Daitoku-ji is a Zen Buddhist monastery located in the ancient city of Kyoto. The Koto-In temple is only one of many sacred temples located inside the complexes high walls; the entire complex is surrounded by high walls separating the profane outer world from the sacred place. Main avenues arranged axially lead one around the complex. At the western end of the main avenue is the entrance of Koto-In.
The Koto-In temple is a tea-house. In order to reach this sacred space, one must take part in a journey. The path to Koto-In is a recreation of the experience of journey that is taken by pilgrims of all faiths. It is evocative of a pilgrimage to a monk's mountainside hermitage. The temple is built in shoin style which is a typical residential architecture used during the Muromachi period. Zen monastic life stresses austerity and simplicity with a rigorous work schedule and meditation. Life is viewed as short and precarious with death never far away. Enlightenment was possible at any moment. The Koto-In temple is located in the southwestern part of the Daitoku-ji monastery. Located on the main avenue, the entrance is typical of those to subtemples. The gateway here is smaller but similar to those of the monastery. Beyond the subtemple gateway, the edges of the path expand but still retain a feeling of enclosure and constriction. The alignment of the path is asymetrical. It shifts and turns at right angles as one progresses. A semi-enclosed environment is created by these shifts, the plantings and path enclosure walls. The environment created follows along a main path that is broken up to symbolize the journey and change that take place. Each segment is unique in volume, path, scale and threshold. The manipulation of these aspects creates the journey.
The first segment of the path is the entry from the main avenue. This entry court is the first gateway to the Koto-In temple. One has to step up to a wide stone platform to enter. This threshold acts as a way of marking sacred ground, delineating a border between the profane outer world and a sacred place. The enclosure of this space is entry is created by high clay walls, low bamboo railing and plantings. The walls establish the top of the inscribed volume. The walls are all at the same height. This first space is approximately 20 x 56 feet. The wall provides views to the bamboo grove on the right and to the deciduous grove on the left and ahead. The views of these trees suggest a larger volume beyond the space one is currently in. Traditional in Zen temple gardens, the view of the trees provides a visual relief and an indication of what lies ahead. The path here is set symmetrically inside a moss garden with small coniferous trees along the edges. The path is paved with irregularly shaped stone providing a smooth path. The low railing creates a smaller volume of space that directly relates to the individual and the path. In this first segment, three volumes are created. The first is created by the high clay walls. The second is the lines of the coniferous trees in the moss garden. The third is the low railing that directly surrounds the path, creating the smallest volume of all.
At the end of the first segment the path has turned 90 degrees and now approaches the main gateway to the Koto-In temple. The depth of the gateway and the lines of the roof overhang delineate the main volume here. The gateway is twice the height of the enclosure walls that one has previously encountered. A monumental set of doors with two smaller doors on the sides set the stage for this intimidating entry. This volume is approximately 26'x17'.
After one has passed through the gateway one enters a space offering the first unobscured views. This new space is delineated by the gateway one just passed through and trees. The volume here is approximately 43'x53'. The low bamboo railing continues direct one further on their journey. The path here has a new paving pattern. Linear pieces of stone line the edges of the path while the main path is now made of irregularly shaped pieces that provide a bit more challenging surface. The unevenness begins to suggest the trials of the journey to come.
One now turns 90 degrees to the right and enters the fourth segment of the path. This is the longest segment of the path. The volume created here is approximately 13'x151'. The long narrow space is defined by the typical low bamboo railing and manicured plantings. At the end of this path the next gateway is glimpsed. The next gateway is much smaller than the previous gateway encountered but one's first reaction is to assume that it is the same size as the previous one. This play in scale creates the impression of a much longer path. The stone here is similar to that of the last segment. It has become rougher and more uneven as one is progressing toward the temple.
As one finally reaches the end of the long path, the third gateway is encountered. The first choice in path is offered here. One can continue straight or by turning 90 degrees one is taken to the service entrance. This volume is approximately 13'x49' and is delineated by walls on two sides, plantings on another and the gateway on the last. This last gateway is recessed into the wall that surrounds the temple. It becomes the entry foyer into the next spaces.
If one continues through the gateway, one enters the foyer to the temple. This volume is approximately 10'x26' and is enclosed on all sides by walls and a roof. This constricted space offers the first views of the temple through its small openings and small window. The contrast of this space to the previous open linear spaces suggests an ending to ones journey. Having finally reached ones journey, one can notice the path is made up of smooth tiles in comparison to the rough stones that began the journey. Turning left and then right allows one to enter the last space.
The last segment of this journey leads to the veranda of the hojo. It offers the first unobstructed view of the temple. Due to ones proximity, even now this view is only partial.
The segmented path provides separate experiences along the way but each allow a glimpse of what is to come, allowing the entire path to act as one. The consistent palette of materials also acts cohesively to unite the experience. Symbolizing the spiritual journey, the segments become increasingly sacred (or private). This experience is created using a volumetric manipulation of the path. Using open and closed spaces creates a rhythm of compression and expansion. This rhythm symbolizes the emotional trials of the spiritual path. By manipulating the scale, the path appears longer than it really is. The gateways help to further identify each segment of the path. The changing texture of the path plays along with the purpose of one's journey. The entire process acts as a "symbolic story of initiation."
Daitoku-ji is a Zen Buddhist monastery located in the ancient city of Kyoto. The Koto-In temple is only one of many sacred temples located inside the complexes high walls; the entire complex is surrounded by high walls separating the profane outer world from the sacred place. Main avenues arranged axially lead one around the complex. At the western end of the main avenue is the entrance of Koto-In.
The Koto-In temple is a tea-house. In order to reach this sacred space, one must take part in a journey. The path to Koto-In is a recreation of the experience of journey that is taken by pilgrims of all faiths. It is evocative of a pilgrimage to a monk's mountainside hermitage. The temple is built in shoin style which is a typical residential architecture used during the Muromachi period. Zen monastic life stresses austerity and simplicity with a rigorous work schedule and meditation. Life is viewed as short and precarious with death never far away. Enlightenment was possible at any moment. The Koto-In temple is located in the southwestern part of the Daitoku-ji monastery. Located on the main avenue, the entrance is typical of those to subtemples. The gateway here is smaller but similar to those of the monastery. Beyond the subtemple gateway, the edges of the path expand but still retain a feeling of enclosure and constriction. The alignment of the path is asymetrical. It shifts and turns at right angles as one progresses. A semi-enclosed environment is created by these shifts, the plantings and path enclosure walls. The environment created follows along a main path that is broken up to symbolize the journey and change that take place. Each segment is unique in volume, path, scale and threshold. The manipulation of these aspects creates the journey.
The first segment of the path is the entry from the main avenue. This entry court is the first gateway to the Koto-In temple. One has to step up to a wide stone platform to enter. This threshold acts as a way of marking sacred ground, delineating a border between the profane outer world and a sacred place. The enclosure of this space is entry is created by high clay walls, low bamboo railing and plantings. The walls establish the top of the inscribed volume. The walls are all at the same height. This first space is approximately 20 x 56 feet. The wall provides views to the bamboo grove on the right and to the deciduous grove on the left and ahead. The views of these trees suggest a larger volume beyond the space one is currently in. Traditional in Zen temple gardens, the view of the trees provides a visual relief and an indication of what lies ahead. The path here is set symmetrically inside a moss garden with small coniferous trees along the edges. The path is paved with irregularly shaped stone providing a smooth path. The low railing creates a smaller volume of space that directly relates to the individual and the path. In this first segment, three volumes are created. The first is created by the high clay walls. The second is the lines of the coniferous trees in the moss garden. The third is the low railing that directly surrounds the path, creating the smallest volume of all.
At the end of the first segment the path has turned 90 degrees and now approaches the main gateway to the Koto-In temple. The depth of the gateway and the lines of the roof overhang delineate the main volume here. The gateway is twice the height of the enclosure walls that one has previously encountered. A monumental set of doors with two smaller doors on the sides set the stage for this intimidating entry. This volume is approximately 26'x17'.
After one has passed through the gateway one enters a space offering the first unobscured views. This new space is delineated by the gateway one just passed through and trees. The volume here is approximately 43'x53'. The low bamboo railing continues direct one further on their journey. The path here has a new paving pattern. Linear pieces of stone line the edges of the path while the main path is now made of irregularly shaped pieces that provide a bit more challenging surface. The unevenness begins to suggest the trials of the journey to come.
One now turns 90 degrees to the right and enters the fourth segment of the path. This is the longest segment of the path. The volume created here is approximately 13'x151'. The long narrow space is defined by the typical low bamboo railing and manicured plantings. At the end of this path the next gateway is glimpsed. The next gateway is much smaller than the previous gateway encountered but one's first reaction is to assume that it is the same size as the previous one. This play in scale creates the impression of a much longer path. The stone here is similar to that of the last segment. It has become rougher and more uneven as one is progressing toward the temple.
As one finally reaches the end of the long path, the third gateway is encountered. The first choice in path is offered here. One can continue straight or by turning 90 degrees one is taken to the service entrance. This volume is approximately 13'x49' and is delineated by walls on two sides, plantings on another and the gateway on the last. This last gateway is recessed into the wall that surrounds the temple. It becomes the entry foyer into the next spaces.
If one continues through the gateway, one enters the foyer to the temple. This volume is approximately 10'x26' and is enclosed on all sides by walls and a roof. This constricted space offers the first views of the temple through its small openings and small window. The contrast of this space to the previous open linear spaces suggests an ending to ones journey. Having finally reached ones journey, one can notice the path is made up of smooth tiles in comparison to the rough stones that began the journey. Turning left and then right allows one to enter the last space.
The last segment of this journey leads to the veranda of the hojo. It offers the first unobstructed view of the temple. Due to ones proximity, even now this view is only partial.
The segmented path provides separate experiences along the way but each allow a glimpse of what is to come, allowing the entire path to act as one. The consistent palette of materials also acts cohesively to unite the experience. Symbolizing the spiritual journey, the segments become increasingly sacred (or private). This experience is created using a volumetric manipulation of the path. Using open and closed spaces creates a rhythm of compression and expansion. This rhythm symbolizes the emotional trials of the spiritual path. By manipulating the scale, the path appears longer than it really is. The gateways help to further identify each segment of the path. The changing texture of the path plays along with the purpose of one's journey. The entire process acts as a "symbolic story of initiation."
Upon entering the main gateway, one than turns left 90 degrees to approach the second gateway.
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1 comment:
I visited Koto-in for the third time a few days ago. I have thought of it many times in the intervening years and often discussed the entry sequence with my students. Thank you for including the plan here. I also appreciated reading your discussion and seeing your images. Appending images of the Brion-Vega Cemetery was very interesting, and made me think again about the entry sequence and pathways there, as they might relate to Koto-in. The gating and the multiple turns . . . since Scarpa loved Japanese (architectural) culture he might have thought about those very parallels.
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