measuring the sacredness of the Rothko Chapel was difficult, as suggested by the analysis of
focus group discussion responses:

… sacredness cannot be measured or compared… sacredness

cannot be measured or quantified in terms of numbers…
sacredness is either experienced at a place or not… places can
be compared to determine only whether they are sacred or not…

Universality of Sacredness
Sacredness of the Rothko Chapel was experienced to be universal, as suggested by the
analysis of focus group discussion responses:

… sacred to different faiths due to non-religious association…

non-denominational nature makes Chapel universally sacred…
universally sacred to all… sacred place can be sacred to an
individual or to a community - when individuals and community,
collectively share in the sacredness of place, the place becomes
universally sacred…
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Ways in Which Place Contributes to Sacredness

The Rothko Chapel functions as a medium for experiencing sacredness, as suggested by the
analysis of focus group discussion responses:

… functions as pure filter for sacredness… functions as

conductor for sacred to manifest… functions as channel/filter for
sacred to manifest… encourages one in the pursuit of sacred…
confirms power of architecture – fosters function and intention of
building and takes it to a higher level… designed to embrace…
takes time for Chapel to act on an individual… promotes and
fosters a relationship between what is holy and what is
material…

Unique Nature of Experience

Experiences elicited at Rothko Chapel were unique and extraordinary, as suggested by the
analysis of focus group discussion responses:

… completely different to anything experienced elsewhere…

different… unique… uncommon… something else, very
special… great sense of affinity felt… apart from experience of
outside world… apart from everyday experience… totally
different from everything else one experiences in the mundane
world… different from city and urban profanity experienced in
everyday life…

Intensity of Experience
Experiences elicited at Rothko Chapel were intense, as suggested by the analysis of focus
group discussion responses:

… wow… in awe… very powerful experience…

At the Contemporary Arts Museum, experiences elicited were not intense, as suggested by the
analysis of focus group discussion responses:

… experience is superficial… fleeting… whimsical… vapid…

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Feelings of Relaxation
Experiences elicited at Rothko Chapel were associated with feelings of relaxation, as suggested
by the analysis of focus group discussion responses:

… relaxed… at peace with oneself and universe… extremely tranquil…

quietness… certain quality of hush… quiet… peaceful… makes one want to
slow down… quiets and slows… ideal for escaping from worries of mundane
world… peace with oneself experienced as compared to feeling scattered in
everyday life… makes you want to bow head, cross hands, as if in prayer, sit
and relax… architecture of Chapel opens and closes your heart – the heart is
able to breathe freely; very balanced and calm…

Experiences elicited at Contemporary Arts Museum were not associated with feelings of
relaxation, as suggested by the analysis of focus group discussion responses:

… edgy… intense activity… hyper-active… torn… confusion…

hesitation… very busy space… extremely busy… constant
chatter… distracting… haste… attention is over-stimulated…
opposite of quiet and slow… does not quiet down or relax…
makes one want to fight his/her way through the exhibits really
quickly… disturbing experience… feels off-balance compared to
Chapel… one doesn’t feel like slowing down, or sitting, or
relaxing… architecture doesn’t lend itself to relaxing or
experiencing space within… eyes constantly change focus and
jump to different locations within space… makes one feel like a
child – has child-like energy; designed to be busy – successful to
that extent…

Feelings of Mysticism
Experiences elicited at Rothko Chapel were associated with feelings of mysticism, as suggested
by the analysis of focus group discussion responses:

… qualities of deep mysticism, mystical space and time sensed…

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Feelings of Introspection
Experiences elicited at Rothko Chapel were associated with feelings of introspection, as
suggested by the analysis of focus group discussion responses:

… space feels meditative… enables profound introspection…

fosters exploration of mystery within oneself… qualities of
openness… two unique qualities of Chapel – helps one look
inward or outward, depending on what is sought… space draws
one in with embrace… inward experience… architects have little
control over how people will specifically use a space – they can
only foster and encourage people to use a space in ways it is
intended to be used to a certain degree – Chapel is great
example of how architects can encourage people to meditate
and introspect…

In summary, focus group discussion data revealed that the articulation of experiences elicited at
Rothko Chapel and measurement of the Chapel’s sacredness were difficult. Participants
suggested that the Chapel was universally sacred and that it functioned as a medium for
experiencing sacredness. In addition, experiences elicited at Rothko Chapel were intense,
unique, extraordinary, and associated with feelings of relaxation, mysticism, and introspection. At
the Contemporary Arts Museum, experiences elicited were not intense and were not associated
with feelings of relaxation.

5.5 CHARACTERISTICS THAT CONTRIBUTE TO SACREDNESS

Questionnaire data and focus group discussion data associated with characteristics that
contributed to sacredness of the selected buildings is discussed as follows: 1) Characteristics
associated with place-making patterns from CPPS; 2) Characteristics not associated with place-
making patterns from CPPS; and 3) Ancillary differences between Rothko Chapel and
Contemporary Arts Museum.
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5.5.1 Characteristics Associated with Place-making Patterns from CPPS

Questionnaire data revealed that the seven characteristics (associated with place-making
patterns from the CPPS) contributed to sacredness experienced at the Rothko Chapel. These
characteristics suggest the presence of specific place-making patterns (in brackets) as follows:

… symmetry of form… (Geometric Order)

… progression of spaces – garden to inner meditative space…

(Spatial Order)

… humanized proportions of building… (Anthropomorphic Order)

… separation of inner space from outside world… (Ordered

Views)

… materials… (Materiality)

… quality of light… (Light)

… Chapel activities… (Ceremonial Order)

Although the Contemporary Arts Museum was not experienced to be sacred, two questionnaire
participants felt that it was sacred on account of two characteristics (associated with place-
making patterns from the CPPS). These characteristics suggest the presence of specific place-
making patterns (in brackets) as follows:

… ordering of spaces… (Spatial Order)

… visitor behavioral patterns… (Ceremonial Order)

However, combination of graphical data and questionnaire data revealed that the presence of
Spatial Order at the Contemporary Arts Museum was inconclusive (see Table V-4), and that it
did not have any strong contributors (see Table V-3). In addition, the quality of expression of
Spatial Order at the Contemporary Arts Museum was identified as low (see Table V-7). Similarly,
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combination of graphical data and questionnaire data associated with Ceremonial Order at the
Contemporary Arts Museum, revealed that it was absent (see Table V-4), and that it did not have
any strong contributors (see Table V-3). Also, the quality of expression of Ceremonial Order at
the Contemporary Arts Museum was identified as low (see Table V-7).

Analysis of focus group discussion responses revealed that certain characteristics (associated
with place-making patterns from the CPPS) contributed to sacredness experienced at the
Rothko Chapel. These characteristics suggest the presence of specific place-making patterns (in
brackets) as follows:

… very central… centering experience… immense sense of

focus… spatial characteristics of Chapel have focus – help one
focus… profound sense of centrality… profound sense of
centrality and focus… strongest aspect of Chapel is
extraordinary sense of focus and centrality… most dominant
aspect of architecture is centrality… (Center)

… large solid walls present… sense of peaceful containment…

very conscious and fixed container for pieces of art… (Bounding)

… natural and strong orientation…symmetrical and formal –

axes and alignment are deliberately designed to enhance and
foster sacredness; axiality present… (Direction)

… natural or earth-related materials contribute to enormous

sense of grounding… grounding draws one within womb of
Chapel and helps one breath and reach out to divine… sense of
grounding welcomes one upon entry… (Descent)

… symmetrical and formal entry/exit sequence are deliberately

designed into Chapel to enhance and foster sacredness… one
has to enter through smaller human-scaled entrance before
proceeding into inner sanctum; much flavor in experience of
scale at entry; leads you upon entry – specifically and exquisitely
planned journey upon entering Chapel… (Passage)
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… eight sides of Chapel facilitate cyclic process of movement

that tend to slow one down… eight sides makes one want to
slow down and experience space within… (Numeric Order)

… symmetry present… octagonal geometry is apparent when

one is inside… design is based on octagon – considered most
pristine and perfect shape in Feng Shui and relates to Ba Gua…
octagonal geometry purposefully intended to slow one down…
geometry of building contributes to sacredness… geometry
contributes to sacredness… shape of building contributes to
sacredness… symmetry and form are deliberately designed into
Chapel to enhance and foster sacredness… geometry of building
engenders profound sense of centrality and focus… geometry of
Chapel has focus – helps one focus… (Geometric Order)

… power of Chapel lies in space - fosters the sacred experience

and embraces the individual… spatial characteristics of building
contribute to sacredness… symmetrical and formal spatial
hierarchy are deliberately designed into Chapel to enhance and
foster sacredness… spatial characteristics of Chapel have focus
– help one focus… (Spatial Order)

… human-scaled entrance… scale plays huge role… scale of

building contributes to sacredness… proportions of building
contribute to sacredness… much flavor in experience of scale at
entry and inner space… (Anthropomorphic Order)

… landscape elements – water pool with obelisk contribute to

sacredness… (Ordered Nature)

… functions to great extent to block outside world and withhold

sacred experience within – makes Chapel unique… large solid
walls isolate one from mundane world outside, separating sacred
from mundane… (Ordered Views)
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… natural or earth-related materials contribute to enormous

sense of grounding… constructed with materials of the Earth…
color palette of materials is very neutral and earthy – has
profound impact and affect on individuals… texture and color of
materials contribute to sacredness… (Materiality)

… shallow pool with image of reflected obelisk is serene…

(Elementals)

… light contributes to sacredness… tremendous sense of light –

contributes immensely to sacredness… quality of light
contributes immensely to sacredness… light evokes sacredness
and touches one in ways that cannot be described – likened to
breathing (opens and closes your heart)… light makes one feel
very different… light entering through skylight in ceiling
engenders profound sense of centrality and focus… quality of
light is out of this world… amazing quality of light… light qualities
are simply amazing… (Light)

… ceremonial tradition… ceremonial activities… rituals…

activities that take place within its confines… knowledge about
all that has happened within space… knowledge about activities
(special events, memorials) conducted within space… presence
of highly respected spiritual leaders within space… knowledge of
activities within space… knowledge that other individuals
experience the Chapel as sacred… (Ceremonial Order)

Focus group discussion data revealed that, although the Contemporary Arts Museum was not
experienced as sacred, the materiality of the concrete columns in the lower level of the Museum
was found to be attractive as suggested by the analysis of responses:

… lower level expresses materials in very natural way… lower

level is homogeneous in expressing materials… materiality and
texture of concrete columns in lower level resonate with
individuals… concrete columns in lower level have natural quality
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– a feature that is otherwise not displayed… concrete columns in

lower level are attractive/have very interesting features –
rectangular with chamfered corners, imprinted with wooden
forms and actual grain of wood… column surface is textured and
resembles surface texture of wood – richness of texture and
appearance…

Questionnaire data and focus group discussion data, therefore, collectively revealed that fifteen
place-making patterns from the CPPS, contributed to sacredness experienced at Rothko Chapel
as follows: 1) Center; 2) Bounding; 3) Direction; 4) Ascent; 5) Passage; 6) Numeric Order;
7) Geometric Order; 8) Spatial Order; 9) Anthropomorphic Order; 10) Ordered nature;
11) Ordered Views; 12) Materiality; 13) Elementals; 14) Light; and 15) Ceremonial Order.
Graphical data and questionnaire data revealed that all fifteen place-making patterns listed
above were present (see Table V-4), and had a high quality of expression (see Table V-7) at the
Rothko Chapel.

5.5.2 Characteristics Not Associated with Place-making Patterns from CPPS

Questionnaire data revealed that three characteristics (not associated with place-making
patterns from the CPPS) contributed to sacredness experienced at the Rothko Chapel. These
characteristics have been associated with specific concepts (in brackets) as follows:

… quietness of space… (Sound)

… simplicity of formal elements of building… (Void)

… paintings… (Objects)

Although the Contemporary Arts Museum was not experienced to be sacred, two questionnaire
participants felt that it was sacred on account of the following characteristics (not associated with
place-making patterns from the CPPS):

… atmosphere and ambiance… (Sound)

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… nature of exhibits… (Objects)

Questionnaire data, therefore, revealed that three characteristics (not associated with place-
making patterns from the CPPS) seemed to contribute to sacredness experienced at the Rothko
Chapel and Contemporary Arts Museum as follows: 1) Sound; 2) Void; and 3) Objects.

Analysis of focus group discussion responses revealed that eight characteristics (not associated
with place-making patterns from the CPPS) contributed to sacredness experienced at the
Rothko Chapel. These characteristics have been associated with specific concepts (in brackets)
as follows:

… Chapel has a natural path… movement inside Chapel is

significantly slower and quieter… (Path/Procession)

… Chapel is empty… ornamentation is left out, making inside

and outside feel like voids in space… nothingness present…
emptiness within Chapel contributes to sacredness… (Void)

…sacred intent is crucial to creating sacred place… projecting

what and how ones heart feels about sacredness onto a place…
sacred places rarely exist without sacred intent… anything can
become holy or sacred with awareness… place becomes sacred
when space becomes conducive to our awareness of the
sacred… to make place sacred, one has to intentionally be
aware of creating sacred space… very difficult to experience
sacredness when place is not conducive to projecting or
expressing the sacred… (Intention)

… Chapel functions as shrine to memory and work of Mark

Rothko… paintings contribute to sacredness… (Objects)

… permanent exhibits… Chapel designed around explicit and

permanent pieces of art – not designed to be constantly
changing environment – Chapel not controlled by time –
timeless… Chapel has sense of timelessness… (Timelessness)
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… sense of transcendence… connection with the divine…

awareness of divine… presence of God… (Deity)

… sound makes one feel very different… sound contributes to

sacredness… quality of sound, quietness and stillness contribute
immensely to sacredness… sound evokes sacredness and
touches one in ways that cannot be described – likened to
breathing (opens and closes your heart)… absence of
sound/presence of silence and whispers – contribute to peaceful
and profound experience of sacredness… acoustics are
phenomenal… acoustics have amazing trance-like effect on
people – especially more pronounced with larger groups…
sound has spectacular effect… amazing quality of sound…
sound qualities are simply amazing… sound inside Chapel has
eerie quality – whisper-like qualities with barely perceptible
echo… (Sound)

… very singular… unified… one space, ‘a'space, single space –

unified… very focused… unity expressed through architecture,
purpose, intent, function – collectively these contribute to
sacredness… provides profound sense of unification to heart,
mind and soul… sensory feeling of unification… creates aura of
oneness with the universe… encourages one in the pursuit of
Unity… unified with the universe… building characteristics do not
act in isolation – everything in totality affects individuals and
makes place sacred… texture and color of materials, light,
sound, paintings, geometry, emptiness within chapel –
collectively set mood for sacredness… combination of axes,
form, spatial alignment, spatial hierarchy, entry/exit sequence
produce a very powerful effect – features converge into one
strong experience and come together in unison to uplift
experience within Chapel... (Unity)
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Focus group discussion data revealed that Objects (Polaroid photographs) exhibited in the lower
level of the Contemporary Arts Museum were experienced to be sacred, as suggested by the
analysis of responses:

… Polaroid photographs are sacred – has nothing to do with

architecture of Museum… Polaroid photographs draw one into
the moment – has nothing to do with the building, except that
building allows exhibition to happen functionally… Polaroid
photographs foster a meditative feel to lower level – one can
focus on photographs and meditate… significant contrast
between first floor and lower floor, on account of content
(expressions of people) of Polaroid photographs – has nothing to
do with the character of the building… sense of order to
arrangement of Polaroid photographs… power and energy are
its ever-changing exhibits, not the building…

Focus group discussion data revealed that Path/Procession was experienced to be quick/rapid
at the Contemporary Arts Museum, as suggested by the analysis of responses:

… architecture of Museum is about movement… one feels like

he/she has to constantly move… people move around rather
quickly and rapidly…

Focus group discussion data revealed that Sound at the Contemporary Arts Museum did not
possess the same qualities as those at the Rothko Chapel, as suggested by the analysis of
responses:

… sound is completely different as compared to Chapel…

Focus group discussion data revealed that Unity was not experienced at the Contemporary Arts
Museum, as suggested by the analysis of responses:

… not centered… not focused… opposite of centering… too

much happening… ambiguous… scattered… busy and edgy…
so much going on… sense of clutter… inherently divisive…
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unsettling… novelty, surprise and shock experienced…

scattering tendency is opposite to what sacred represents…
significant contrast in experience as compared to Chapel… one
is subjected to excessively different influences… cannot be
experienced as one space – series of spaces that change with
exhibitions… reflects modern life and contrasts with what is
sacred – vapid, fast, morphing, evolving; chaotic, confusion,
uncertainty; experience constantly changes and morphs…

In summary, questionnaire data and focus group discussion data collectively revealed that eight
characteristics (not associated with place-making patterns from the CPPS) contributed to
sacredness experienced at the Rothko Chapel as follows: 1) Sound; 2) Void; 3) Objects;
4) Path/Procession; 5) Intention; 6) Timelessness; 7) Deity; and 8) Unity. The concept of Unity
was experienced as the most powerful contributor to sacredness at the Rothko Chapel. At the
Contemporary Arts Museum, questionnaire data and focus group discussion data did not agree
on whether Sound, contributed to sacredness, i.e., questionnaire data showed that Sound
contributed to sacredness, while focus group discussion data suggested that Sound was
completely different as compared to the Rothko Chapel. However, questionnaire data and focus
group discussion data agreed that Objects at the Contemporary Arts Museum were sacred.

5.5.3 Ancillary Differences between Rothko Chapel and Contemporary Arts Museum

Focus group discussion data revealed that the Rothko Chapel was experienced as an inflexible
space, as suggested by the analysis of responses:

… difficult to rearrange interior space due to permanent nature of

the exhibits…

The Contemporary Arts Museum was experienced as a flexible space, as suggested by the
analysis of focus group discussion responses:

… space feels very malleable and temporary… space accepts

change very easily… interior is flexible in terms of spatial
divisions and can be easily organized into several different
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arrangements, depending on nature of exhibits… functions in

different ways depending on how interior space is divided…
partitions can be moved around and space can be divided in
different ways… changing exhibits; likened to supermarket –
things come in and go out frequently… people come to Museum
to see exhibits that are constantly changing…

Focus group discussion data revealed that the design of the Museum was successful to the
extent that it was contemporary, as suggested by the analysis of responses:

… design is dealt with, and approached very differently as

compared to Chapel… cutting edge Avant-garde building that
houses contemporary art… though functions are similar,
experience is completely different as compared to Chapel…
difference in experience as compared to Chapel is due to
different design intentions and incorporation of different design
features… designed to be contemporary – successful to that
extent…

In summary, focus group discussion data revealed that Rothko Chapel was experienced as an
inflexible space, while Contemporary Arts Museum was experienced to be flexible. The design of
the Museum was also experienced as being successful to the extent that it was contemporary.

5.6 CONCEPTS ASSOCIATED WITH MEANING OF SACRED AND SECULAR

Focus group discussion data in this section is discussed as follows: 1) Meaning of sacred and
secular; and 2) Ancillary concepts derived from focus group discussion data.

5.6.1 Meaning of Sacred and Secular

Comprehension
Focus group discussion data revealed that the sacred is incomprehensible, as suggested by the
analysis of responses:
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…cannot be comprehended with our minds…

incomprehensible… beyond analysis… above function and
reason… goes beyond what we are taught… above intellectual
understanding…

Articulation
Focus group discussion data revealed that the sacred is hard to articulate, as suggested by the
analysis of responses:

… hard to describe and discuss… cannot be described

appropriately in language or articulate manner… cannot exist
without the secular… anything can become sacred with
intention… not found in secular experience or secular space…

Focus group discussion data revealed that the secular can be articulated with ease, as
suggested by the analysis of responses:

… can be measured, quantified or defined with ease…

Universality
Focus group discussion data revealed that universality in the meaning of sacred does not exist,
as suggested by the analysis of responses:

…everyone has different beliefs regarding sacred… definition

changes with personal backgrounds, beliefs, and past
experiences…

Type of Experience
Focus group discussion data revealed that sacred was associated with a higher awareness, as
suggested by the analysis of responses:

… the sacred is a feeling… sense… emotion… belief…

connection… intent – more than an intention… direct
experience… profound awareness…
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Focus group discussion data revealed that the secular was associated with the everyday, as
suggested by the analysis of responses:

… Secular is something that relates to the everyday…

Ways in which Experienced

Focus group discussion data revealed that the experience of the sacred stemmed from within, as
suggested by the analysis of responses:

... perceived subconsciously… evoked deeply… felt within… felt

by heart; stems from heart and head together… felt through all
senses put together…

Characteristics of Experience
Focus group discussion data revealed that the experience of the sacred was unique and
extraordinary, as suggested by the analysis of responses:

… sacred means feeling unique… special… extraordinary… out

of the ordinary… the other… other worldly… separate… set
apart from the world… higher than the everyday… about
transcendence… bigger and beyond…

Focus group discussion data revealed that the experience of the secular was not unique or
extraordinary, as suggested by the analysis of responses:

… anything that is not extraordinary… not unique… secular

means everyday… average… normal… mundane… ordinary…
not special… does not have a sense of uniqueness,
extraordinary focus or purpose to it… belongs to the everyday
world… does not stand apart from the rest… about function and
reason… temporary… fleeting… not sacred… opposite of the
sacred…

Ways in which Experience Contributes

Focus group discussion data revealed that the experience of the sacred was beneficial, as
suggested by the analysis of responses:
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… makes heart breathe and pulse with life… provides us with

greater purpose in life… relieves us from pressures of daily life…
counters depression or sadness in our lives… makes us feel
alive, fulfilled, cared for… makes us feel significant and important
in the greater scheme of things…

Deity
Focus group discussion data revealed that the sacred was associated with the concept of God,
as suggested by the analysis of responses:

… relates with concept of God, holy, holiness… relates with

nature and existence of divine being… idea of connection with
God… idea that God perceives something to be holy – so it
becomes holy…

Unity
Focus group discussion data revealed that the sacred was associated with the concept of Unity,
as suggested by the analysis of responses:

… perceived subconsciously as one entity… part of everything…

singularity… signifies everything… opposite of scatter…

Focus group discussion data revealed that the experience of the secular was not associated with
the concept of Unity, as suggested by the analysis of responses:

… something that is not holistic… something that is piece-

meal… fragmented…

In summary, focus group discussion data revealed that the sacred is incomprehensible and hard
to articulate. Universality in the meaning of sacred did not exist. The sacred was associated with
a higher awareness, where the experience stemmed from within. Experience of the sacred was
found to be unique, extraordinary and beneficial. The Sacred was also associated with the
concept of Deity & Unity. The secular was associated with the everyday and was compared to a
concept that could be articulated with ease. In addition, the experience of the secular was not
unique or extraordinary. The secular was also not associated with the concept of Unity.
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5.6.2 Ancillary Concepts Derived from Focus Group Discussion Data

Difference in knowledge about sacred place-making

Focus group discussion data revealed that there was greater understanding on creating sacred
places in the past than the present, as suggested by the analysis of responses:

… ancient knowledge regarding creation of sacred architecture

has been lost… modern people do not comprehend or have
appropriate knowledge on how to create sacred place… there
seemed to be greater understanding on creating sacred places
in the past – possibly because it was better understood in the
past… media, technology, television, and internet occupy prime
locations in modern homes and lives… museum is reflective of
western contemporary thought process in architectural
expression – vapid…

Differences in interest about sacred place-making

Focus group discussion data revealed that sacred place-making is more common in eastern
cultures than western cultures and that, western cultures are gradually beginning to take an
interest in sacred architecture, as suggested by the analysis of responses:

… practice of designing sacred architecture seems more

common in eastern than western cultures… inclusion of sacred
spaces seen as natural process for eastern cultures… creating
sacred places – one of the primary goals of architecture…
incorporating sacred spaces in dwellings is not part of western
cultures… intent on incorporating sacred spaces in dwellings is
gaining momentum in west… greater interest in sacred place-
making is currently being generated in west… dedication of small
and separate space in dwellings that foster and contribute to
experience of sacredness is highly desirable…

Miscellaneous Comments
Focus group discussion data revealed that people feel the need for both – secular and sacred,
as suggested by the analysis of responses:
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… certain degree of longing/part of us needs centering…

symmetry… axiality as experienced in Chapel – provides
immense degree of comfort… part of us craves for novelty, need
to be the surprised, shocked, unsettled as experienced in
Museum… buildings reflect part sacred and part secular nature
of humans… people visit Museum and Chapel for different
reasons – one can feel comfortable at both places for very
different reasons…

Focus group discussion data revealed that there is a need for architects to define appropriate
terminology associated with sacred place-making, as suggested by the analysis of responses:

… architects need to define correct language or terminology for

sacred space (shrine, temple, prayer space, meditation space,
contemplation space) in dwellings to facilitate the incorporation
of specific sacred space in everyday architecture – could be
actual space or niche in wall…

In summary, focus group discussion data revealed that participants believed that there was
greater understanding of creating sacred places in the past than the present and that sacred
place-making is more common in eastern cultures than western cultures – western cultures are
gradually beginning to take an interest in sacred architecture. In addition, focus group discussion
data revealed that people feel the need for both – secular and sacred, and that there is a need
for architects to define appropriate terminology associated with sacred place-making.

5.7 DEVELOPMENT OF PLACE-MAKING PATTERN MATRIX

Based on data collected and analyzed in the research, a place-making pattern matrix, meant to
serve as a guide for architects in creating sacred place, is developed. The hierarchical ordering
of place-making patterns in the matrix is based on differences in the presence and quality of
expression (considered collectively) of the place-making patterns between the sacred and
secular building (see Tables V-2 and 6). Since there were a total of eighteen place-making
patterns, a simple scoring system made up of values from 18 to 1 was used to determine the
hierarchical ordering of the place-making patterns in the matrix, i.e., the highest value – 18 was
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assigned to patterns at the very top of both tables and the lowest value – 1 was assigned to
patterns at the very bottom of both tables. In this manner, each place-making pattern was
assigned two values – one value for its presence and one value for its quality of expression,
dependent on its order of listing in Table V-2 and 6. The two values (presence value and quality
of expression value) were subsequently added to reveal a total score. The total score of each
place-making pattern subsequently determined its hierarchical order in the place-making pattern
matrix. The presence values, quality of expression values, and total scores of individual place-
making patterns for generating the hierarchical order of the place-making pattern matrix are
shown in Table V-8.

TABLE V-8. Presence values, quality of expression values, and total scores of individual place-
making patterns for generating the hierarchical order of the place-making pattern matrix.
Pattern Presence value Quality of Total score Hierarchical
expression value order in matrix
Light 15 18 33 1
Celestial Order 17 15 32 2
Center 16 14 30 3
Ceremonial Order 18 9 27 4
Ascent 12 12 24 5
Anthropomorphic Order 13 11 24 6
Ordered Nature 6 17 23 7
Ordered Views 4 16 20 8
Bounding 5 13 18 9
Spatial Order 10 7 17 10
Elementals 7 10 17 11
Direction 14 2 16 12
Numeric Order 8 8 16 13
Differentiating Boundaries 11 4 15 14
Passage 9 1 10 15
Geometric Order 3 5 8 16
Descent 1 6 7 17
Materiality 2 3 5 18

The place-making pattern matrix (Figure V-3) is composed of nineteen items arranged in three
concentric layers, i.e., the eighteen place-making patterns from the CPPS which formed the
basis for this study, arranged in the two outer layers of the matrix with Unity at the center of the
matrix.
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FIGURE V-3. Place-making pattern matrix.

The concept of Unity which signifies the experience of “wholeness” or “oneness” between all the
place-making patterns is identified at the center of the matrix. It denotes the integral and
meaningful unification of all eighteen place-making patterns that contribute to sacredness of
place. Six place-making patterns Light, Celestial Order, Center, Ceremonial Order, Ascent, and
Anthropomorphic Order are arranged in the middle layer of the matrix. These six place-making
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patterns were found to have highest differences (based collectively on their differences in pattern
presence and pattern quality) between the Rothko Chapel and the Contemporary Arts Museum.
The remaining twelve place-making patterns Ordered Nature, Ordered Views, Bounding, Spatial
Order, Elementals, Direction, Numeric Order, Differentiating Boundaries, Passage, Geometric
Order, Descent, and Materiality are arranged in the outermost layer of the matrix.

The hierarchical order of place-making patterns in the matrix could indicate their importance (in
terms of pattern presence and pattern quality) in contributing to sacredness of place. In this
sense, it is likely that the presence and high quality of expression of the place-making patterns in
the middle layer of the matrix (in descending hierarchical order – Light, Celestial Order, Center,
Ceremonial Order, Ascent, and Anthropomorphic Order) have a greater impact in contributing to
sacredness of place, than the presence and quality of expression of the remaining twelve place-
making patterns in the outermost layer of the matrix (in descending hierarchical order – Ordered
Nature, Ordered Views, Bounding, Spatial Order, Elementals, Direction, Numeric Order,
Differentiating Boundaries, Passage, Geometric Order, Descent, and Materiality). In other words,
the presence and high quality of expression of the place-making patterns Light may have greater
impact in contributing to sacredness of place as compared to the presence and quality of
expression of the place-making pattern Materiality. Further studies are required to explore how,
or in what ways the six place-making patterns (i.e., Light, Celestial Order, Center, Ceremonial
Order, Ascent, and Anthropomorphic Order) in the middle layer of the matrix impact sacredness
of place.

The matrix includes place-making patterns that were common to both authors – Michael Brill and
Phillip Tabb, including place-making patterns that were exclusive, i.e., Differentiating
Boundaries, Ordered Views, Light (exclusive to Michael Brill) and Numeric Order, Geometric
Order, Anthropomorphic Order, and Elementals (exclusive to Phillip Tabb) have been included in
the matrix. Of seven of the place-making patterns that were exclusive, two place-making
patterns (i.e., Light and Anthropomorphic Order) are located in the middle layer of the place-
making pattern matrix, as their presence and high quality of expression was found to have a high
impact in contributing to sacredness of place.

It is to be noted that besides the eighteen place-making patterns arranged in the middle and
outermost layer of the matrix, seven characteristics not associated with the place-making
patterns from the CPPS (i.e., Sound, Void, Objects, Path/Procession, Intention, Timelessness,
 234

and Deity) were also found to contribute to sacredness of place. Further studies are required to
explore how, or in what ways these eight characteristics impact sacredness of place.
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CHAPTER VI
CONCLUSION

6.1 CONCLUSION

The study utilized quantitative as well as qualitative methods by means of graphical data,
questionnaire data and focus group discussion data to examine differences in the presence and
quality of expression of place-making patterns between a sacred building, i.e., Rothko Chapel
and a secular building, i.e., Contemporary Arts Museum. Contrast and comparison of empirical
evidence which emerged from data collection and analysis, revealed that the presence and
quality of expression of place-making patterns was higher at the Rothko Chapel than at the
Contemporary Arts Museum. This dissertation addressed: 1) differences in presence of place-
making patterns; 2) strongest contributors to presence of place-making patterns; 3) differences
in quality of expression of place-making patterns; 4) highest and lowest differences in presence
and quality of expression of place-making patterns; 5) hierarchical ordering of patterns and their
impact in contributing to sacredness of place; 6) sacredness and experiences elicited at selected
buildings; 7) patterns and non-pattern related characteristics that impact sacredness at selected
buildings; 8) meaning of sacred and secular; 9) design guidelines for sacred place-making; and
10) validity of hypothesis and development of place-making pattern theory. The chapter then
addresses limitations of the study and implications for further study, followed by final words from
the researcher.

6.1.1 Differences in Presence of Place-making Patterns

At the Rothko Chapel, all eighteen place-making patterns – Center, Bounding, Direction,
Descent, Ascent, Passage, Numeric Order, Geometric Order, Spatial Order, Anthropomorphic
Order, Ordered Nature, Celestial Order, Differentiating Boundaries, Ordered Views, Materiality,
Elementals, Light, and Ceremonial Order were present. At the Contemporary Arts Museum, only
nine place-making patterns – Bounding, Descent, Passage, Geometric Order, Ordered Nature,
Ordered Views, Materiality, Elementals, and Light were present. Six place-making patterns –
Center, Direction, Anthropomorphic Order, Celestial Order, Differentiating Boundaries, and
Ceremonial Order were absent, while the presence of three place-making patterns – Ascent,
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Numeric Order, and Spatial Order was found to be inconclusive at the Contemporary Arts
Museum.

6.1.2 Strongest Contributors to Presence of Place-making Patterns

At the Rothko Chapel, strongest contributors to the presence of all eighteen place-making
patterns – Center, Bounding, Direction, Descent, Ascent, Passage, Numeric Order, Geometric
Order, Spatial Order, Anthropomorphic Order, Ordered Nature, Celestial Order, Differentiating
Boundaries, Ordered Views, Materiality, Elementals, Light, and Ceremonial Order could be
identified. At the Contemporary Arts Museum, strongest contributors to the presence of only nine
place-making patterns – Bounding, Descent, Passage, Geometric Order, Ordered Nature,
Ordered Views, Materiality, Elementals, and Light could be identified, while seven place-making
patterns – Direction, Ascent, Numeric Order, Anthropomorphic Order, Celestial Order,
Differentiating Boundaries, and Ceremonial Order were identified as not having any strong
contributors.

6.1.3 Differences in Quality of Expression of Place-making Patterns

At the Rothko Chapel, the quality of expression of all eighteen place-making patterns – Center,
Bounding, Direction, Descent, Ascent, Passage, Numeric Order, Geometric Order, Spatial
Order, Anthropomorphic Order, Ordered Nature, Celestial Order, Differentiating Boundaries,
Ordered Views, Materiality, Elementals, Light, and Ceremonial Order was high. At the
Contemporary Arts Museum, the quality of expression of only two place-making patterns –
Bounding and Materiality was high. The quality of expression of one place-making pattern –
Ceremonial Order was intermediate, while the quality of expression of twelve place-making
patterns – Center, Descent, Ascent, Numeric Order, Spatial Order, Anthropomorphic Order,
Ordered Nature, Celestial Order, Differentiating Boundaries, Ordered Views, Elementals, and
Light was low at the Contemporary Arts Museum. The quality of expression of three place-
making patterns – Direction, Passage, and Geometric Order was inconclusive at the
Contemporary Arts Museum.
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6.1.4 Highest and Lowest Differences in Presence and Quality of Expression of Patterns

Three place-making patterns – Ceremonial Order, Celestial Order, and Center displayed
exceedingly high differences in presence between the Rothko Chapel and the Contemporary
Arts Museum, while one pattern – Descent displayed no difference at all. The place-making
pattern Light displayed the highest difference in its quality of expression between the Rothko
Chapel and the Contemporary Arts Museum, while the place-making pattern Passage displayed
the lowest.

6.1.5 Hierarchy of Patterns and their Impact in Contributing to Sacredness of Place

The presence and high quality of expression of the place-making patterns (in descending
hierarchical order) Light, Celestial Order, Center, Ceremonial Order, Ascent, and
Anthropomorphic Order may have a greater impact in contributing to sacredness of place, than
the presence and quality of expression of the remaining twelve place-making patterns (in
descending hierarchical order) Ordered Nature, Ordered Views, Bounding, Spatial Order,
Elementals, Direction, Numeric Order, Differentiating Boundaries, Passage, Geometric Order,
Descent, and Materiality. This hierarchical order of place-making patterns could indicate their
importance (in terms of pattern presence and pattern quality) in contributing to sacredness of
place, i.e., the presence and high quality of expression of the place-making patterns Light may
have greater impact in contributing to sacredness of place as compared to the presence and
quality of expression of the place-making pattern Materiality.

6.1.6 Sacredness and Experiences Elicited at Selected Buildings

The Rothko Chapel was experienced to be sacred in comparison to the Contemporary Arts
Museum. The articulation of experiences elicited at Rothko Chapel and measurement of the
Chapel’s sacredness were difficult. Participants suggested that the Chapel was universally
sacred and that it functioned as a medium for experiencing sacredness. In addition, experiences
elicited at Rothko Chapel were intense, unique, extraordinary, and associated with feelings of
relaxation, mysticism, and introspection. At the Contemporary Arts Museum, experiences elicited
were not intense and were not associated with feelings of relaxation.
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6.1.7 Patterns and Non-pattern Related Characteristics that Impact Sacredness

Fifteen place-making patterns – Center, Bounding, Direction, Ascent, Passage, Numeric Order,
Geometric Order, Spatial Order, Anthropomorphic Order, Ordered nature, Ordered Views,
Materiality, Elementals, Light, and Ceremonial Order contributed to sacredness experienced at
Rothko Chapel. All fifteen place-making patterns were present and had a high quality of
expression at the Rothko Chapel. Eight characteristics, not associated with any of the place-
making patterns from the CPPS, also contributed to sacredness experienced at the Rothko
Chapel. These characteristics included – Sound, Void, Objects, Path/Procession, Intention,
Timelessness, Deity, and Unity. At the Contemporary Arts Museum, only one characteristic (not
associated with any of the place-making patterns from the CPPS) – Objects was considered to
be sacred. The concept of Unity (collective experience of all place-making patterns and other
non-pattern related characteristics) was experienced as the most powerful contributor to
sacredness at the Rothko Chapel.

6.1.8 Meaning of Sacred and Secular

Based on content analysis of focus group discussion data associated with the meaning of sacred
and secular, the study revealed that the sacred is difficult to comprehend and hard to articulate.
Universality in the meaning of sacred did not exist. The sacred was associated with a higher
awareness, where the experience stemmed from within. Experience of the sacred was found to
be unique, extraordinary and beneficial. The Sacred was also associated with the concept of
Deity & Unity. The secular was associated with the everyday and was compared to a concept
that could be articulated with ease. In addition, the experience of the secular was not unique or
extraordinary. The secular was also not associated with the concept of Unity.

6.1.9 Design Guidelines for Sacred Place-making

The design guidelines listed below are by no means an exclusive set or complete list of
recommendations. They are intended to assist architects in creating everyday architecture that is
meaningful and sacred. Based on data collected and analyzed in the research,
recommendations for the meaningful inclusion of the place-making patterns in architecture are
as follows:
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1) Center can be embodied in place by means of: a) symmetry in the plan of the building;
b) polygonal/circular arrangement of furniture; c) features such as centralized skylights.
2) Bounding can be embodied in place by means of: a) staunch walls; b) solid floors;
c) ceilings with openings; d) restricted views to the exterior; e) objects defining extents.
3) Direction can be embodied in place by means of: a) orientation of site and building to
cardinal points; b) orientation of the building entrance with significant landscape
features; c) orientation of natural light inside the building; d) orientation of objects within
the building or the landscape; e) symmetry in the building form.
4) Descent can be embodied in place by means of: a) darkness inside the building; b) light
provided from above, contrasting with darkness inside the building; c) ceilings with
downward contours towards its center; d) black color; e) depressions in the landscape
such as water pools; f) reflection of vertically oriented objects on the surface of water.
5) Ascent can be embodied in place by means of: a) light provided from above – features
that encourage people to look upwards; b) ascending ceiling planes; c) vertical reveals
in walls; d) vertical objects; e) vertical building planes soaring towards the sky.
6) Passage can be embodied in place by means of: a) main entrance of the building;
b) entrance foyer; c) inner portals of the building; d) pronounced passageways within the
building; e) pronounced outdoor walkways leading to the main entrance of the building.
7) Numeric Order can be embodied in place by means of: a) polygonal-shaped plans;
b) specific number of portals and doorways; c) recurrence of objects within the building.
8) Geometric Order can be embodied in place by means of: a) physical form of the
building; b) geometrical shapes of wall planes.
9) Spatial Order can be embodied in place by means of: a) singular spaced enclosures with
defined spatial centers; b) physical form of the building; c) geometrical shapes of wall
planes; d) symmetrical, circular/radial, orthogonal, central, diagonal, and pyramidal
spatial organizations; e) hierarchy, relationship, transition, rhythm and gradual extension
of spatial sequence from the inside of the building to the outside.
10) Anthropomorphic Order can be embodied in place by means of: a) high ceilings; b) large
inner space; c) door and furniture heights; d) 1:1 or 1:2 proportioning systems; d) objects
expressing profiles of human form; e) symmetry in the plan of the building; f) building
proportions; g) gradual increase in ceiling height from main entrance of the building to
the inside of the building.
11) Ordered Nature can be embodied in place by means of: a) water pools; b) vegetative
screening; c) groomed ground cover; d) sunlight and shadows cast inside the building.
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12) Celestial Order can be embodied in place by means of: a) natural light entering the
building from above; 2) sloped ceiling.
13) Differentiating Boundaries can be embodied in place by means of: a) orientation of the
entrance of the building with the cardinal directions; b) niches in the walls of the building;
c) differences in the length, size, and shape of walls planes; d) difference in wall colors
and wall textures; e) differences within the ceiling plane.
14) Ordered Views can be embodied in place by means of: a) wall planes without openings;
b) restricting views from the inside of the building to outside mundane spaces;
c) singular view of features such as light provided from above; d) visual connectivity
between significant spaces within the building.
15) Materiality can be embodied in place by means of: a) construction materials; b) texture
of construction materials; c) color of construction materials; d) differences in walls-floor-
ceiling materials, including landscape materials.
16) Elementals can be embodied in place by means of: a) materiality of the walls, floor, and
ceiling – representing earth; natural light – representing fire; water pool – representing
water; bamboo groove (when swaying) – representing wind.
17) Light can be embodied in place by means of: a) sunlight entering the building; b) high
contrast of light and shadows inside the building.
18) Ceremonial Order can be embodied in place by means of: a) arrangement of furniture
that encourages introspection and meditation; b) singularity of light source; c) objects
that encourage introspection and meditation; d) specific pattern of movement of people
inside the building; e) inherent function of the building.

6.1.10 Validity of Hypothesis and Development of Place-making Pattern Theory

Data collected and analyzed, validated the pattern presence and pattern quality assessment
methods as viable tools for determining whether a specific built environment was more likely to
be experienced as sacred or secular. The study validated the hypothesis of the study by
concluding that built environments which possess a higher presence and higher quality of
expression of certain place-making patterns are more likely to be experienced as sacred, than
built environments with a lower presence and lower quality of expression of the place-making
patterns.
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6.2 LIMITATIONS OF THE STUDY AND IMPLICATIONS FOR FURTHER STUDY

This study focused on the differences in the presence and quality of expression of place-making
patterns at a limited number of case studies, i.e., one sacred building – Rothko Chapel and one
secular building – contemporary Arts Museum. Similar research on additional case studies would
have increased the validity of the research findings. The selected case studies were also limited
to a single location, i.e., Houston, Texas. Research on case studies in other locations would
have helped to validate universal applications of the research. Methodological limitations
included the small sample size of participants for questionnaires. Also, focus group discussions
could have been conducted more than once at each location and included more subjects to test
the recurrence of data and increase the validity of the research.

Further studies are required to explore how, or in what ways the six place-making patterns (i.e.,
Light, Celestial Order, Center, Ceremonial Order, Ascent, and Anthropomorphic Order) in the
middle layer of the place-making pattern matrix impact sacredness of place. Further studies
could also examine ways in which individual place-making patterns, common to both sacred and
secular places differ, other than those associated with their presence and quality of expression,
i.e., further studies could explore whether factors other than those associated with pattern
presence and pattern quality are responsible for contributing to the sacredness of place. Such
research could involve studying whether and how specific combinations of place-making
patterns, contribute to sacredness of place. Further studies could also test whether and how
sequential embodiment of the place-making patterns, contribute to sacredness of place. These
differences could be examined by means of studies that compare a series of sacred and secular
places, until recurring patterns in differences are revealed. Further studies are also required to
explore how, or in what ways the seven characteristics (i.e., Sound, Void, Objects,
Path/Procession, Intention, Timelessness, and Deity) not associated with the place-making
patterns from the CPPS contribute to sacredness of place. In addition, further studies could also
reveal other characteristics and/or place-making patterns that have not yet been identified.

6.3 FINAL WORDS

This four year dissertation has provided me with a glimpse of how little I know, and how much
more there is to know about sacred place and the place-making patterns. The importance of the
patterns in the creation of place has often been under-appreciated and misunderstood. Perhaps,
 242

the contents of this dissertation will be seen as a small step in re-evaluating the process, goals,
and status of using the place-making patterns in place-design as an activity.

It is my belief that the place-making patterns, when meaningfully embodied and uplifted in place,
could function as channels for the pure exemplification of the sacred. The resulting architecture
could, in turn, act as a channel for remembering and experiencing the sacred. It is through the
lens of the place-making patterns that the qualitative nature of sacred place may be understood.
In this sense, the patterns could assist in the making of place that is memorable and sacred. The
experience of Unity in sacred place can be likened to that of a mnemonic device, which when
triggered, helps us re-remember our quest for the most exemplary model of place – place that is
sacred and place that heals. The end of this daunting task is but the beginning of a very long
journey – one that has taught me to be humble and patient, and one that will always be deeply
revered and cherished.

The road is arduous, fraught with perils, because it is, in fact, a rite of the passage
from the profane to the sacred, from the ephemeral and illusory to reality and eternity,
from death to life, from man to the divinity.
Mircea Eliade, 1959
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APPENDIX A
QUESTIONNAIRE
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VITA

ARSENIO TIMOTIO RODRIGUES

Prairie View A&M University, Architecture Bldg., P.O. Box 519, MS 2100, Prairie View, TX 77446

EDUCATION
Doctor of Philosophy in Architecture, Texas A&M University, Dec 2008
Master of Architecture, Texas A&M University, May 2003
Bachelor of Architecture, Goa University, Goa, India, May 2000

CERTIFICATION
Council of Architecture Registration Certificate, India, January 2008
Health Systems and Design Certificate, Texas A&M University, May 2003

ACADEMIC EXPERIENCE
Assistant Professor, School of Architecture, Prairie View A&M University, TX
August 2007 – Present
Instructor, Department of Architecture, Texas A&M University, TX
September 2001 – May 2003 & September 2004 – May 2007

PROFESSIONAL EXPERIENCE
Database Technician, Instructional Technology Services, Texas A&M University, TX
June 2007 – August 2007 & June 2005 – August 2005
Intern, City of College Station, Planning and Development Services, TX
February 2006 – January 2007
Intern, Ken Gaylord Architects/Black Hawk Construction, Inc., NC
June 2003 – June 2004

PUBLICATIONS
th
The Built Environment and Health, 46 International Making Cities Livable Conference,
June 1 – June 5, 2008, Santa Fe, New Mexico, USA.
th
Typal and Archetypal Patterns in Place-making, 11 Conference of the International
Society for the Study of European Ideas, Broadening the Scope of Architectural
Creativity, July 28 – August 02, 2008, University of Helsinki, Helsinki, Finland.

AWARDS AND FELLOWSHIPS

3D/I International Endowed Scholarship, TAMU, 2007
Gensler Aggies Endowed Scholarship, TAMU, 2007
James S. & Mary G. Wright Fellowship, TAMU, 2007
USA Funds National Scholarship, USA Funds, 2007
Geo & Mary Lewis Endowed Scholarship, TAMU, 2007
Honoree – Who’s Who among Students in American Universities & Colleges, 2007
Jack Warren Memorial Fellowship, TAMU, 2006
Academic Achievement Award, Association of Former Students, TAMU, 2005, 2006
Humanities Research Award, Student Research Week, TAMU, 2005
Rodney Tabor ’06 Scholarship in Architecture, TAMU, 2005
Architecture Graduate Scholarship, TAMU, 2005
Certificate of Recognition, American Institute of Architects, 2002
Certificate of Recognition, National Association of Home Builders, 2002
Edward J. Romeiniec Graduate Traveling Fellowship, TAMU, 2002
International Education Scholarship, TAMU, 2002
American Architectural Foundation Scholarship, 2002