Yoga and Architecture: A Philosophical Design Approach

An Honors Thesis (HONR 499)

by

Denise Blankenberger

Thesis Advisor
Janice Shimizu, Associate Professor

Signed

Ball State University

Muncie, Indiana

April2016

Expected Date of Graduation

May 2016
I
( r 1

Abstract

The aim of this creative thesis project was to investigate the relationship between

yoga and architecture. This study connects the philosophy and physicality of the practice

of yoga with the poetic nature of architectural design. Through a series of sketches,

models, and gestural renderings, a matrix of ideas was formed that could be applied to a

physical building design.

The final deliverable of the thesis is represented in a booklet including all the

information compiled through the duration of the project. This includes diagrams

mapping the conceptual connections of ideas, documentation of models created,

precedent studies, program specifications, site conditions, climate analysis, sketches

translated into diagrams, and rendered images of conceptual designs.

What started out as an attempt to design a simple place to practice yoga quickly

manifested it-;elf in a philosophical study. The nature of the research is more in the

connection of elegant moments that happen in architecture with the transcendental

moments that occur through the practice of yoga.

Acknowledgements

I would like to thank, first and foremost, my thesis advisor, Janice Shimizu for her

guidance and thoughtfulness. I also thank my ARCH 402 studio professor, Rachel

Dickey, as well as Andrea Swartz, Josh Coggeshall, and the Ball State University College

of Architecture and Planning for the continued support and encomagement in all my

creative endeavors.
Table of Contents

Artists' Statement

Abstract ......................................................................................................................... 4

Introduction ................................................................................................................. 5

Yoga Principles ............................................................................................................ 6

Architectural Strateg)'.................................................................................................. 6

Types of moves ......................................................................................................... 7

Translation of ideas ............................................................................................... 10

Program integt·ation .............................................................................................. 12

Site consideration ........ ........................................................................................ 13

Design process ........................................................................................................ 15

Reflection .................................................................................................................... 23

Works Consulted ....................................................................................................... 24

Introduction

Yoga is a way of life: a practice encapsulating physicality, mentality, and

spirituality. Architecture, likewise, is more than the immediate physical structures that

people inhabit. This project is an undertaking to express the relationship between the

philosophy and physicality of the practice of yoga and architectural design principles.

The first step was to define the categories of yoga moves. This categorization is

based partially on the profession standards but with my own discretion as to how to group

them. The six that I defined are: Balance, Inversion, Strength, Ground, Twist, and

Opener. After having defmed these categories, I moved on to identifying the key

moments of each. Every movement in yoga is carefully choreographed; the poses are

incorporated into the practice for a specific purpose. I included both the literal and the

conceptual in regards to this understanding. The third step in this process is the

generation of the architectural philosophy as related to the poses. I included both the

literal and conceptual translations to create the third layer of conceptual thinking.

The design process became a very simple undertaking after having completed

such a rigorous pre-design phase. What I came to realize was that the importance of my

project was not in a single final deliverable. It became apparent that one iteration among

an infinite amount of possibilities in the process was not a concrete way to end the

project. Any single design might have been the best response for the particular program

identified, but if applied to another location, site, etc., then the design would not be

appropriate. Rather, the poetic relationship ofyoga to architecture lent itselfto carefully

designed moments that represent the deeper thinking that went into the project.

5
Yoga

Yoga is derived from the Sanskrit root word "yuj," meaning "joining" or '·union."

(Brahmananda). This is often interpreted as the union of body and mind, with the end

goal of any yoga practice being harmonization and unification through a physical and

mental practice. In addition, it can be understood as the connection of movements,

breathing, and concentration that occur during a yogic practice.

At the very base level of the practice are asanas, or poses, that are the individual

movements or pieces that make up the whole of the yoga practice. They are the building

blocks that yoga is founded around. The repetition or holding of each asana actively

engages the body in carefully composed ways. Repetition engages what ancient

practitioners have understood to be tamasic energy, which overcomes the heaviness of

the body and mind. Holding poses, rather, engage raj asic energy, which promotes inner

purifi cation and overcoming of an agitated mind and body (Kraftsow, 62).

Each asana engages one of these two energies, so, when combined, a flow, or

prana, and balance between holding and repetition is created. This flow of energy is vital

to the practice of yoga. A full range of asanas leads to the mastery of mind and body.

Architectural Strategy

In the same sense, I am treating architecture as a union of the parts that I

investigate independently. There are layers to this process, something to be understood of

in terms of the practice of yoga. Each element has its own impacts and character, to

which the entire design would be missing key features without. Just as the yoga is an

exercise isolating elements of the body, so is architecture. The hand cannot operate

6
independently without the ann's connecting muscles, bones, and ligaments. Architecture,

likewise, is a connection of pieces and parts. A final design is a compilation of all the
'
combined materials and finishes to create a physical building. In a conceptual sense,

many iterations of designs, thoughts, and choices lead to the final design that becomes an

inhabitable space.

Furthermore, the physical space defined by architecture can be understood in

terms of the practice of yoga. For instance, the minute adjustments that occur in the

holding moves of yoga require constant contemplation of one's body in space. Similarly,

though it may seem permanent, a building is constantly affected by cycles and patterns

that occur over time. The sun' s position shifting throughout the day creates different

qualities and moods to its occupants.

Types of moves

Balance poses, such as Tree, Warrior III, and Dancer, are challenges in which the

practicing yogi must hold a pose in one position. This requires a degree of focus and

direction that implies both physical and mental balance. It allows the yogi to understand

his or her center of gravity. The minute wobbles and adjustments that occur are actually

encouraged; these are what make the pose valuable. Balance poses are rooted in

equilibrium between forces, requiring a degree of strength and focus. Mentally, these

poses reinforce concentration and mental clarity. In direct correlation to architecture, this

pose might become a cantilever, balcony, or handrail. Conceptually, places can imply

balance via symmetry or an asymmetrical visual balance between contrasting elements:

such as light and dark, open and constricted, or vertical and horizontal.

7
Inversion poses literally invert the yogi upside-down. Often these poses are very

challenging, only to be attempted if one is an intermediate yogi. Some challenges include

Headstand, Shoulderstand, and Crow. These poses are beneficial because they direct

blood flow to the brain, and upon completion of the pose, redirect blood flow to the rest

of the body. The key to these poses is the reversal of gravity. The circulatory system is

upended, allowing for the rerouting of fluid to the extremities. There are other much more

easily achievable poses that invert the yogi, such as Downward Dog, Forward Bend, and

Dolphin that employ the same benefits. Mentally, these poses are refreshing and calming.

Freshly oxygenated blood in the brain has a soothing effect that is not easily achieved in

poses other than inversions. The literal architectural translation includes physical

elements such as roof, systems, stairs and skylights. Abstracting these values leads to the

incorporation of circulation, slope, and shading as means of addressing inversion poses in

a design.

Strength poses, like balance poses, are rooted in challenge. They require

determination and muscular endurance in order to hold a stationary pose. Strength poses

develop coordination between muscle pairs and engage a level of agility. Mentally, these

poses require a degree of persistence, because they can be challenging and sometimes

tempting to end due to muscular fatigue. Poses such as WaiTior I and II, Chair, and Plank

are all excellent strengthening moves with which yogis challenge themselves. The direct

relationship of strength to architecture is seen in foundation, columns, structure, walls,

and tectonics. However, there are many other abstract ways to embody strength in a

building's design. Moments that make a person feel small within a space, or form

8
gestures that clearly redirect the focus to a specific place, achieved by material, scale, or

direction changes, all bring a sense of strength to a space.

Grounded or reclining poses are completed either seated or lying on a yogi's mat,

such as Staff, Boa£, Corpse, or Lotus. These poses are crucial for spinal alignment and

musculature correction. These poses also encourage relaxation and release of tension,

which, in turn, improve flexibility in the deep muscles of the core and back. In the literal

sense, these poses cormect the yogi with the ground, establishing an unmistakable

relationship between body and earth. These poses help to reorient oneself to the present

and focus t..lJ.e mind on the space around the body. Seated poses also promote deep

breathing, creating a sense of inner calm. Like strength poses, structure and materials are

the literal translation of groundedness. Courtyards or central spaces also imply the

concept of being grounded as related to circulation though connected spaces.

Twists generally imply an in-and-out motion. They are stretches meant to

compress and release the muscles in one way and then the other. These poses release

tension and lengthen the spine, increasing mobility in tight muscles. Twists are

compliments to each other and must be completed in both directions in order to achieve

balance. Side Angle, Revolved Triangle, and Thread the Needle are all opportunities to

release both physical and mental tension. High ceilings, balconies, and narrow corridors

all have the same characteristics as twist poses: compressing and releasing users within a

space. Elements of rhythm, varying degrees of translucency, or change of scale are

abstract ways of achieving the in-and-out motion of a twist pose.

Opener poses are an expansion of the muscles. They simultaneously stretch and

compress muscles; breathing is slow and catered to the movement of the pose. The

9
instructor will tell the students to direct their breath to the portion of the body being

stretched: a notion that does not literally happen, but it focuses the mind on the stretch

and helps to engage the specific muscles ofthe pose. Typically, these are chest openers,

also kno~n as heart openers, which counteract bad posture and open up the muscles of

the chest. Some examples include Camel, Sphinx, and Cobbler. This release is a powerful

sensation, as the yogi corrects the mistakes that the body commonly sinks into. A direct

relationship to architecture is evident in windows, doors, or any aperture element.

Conceptually, open atriums, central spaces, and high ceilings also give the impression of

an opener pose. These spaces make the visitor feel a sense of release or lightness as

spaces open up around them.

It is important to note that there are poses that fall into various categories - these

six types were chosen because they each have a very specific way of moving through the

pose. The booklet identifies Half Moon as a Balance, Strength, and Inversion pose, which

is not uncommon for many asanas in the practice of yoga.

Translation of ideas

Conceptual models were helpful in identifying and abstracting the core values of

each ofthese types of poses. In the same understanding of pose to values, the conceptual

models ranged from a literal representation to an abstract form. The first model in each

series is meant to look like the pose being studied. The second model represents the

movement of the pose, and the third model is an abstraction of a space that embodies the

energy sought after in the second pose. For instance, the balance series is an abstraction

of tree pose, easily observed in the first model (Image 1.1). The second model represents

10
the strength and minimal contact observed in tree pose (Image 1.2), whereas the third

model shows a space that is "strong" on one side and light on the either-- a quality

Image 1.1 Image 1.2 Image 1.3

achieved as one balances with one foot on the ground and the other held against the

standing leg in tree pose (Image 1.3).

Precedent studies were then undertaken to begin to understand both the program

in mind as well as the physical implementation of yoga in the built environment. Various

size and types yoga studios were studied, from home yoga practice spaces to large-scale

studios. Ultimately, these precedent studies helped to determine the program as shown in

Figure 1.1:

ENTRANCE
SHOE PLACEMENT

YOGA ST UDIO RECEPTION CHANGING ROOM

male+ f e ma le

- 40 mat ca pacity front desk shower room

mirrors storage cubbies toilet stalls
acoustic ceiling waiting chairs lockers
hot yoga capability retail storage

Figure 1.1
11
The real benefit of the precedent studies was the u..'1derstanding of the key values

of each. For instance, in the Yoga Deva studio, Blank Studio' s designers understood the

space as a poetic sequence of events. In a similar way, I understood the program as a

sequence of gestural events that could be influenced by the cycle of yoga poses - again,

understood in abstract terms from the six types of poses investigated.

engag ing
compression
ba lance

extension
decomp ression

focus pause lightness

energy connecti on purification
warmth engag ing alt erations
rhythm stabi lity rejuvenat ion
concentrat ion a li gnment

Figure 1.2

Program integration

Using these poses as the base knowledge of translation, the second tier of

information was the generator for the conceptual proposed program. Once the proposed

program was established, I also proposed the types of spaces I wished to create (Figure

1.2). A Grounded pose would begin the experience, establishing a point of entry that

gives the visitor a sense of connection to place prior to starting her practice. This space

12
would then transition into a Twist pose, compressing the visitor upon arrival and

releasing her into the next space. A reception area would embody the values of a

Grounded pose, acting as a pause in-between key spaces of the studio. In addition, it

would have the stability and engagement of a strength pose before ushering the visitor

into the core spaces. A changing room draws from the Opener pose, employing a sense of

lightness and pmification, cleansing the visitor mentally and physically before moving

either in our out of connecting spaces. The heart of the design, of course, is the yoga

studio itself. It is a challenging space to determine the best values for, which can vary

based on the preferences ofthe yogis. In some instances, it is beneficial for the space to

be simple and enclosed to help a yogi focus on his or her practice. In other cases, a yogi

benefit from views out to nature, which can have a healthy impact on the practitioner. I

decided that the yoga studio should feel focused like a Balance pose. rhythmic like a

Twist, engaged like an Inversion, and warm like an Opener. This is made possible

because of the duplication of poses across the categories understood.

Site Consideration

Some precedents considered were not yoga studios at all; they were instead

chosen to better understand the site of interest, which was determined to be Thailand. Its

historical significance as a destination for practicing yogis as well as its religious identity

of Buddhism were the key factors in deciding to site the yoga studio in this region.

There are three distinct seasons in Thailand to be designed for: hot, rainy, and

cool (Figure 2.1, 2.2, 2.3). In all instances, the climate is warm and humid, with

intermittent showers and very high sun angles, due to its proximity close to the equator.

13
The takeaways from this site choice are design constraints: elevated floors to protect from

flooding, flexible frarning to counter earthquakes, a long and thin form to allow for

maximized natural ventilation, long overhangs to counter harsh sun angles, and

orientation to prevailing winds to optimize natural cooling processes.

Hot (Mor- May) 't{_et ( June Oct) Coo l ( Nov-Feb)

i 75 · 90•F 70"
i 65. &o•F
i 60 1s·r

• 7 -10"

• 22- 30 8

• e - 12·

/
@t l O · 50" @t 60 . 70" @t 70 90"

o ' - 5" 0 •0 · 50'11 0 10 20"

Figure 2.1 Figure 2.2 Figure 2.3

The materials of interest are also determined based on site selection, opting for a

degree of economic and logistic feasibility. Natural materials found in Northern Thailand

include high quality white clay, gypsum, limestone, and many varieties of wood. The

materials of choice for this projects' purpose include cement wood board, bamboo,

lightweight steel framing, and thatch. These materials were determined as the palette

available to apply to the designs created.

The precise site chosen is a region in northern Thailand, a city called Chiang Rai.

The northern region of Thailand is significantly cooler than the rest of the country, which

receives a cool wind from China in the winter months. This region is at a higher elevation

and is dotted with forests, which helps to lower the humidity and temperature as

compared to the rest of Thailand. An existing site was chosen based on one precedent

study: a school that had been redesigned and rebuilt in the aftermath of the devastating

2014 earthquake. The area surrounding the microsite is still in disrepair post-earthquake,

so the incorporation of a community yoga studio would be an aid in bringing people

14
together for a shared identity: a critical value of architecture that I uphold. The end user

of a space should influence the entire process of design, because architecture is a practice

rooted in people. I kept the users of the yoga studio in mind while moving on to the

design process, considering the "appropriateness" of the spaces created.

Design Process

Aside from the individual moments within the space, there is something to be said

about the flow between spaces in relation to the connection between spaces. Yoga is not

any singular pose; it is rooted in the series of and transitions between poses. The cyclical

nature of a vinyasa, or flow, is to move through a series of poses that each have their own

benefits. By completing a flow, a yogi is working all the parts of the body (Figure 3.1).

Different flows work through various series of poses, which in tum, work different

famili es of muscles. It is easy to cater these tlows to the type of practice a yogi is

attempting to achieve, whether it be strenuous or not.

15
Likewise, in architecture, the design process is cyclical. Constant adaptations

must occur in order to reach a final design. The first pass of the design begins with a

Mounta1n
Breothmg
Stability

Ha nd s up Hands up
Counter-stretch Counter-stretch
Elongate Elongate
.... .

Cha 1r
Forward fold
Leng then Strength
Worming

Low lunge
Flexibiliy
Forwa rd fold
Lengthen

Downward dog
Balance
Elongate
Cobra
Lengthen

Upward dog
Bolo nee
Elongate

Plank
Cha ta rungo
Strength
Strength Power

Figure3.1

concept, which is influenced by the constraints of the program and input from site

specifics. Other values to consider include quality of space, structure, material and

tectonics, and community interaction, to name a few. Openness to alternatives early on in

the design process is necessary, as there is input converging from all directions (Figure

3.2).

16
Concept
Check:
Principles
-· \
Program I site
i
I

DESIGN ,
Orga nization
Community

Qua lit ies

Materia lit y I tecton ics

Environment

Figure 3.2

Moving into the design portion was an important move to make, because it meant

the full adaptation of ideas into physical spaces. I completed this process via a serie, of

Figure 4.1 Figure 4.2 Figure 4.3

guiding organizational concepts: central, procession, and cluster (Figure 4.1 , 4.2, 4.3).

These were different schemes meant to organize program, which helped guide the

placement and relationship of the program pieces to one another. Gestural sketches were

critical during this stage, because they helped me to visualize the conceptual spaces that I

had in mind, without fully committing to a singular design: a roadblock that is incredibly

17
limiting during the design process. For instance, I investigated the different sectional

moves that would imply the Balance pose. In Figure 5, three different concepts were

explored to create varying degrees of enclosure.

ooDo I
I

Figure 5

Some concepts were richest in plan view, while others were form-based, and still

others as qualities of light or material application. The strongest of these ideas were

translated into rendered images. Image 2 shows an organizational move in plan view,

based on the idea of a Twist and Grounded flow. The

visitor would travel along a straight path as he moves

from enclosure to enelosure, but the spaces

themselves are offset and rotated, creating a

noticeable difference and balance of space. The final

enclosure is the static space attributed to the

Grounded pose.

Image 2

18
II

Image 4.1 Image 4.2 Image 4.3

Another avenue for organizational gestures was the sequencing of spaces, based

on quality of the light, as opposed to a fmm to redirect motion. Based on the minute

adjustments that occur when engaging in a Balance pose, these spaces are choreographed

around the amount, source, and type of light visible as a yogi moves through the space-

which is actually a simple box. As the yogi enters the first corridor, thin ribbons of light

filter in from the yoga studio to the right (Image 4.1). At the end ofthis hallway, the yogi

enters into a space drenched in bright, natural light emitted from a large window at the

end of the adjoining corridor (Image 4.2). Once inside the yoga studio, diffuse light filters

in from above the ceiling level, filling the space with soft, ambient light (Image 4.3). This

procession of change of light is also a mental connection, as the mind must be redirected

and focused on the pose when attempting balance.

19
Other key moments were designed in the same

manner, such as a corridor designed to be an Opener and

Inversion. This move also incorporated structure as a

means of designing within constraints. A repeated ceiling

joist would be necessary to span the length of a corridor

and was adapted into an elegant solution that would cast

a rhythmic series of shadows into the corridor, causing

the yogi to look upwards and feel released due to the

Image 5

openness to the sky above (Image 5). An open space of

this caliber would not be achievable in all climates, though: one reason why the selection

of such a warm and tropical site such as Chiang Rai is an important distinction.

Building on the mastery of form and spatial quality, materiality was introduced as

a method of achieving certain moments of design. The materials chosen refer back to the

key materials outlined based on site selection. For instance, a yoga studio space was

created to embody the Strength and Balance values, using the interior finishes as a way of

reinforcing the desired mood. Light bamboo

flooring spans the length of the studio, and dark

teakwood clads the wall that the instructor

would preside before. The rest of the walls and

ceiling are pure white gypsum walls, which

catch the soft light that filters down from above

the recessed ceiling pane (Image 6). In this way,

the elegant and attention-demanding teakwood

Image 6

20
wall is balanced by the soft white walls that cover the rest of the studio. The strong

materials are located on the floor and on the wall that directs the focus of the yogis to a

specific location within space.

Finally, I made an attempt at applying these various moments in architecture to a

single cohesive design, sited at the Post-Disaster School location determined in the area

of interest: Chiang Rai. Three long and linear forms were defined to mimic the existing

buildings found on-site. The forms were pushed and pulled to optimize ventilation and

provide for an interior courtyard that connects the adjoining spaces. Framed views into

and out of the spaces were carefully designed to provide for the qualities of spaces of the

yoga studio. Based on the conceptual program outlined, a flow of poses from space to

space were designed by identifying the types of poses that direct a yogi through a

conceptual flow through the space. The conceptual floor plan shows the types of poses

that guide the final design, pin-pointing the poses identified (Figure 6). Materials and

finishes appropriate to the region were then applied to the moments within each piece of

the program.

21
0
I
I e 0

QO

I
I
,....
•
I L __ - .
0
• • • *
*

0
1
I
I
Figure 6
J /0,
As indicative ofthe cyclical design process, the form, structure, materials, and

spaces were redesigned and reconsidered to adjust the :(inal form and layout of the space.

This was simply one design solution based on all the levels of input outlined in the

proposed site, program, and constraints determined. This one form was not further

explored, because it was evident that the moments designed were much more in line with

the project intent to relate yoga philosophy to architectural design.

22
Reflection

This project evolved over time, so it is difficult to say if I reached what I had set

out to accomplish. I know that the project had value, because I struggled with it along the

way. I let the project drive itself, rather than restricting myself to set deliverables. That

being said, if I were to repeat the study, I would give myself more stringent constraints.

The value of this study was my rigorous design process. As I moved into the last

phases of the project, I questioned every design move I made. For instance, I felt that a

way to accomplish the recreation of the "balance" theme, I needed a series of thin vertical

windows spaced apart from each other in a consistent rhythm spanning down a corridor. I

carefully analyzed these thoughts, considering different possibilities. This taught me a lot

about my own design process and how I conceptualize spaces. I learned that I value

moments that occur within a larger scheme, rather than one form to define space.

If I had to approach the study from a different angle, I would simplify my scope

considerably. The fact that the project did not end clearly is acceptable, but it could have

been a richer study if I had the opportunity to investigate the moments I designed as

individual studies. I would focus much less on the overall geometry of the spaces being

considered and instead begin with a simply box populated by the elegant studies created

in this project.

23
Works Consulted

Bloomer, Kent C., and Charles W. Moore. Body, Memory, and Architecture. New Haven:

Yale University Press, 1977. Print.

Jencks, Charles. Can Architecture Affect Your Health? Arnhem: [Rotterdam]: ArtEZ

Press, 2012. Print.

Kraftsow, Gary. Yogafor Transformation: Ancient Teachings and Holistic Practices.for

Healing Body, Mind, and Heart. New York: Penguin Compass, 2002. Print.

Marble, Scott. Architecture and Body. New York: Rizzoli, 1988. Print.

Sarasvati, Brahrnananda. Fundamentals of Yoga: A Handbook ofTheory, Practice, and

Application. New York, N.Y: Julian Press Distributed by Crown Publishers, 1987.

Print.

Singleton, Mark, and Jean Byrne. Yoga in the Modern World: Contemporary

Per~pectives. London New York: Routledge, 2008. Print.

24
YOGA= Uf\JION

Balance

Seated

Inversion

Twists

Opener Strength
OBJECTIVE

... to express the relationship between the philosophy and physicality of

the practice of yoga and architectural design principles.

PRINCIPLES+ PHILOSOPHY

VALUES

PROCESS

INFRASTRUCTURE
ARCHITEC TURE -- ·- YOGA
ENVIRONMENT

PHENOMENA

SUSTAINABILITY
BALANCE

Big toe Tree Dancer Half moon Crane Tipt o e 'warrior ill S1de plank

Extension Canti lever

Challenge Balconies

- Strength
Focus
Adjustments
Handrails
Symmetry
Asymmetry
Contact
Floating

•
INVEF{SION

He·:Jdstand Downv;ard dog Dolphin Ha lf mnon Forv,;o rd bend Plow Shouloerstand Scorpion

Defy gravity Roof

Regulation Systems

y Circulation
Suspension
Perspective
Range
Circulation
Slope
Shading
Stairs
Movement Skylight

0
STRENGTH

Chair Warnor ! + II Hig:O + low lung e Half moon Plank Locust Upward d og Chatu ranga

Grounded Founda t ion

Stability Column
Strength Structure
Power Tectonics
Energy Code
Bui lding Solid walls

•
GROUNDED I RECLINING

Boa t rieod to -knee Lotu s Stoff Cow face Hero Corpse Co b ra

"Pause " Columns

Stability Floors
Rooted Material c hanges
Connection Center
1 ..
. . .... Static Ho r izontality
Courtyard

•
TWISTS

Revolved tncngle Half lord of the fishes Thread 1ng t he needle Revolved hal! moon Side angle Noose

Compression + release Bargeboards

Circulation Rooms
In -and - out High ceilings
( Balancing Balconies
) Neutralizing Rhythm
Lengthening Translucent

0
OPE~'-JER

Garland Happy baby Cobbler Camel Upward plank Fish Sph1nx Bow

Release Aperture
Gradual Corridor
t Depth Atrium
-o-- Flexibility Hub
Lightness Doorway
+ Sun shading
Flex ible space
Corridor
Curta in wall

0
Proposed program

engaging
compression

balance

extension
decompressi on

foc us p ause light ne ss

energy c onne c ti on purification
warmth engaging alterations
rhythm stability rejuvenation
concentration al ignment
Home and Yoga Studio Ca r ter+ Burt o n Arch itects

600 s.f. footpnnt

Clark County, V1rg1n1o
First 1n the southeast U.S. to be awarded the Gold certification in the Best quotit1es:
LEED for Homes Pilot Program, the Yoga Stud1o features curved
Connection to site (v1suoll
structura l insulated panels for wall and roof construction, o
geothermal mechanical system and a green roof. A bermed entrance Site respons iveness
to the east and the western end sits high with o deck on the view side
Environmental response
feel ing like o tree house. The owners, both practicing Buddh is ts and
ovid modernists, were in terested in creating o weekend retreat from Creative use of space
Wosh1ngton, DC 1n the Shenandoah Volley.
Warmth
The natural set11ng with distant views and nearby roc k outcropping lnv1t1ng
were maintained for enjoyment while med1tot1ng The space feels b1g
Compress1on and release
for spaciousness, views and light while maximizing efficiency and
momtoining o modern purity of form and space. The morphology of
the curved space 1ns1de transports all who VIsit. This outbuilding fits
with the site whi te mo1ntoining o modern purity of form and space
rarely seen in th1s rural setting. The benefits of utiliz1ng loca l
craftspeople as well as using sustainable materials such as recycled
boa rds, pollution abatement concrete, beeswax and reflective cei lmg
tiles helps redefine an enduring sense of place. The details, materials.
furniture and nature provide the only art expression , freeing the space
of metophys1cot d1stroct1ons.
Ritual House of Yoga goCstudio

1,350 s.f.
Seatt le, WA
"The space was a blank slate wdh a simple brief; a 40+ person yoga Best qualit1es:
stud1o, two chang1ng rooms. check-in desk, retail and space for
Materiality
transitioning between classes. The insertion of a central organizing
structure allows for separation of the studio space ond front of house. Control of light
with a large sliding woll on its east face.
Repurposing exist ing space

The introduct ion of LVL rafters throughout the space creates a natural Inviting yoga studio
rhythm which draws the eye from st reet to al ley when the sliding wall
Journey I flow of space
is open . The rafters are also intrinsi c to I he light ing d e sign; LED strips
run the length. pointed toward the ceilmg to create a gentle glow Pause
1deal for 1nducing a med1tallve state. The rafters also accommodate
Rhythm
structural load and can be used for aeria l yoga as well as for hanging
display racks in the entry area. Focu s

~
--r==. cb
Yoga House WMR Arquitectos

1,1100 s.f.
Motanzo s. Nov idad. Chile
The Yoga Hou se I S set on the m o unta inside o f Mata nzos b ea c h. Best qua llt 1es:
overlooking the boy. The primary design intention was to mtegrote
Connec tion to site
the bu ilding w1thm the powerfu l landscape slope and to der1ve its
poetics from the qualit ies of 1ts surroundings. The des1gn d 1gs int o the Tac tility
h ill to ground the house and to generate a backyard (polio). reac hing
Lightness
t he morning light and to protect thi s pati o and main entrance f rom
the w ind. The intention wa s t o v iew the sea th rough the h o u se. Stabi lity

The kit c hen. d in ing and l1 ving room , are locat ed nex t to the bac kyard :
a lev el b e lo w the re st o f th e ho use. better integrat mg 1t with the ho use.
It is constructe d o l st o ne while the rest of the h o use is entire ly b u ilt
o ut of ti mber. Designed in a more cozy and int1mote manner. t he yog a
room connects the living with both bedrooms.

--,
-~,

SECTION B l•
Yoga Deva Bla nk Stud io

2,800 s.f.
Gilbert, AZ
Yoga Deva ( Sa nsk nt fo r deity) creates an m ternal sequence of spa ces Best qualilies:
whose primary impulse IS t o remove the VIsitor from the extenor
Connection of spaces
visual environ mental conditions in every way. This new internal
environment offers an architec t ural and sequential ch ia roscu ro to the Lightness
ext ernal strip -mall type reality and prepares the visitor for p ractice of
Pensivene ss I introspection
inward med itati on and contemplalion.
Opening
The project exists as a series o f vessels. The ancillary spaces (en try,
retail, changing ) a re ordered and organized around t he central yoga
studio space. Entry occurs in a spa ce tha t is v1sually dark in con trast
t o the common Ari zo na ex terior expenence and no vis1b11ity to any
other space is offered. The space IS long, narrow a nd re ndered in dark
pigment, dark wood wal ls and dark wood millwork; mcluding a
communal seat ing area alo ng the length of the eastern wall
illumina ted by warm-toned cove lig ht ing. In contrast to the entry
space the main stud io space is flooded wi t h daylight ; t he interplay o f
light is ca lming and ever-changi ng .

StCrou.
Mae Kao Canal Hou se EKAR & Full Scale Studio

2,900 s.f.
Chiang Moi. Thailand
The house was des1gned around the Iorge trees ex1stmg on -site and Best quolit 1es:
was arranged m to two volumes. The typ1col front door was revoked in
Conneclion to trod 1t i on
favor of a garden room that leads its inhabitants to various spaces in
the house. The long, narrow entry path instantly opens up and leads Process1on of space
one to the canol at the rear of the property from the momen t they
Quality of light
step into the house. This ploy creates a d1rect impact on the v 1suol
connect ion from one end of the property through to the cano l. Purificat ion
Balanc e
From inspirot1on of the tradi ti onal c ommun ity alo ng c anals 1n Tha iland
to vonous angula r spaces created by rev ealing and sli c ing v1ews
t owards the canol as the key strategy. lnsp,red by the trodili o no l
communities si t uated along canals in Thailand, t he toyers of various
roof slopes ore formed according to the function of each household.
As a result , the land w idth next to the water i s normally the shortest
dimension which becomes a challenge to maximise this view. The
architect resolves this problem by d1 vert 1ng each volume from its
main axis and arranging every room so as to gain a vi sual connection
to the water.

_::-=. .-~ ---=-"'·- -_r-_ ---_-~-

(
\-

r
_, I
~ -
I I
I

\\ \
Baan Rai Thaw Si SOOK Architects

9,000 s.f.
Chang Wet. Thailand
The concept is t o design a house th at meet the owner 's requirements Best qualit1es:
and needs. wh ich is to des1gn a place to hold activities for all ages
Environmenta l stewardship
and can be interchangeable- a common space that can be used for
private or public. A house that designs for a good quality li ving Quality open space
environment . in a ccordance with the site contex t and prov ides better
Grounded ness
facili ti es then housing estate requ irements .
Pause
The house is designed to meet the requirements in housing estates,
Energy
inc luding more setback- open space than the min imum amoun t
required , co lor. he1ght . fea tures. natural system for wastewater Focus
treatment and self-sufficient in water supply. The des1gn of the house
layout is consisted with the existing trees on the site. In order to
preserve the exist ing tree- a native tree, and to fit architecture with
nat ure. the design of t he house has a light court in the central of the
hou se to capture the tree .

------- .---------
Boon Nong Bua School Junsekino Arc h itect and Design

12,300 s.f.
Chiang Rai, Tha iland
ThP. school has requested for 4 classrooms with the c entral spa ce Best qualit tes:
functioning as the chi ldren's aclivtty space. 1 he structure o f the
Connection to site
bu ilding is main ly made by steel. because of it s ability to absorb the
earthqua ke vibrations and ea se of constru c tion ,n rural areas. Tact ilit y
Lightness
The b uilding is designed t o correspond w ith the weather c ond it ion of
the northern part of Thailand wh ich allows t he circulation of natural Stability
air, ond the penetration of natural light i nto the building: t h in a nd light.
It was also intended to have a pavtlion -like appearan ce in the style of
local rural architecture. T he humidtly in the room s i s reduced and the
floor is also eleva ted in case of flooding. There is olso the spoce for
stor ing shoes according to Thai cultu re : guests must remove shoes
before entering. The extended eaves can act as a weather shield.

----------------·--.-1-----------.---------------------

SIJRROUNOONG
Bonn Huay San Yaw - Post Disaster Schoo l Vin Varavarn Archi t ect s

1,800 s.f.
Ch1ang Rai , Thailand
The school needed 3 new standard classrooms fo r secondary st uden t s Best q uo lit1es:
from triba l fami lies. The design specified that the building must be
Connection to site
eart hquake resist ant, eos1 ly constructed by local workers and
requi r ing as low budget as possible. Mos t of t he selected b uilding Tactility
materials had to be lightweight to reduce honzonto l moment um
Lightness
caused by the we ig ht of the building during an earthquake.
Stobi:ity
"Our design principl e was not to c reate on l y typical classrooms but
learning spaces to enliven the a t m osp here. For the layout , w e had
proposed to combine three classrooms int o one bui ld ing t o min imize
the land use. Each classroom is punctuated by small foyers wh1ch wil l
b e used for placing student shoes and to help reducing the noise
bet ween classrooms."
Proposed program

1,600 s.f.
Chiang Rai. Thailand
T he program w ill be a one ·studio flexible space to com fortab l y fit 40
mats. There will be a smal l entrance w ith a recept ion desk and waiting
cha irs. There will also be some shelf space for retail stora ge. A
shower/chang ing/t oi l et room wil l connect with the e nt rance.

ENTRANCE
SHOE PLACEMENT

YOGA STUDIO RECEPTION CHANG ING ROOM

male+ female

-40 mat capacity f ront desk shower room

mirrors storage cubbies toi let stalls
a c ousti c ceiling waiting c ha irs lockers
hot y o ga c apability retai I st o rage
Proposed program

engaging
compression

balance

extension
decompression

focus pau se ligh t ness

energy connect io n purificat ion
warmth engaging alterat io ns
rhythm stability rejuvenation
concentration alignment
..- ---
••
•
••
•
Adjustments

Engage Alter Focus

Focus

00
I

rhythm
ooDo
I
I

regulating geometry level disc repan c ies

~---~L---------~L-----------
gesture framing degree of e nc losure

void so lid void

Inversion

eo

-j 1/
[/ ~
/
f/' r/
Balance

GO
Grounded

ooe

t
Why Thailand?

Thailan d 1s a co m mon destmati o n fo r pract i cing yogts. lts scen ic Design for c ulture:
beaches and landscapes draw people fr om all over the world to
- foyer space to put shoes
reconnect with spiri t uality
- large public spaces
It is of particular interest in its sensiflvity to climate change. Typhoons,
earthquakes. and other major natural disasters regularly stnke the - connection to nature
regi on.
- ec onom tcally feas ib le
- hand -built componenl s
- nat ural/local matenals

Buddhtsm

lslom

Chnsfto ntty
Oth er (0.3%)

• there •s o eonneellon a cross.

cullures. Budd htsts st ilt pra ctice
IJO<JO. as I here tS a fundamental
sp•ntvol conMcllon that ts not
rooted tn o slncl rellliJ IOUS
procllce.
Macroclimate

Thailand's c limate I S controlled by trop1cal monsoons and IS genera lly Des1gn for cli mate:
hot and hum id across most of t h e coun try throug ho u t most of the
- e leva te d floors in t he eve nt of a flo od
year. While Thailand 's seaso ns a re g enera ll y d iv ided int o the ho t
season. cool season . and ra iny sea son. 11 is most commo n ly h ot and - flexi b le framing to c ount er earth q uakes
h um id for the m a jority o f the year.
- th m. o pen form for a 1r flow c irc u lateion
- long o verhangs for sun a ng le s
-onen tatio n t o preva iling winds

Hot (Mar-May) June -Oct ) ' e oo l ( Nov - Feb)

i 75 · 90 °F 70° 65 · ao •F
i 60 7S•F

• 7 - 10""

@. 30 - 50 % @.
• 22

60
30'"

70%
45°
@.
• 8

70
12 "

~ 90%

0 3 5% 0 40 50 % 0 10 - 20%

110 "f JOOmm 30di)'l

)00., l SOrJVn 25 d.tv1

.... 20d.lV\

ao ' F lSOrrvro
15 dAy~

70 "f l OOmm
l Od;y'

60 . , so~
Sd.ay1

SO aF

'"'
.. Od..,5
J~ f ob thy Jun M Aug s.p Oct Nov Dt<
t>rKip1t~llon + Mean daily mn1m um _., . Hoe d~s + Meiln d ail y mimmum ""
-. · Cold nights ...;...w :1~ _ ;j • ,. gs·r • ,. s6•f • > 77' F > 6&"F • > S9"F Sunny Plu tly cloudy • Ove;rc n t + Precipit• t1on d ays
met~l::ll.le rne:eoblue
Microclimate I Site

Chiang Rai i s a cooler reg1on, found in Northern Thailand . The Qu1c k statist 1cs:
Northeast wind car nes the coo l weather from Chma dunng w mter.
Northeast wind
The North reg ion of Thailand is e levated with many mountains and
Cooler climate
fore sts. Its cl1ma te is moderately cold (10 -25 °C) du r ing winter because
of the Northeast wind . The low relative humidity (69 .4%) compared Low humidity
wilh I he other regions creates comfortabl e wea ther most of the year.
Forest region
Since there are many forests 1n the Northern region, 1nsects such a s
bugs and mosquiloes are very common especia lly du ring summer. Proximity to faul t line

•
-------------
I
/_.....- ----- -- ------ .................
/
----------
/___ _..------------ ----
I I
I I
I I
I
I I
I
/1 ----------- -. . . _
I
a~ I I
I
I I

I
I
I
I
I
I
I
I
Mater ials

The use of economtcal ly vtable matenals is cruciol tn this Chotce materials:

under-resourced region . Any donated or repurp osed matena ls are far
Cement wood board
p re fe rred.
Bamboo
Traditional materials are used in the event t hat there are loca l people
that know the materia l well and are familiar wi t h its properties and Ltghtweight steel frame
maintenance.
Thatch
Na tural materials found in Nor ther n That/and include high qua/tty
while clay, gypsum, ltmestone, rtver sand (con c rete mtxture), and o f
course, many varieties of wood.

Sustainable materials recommended for Type A

-·- --- -·· -- -·-

- - -
-- --
oolutnn...Sbeatn lgfttll!UdiJNilft'ltYtl~ W'IOnNf lftOIC$1WI.ICa.lt'e
~ . . . . if

... wood ottlHIIIINI::tn ~nlsteeiWI.Mrequire~labtw

-
..,, 'ftoOOCI.Yifl~~"' ~gt-.wa!ght c:onct"8tll contlllle\lo8l,mMIII

--
vapori"'D!dwis~tar~--
"""'
......... ~WPCutnboel'd ....
.........
-
-..-- --
"' "'
tWghaloperool

.............
dllyor~»rwN::IIu

............
,_,_.,
ltlr.glllwoodllll!!l

.......
............
MdeOVI!Ifw'lgiiiiiJI'OOfisligNy~

·~day and wood tie& Nqt.ft dolothmlng

add atiNilone IOI"f''ce lhi1IA

--
IMIIBiaMelorn.trool

.amhnlran
~

-
lowel1 slldel swing pene glassor'IIIOOdlow« pillit! giBSS inseets<ftef'lis~ed lla:dwindows

..- biDCbwltl wan aN tsiQtlty_..nded .alid mna~~t. 118'1--'

Ma.WS lin ntOtiiR'I'Ierld rneterialbeedl peftofbl.fdng

Mnlrtlllll . . thosewhlch . . . llemlt.uforeechl)lrtdlhebiAclng
Inversion I Opener
Balance / Strength

()·
,>,-:·
0
I
I
• 0
G

••
~ •
•
. II ~
I L--- ....
0
I
I
Form Genera t ion

+t 0
-
Push-pull

Circulation

-
-
W ind

-
Sunlight Sunlight

Site placement Match pitch

+t I
-
Push-pull

Circulation /
-
~ -
W ind

-
Sunlight
7 Circulation

Enclosure I connectedness
Mimic existing site

-
Circulation

-
View
+t
Push-pull Sunlight

Frame views
Push and pull

Wind
••••
Cut

Carve Material finishes I maximize effi c1ency

.
YOGA I UNION

Balance

Seated

Inversion

Twists

Opener Strength