Abstract

This study is about sunyata Its intent is to investigate, understand and make use of this Buddhist notion. Its aspiration is to establish a holistic theory of interconnectedness that would contribute to architecture by inherently appending to the initiative perception of space (i.e., the combination of both matter and void) the observer. This study -enthused by emptiness- will be advocating the proposal that the existence of space is not -as it appears- innately autonomous from its perceiver. But in fact the appearance of space is the momentarily interconnection of all circumstances at play including the perceiver who -via his physiological apparatus and cognition- is actually an intrinsic ingredient for the manifestation of the space. Furthermore, due to the fact that the first stage in the extension of the common meaning of emptiness in early Buddhism refers to both the state of meditation and to the empty place, this study will attempt to examine from an architectural point of view the monk's individual space of meditation. Then it will seek to retrieve adequate features that will be utilized for the performance of a spatial experimentation for the purpose of validating the theory of interconnectedness and eventually demonstrate that the objectivity of space can actually influence the subjectivity of the perceiver. Thus implying that both space and its perceiver are part of a same encompassing fabric wherein they determine one another in their mutual interactions.

Keywords: Emptiness; Meditation; Empty place; Monk's individual space; Interconnectedness, Intuitive Feelings

Introduction

"…there is no absolute space independent of the observer."

Throughout the history of architecture, from ancient period to the twenty century trends, the human interpretation of architectural space was subject to perpetual changes. Alike science, that initiated with the study of the "material" and then progressively advanced to investigate the "invisible", in architecture the observed evolutionary pattern has pointed toward a similar direction of the spatial perception that initiated with a focus on the material objects (i.e. what is experienced through the sense habit of perception) then later transferred toward the void space (i.e., what is non-substantial, imperceptible and hidden from the senses). This attitude towards space, which first emphasized on objects and indicates a lack of interest in the void space, has shifted afterward towards the space -in between- and thus an emphasis has been given to the "empty" space. However, this study -supported by the notion of emptiness- will attempt to expose a different perception of space, a meontology of space (i.e., a space which does not exist in severance and autonomy from its perceiver) or as James Heisig express: "the point before consciousness decides it is a subject looking at a world of objects." The implication that both space and its perceiver are interconnected and part of the same encompassing fabric is what Nishida Kitaro called the absolute nothingness. According to him it is the temporal and spatial "place" wherein individual persons and things determine one another in their mutual interactions. Therefore by attempting to evade the dichotomous extremes of materialism (i.e., materiel objects) and nihilism (i.e., nothingness), the notion of emptiness -in the middle- discloses an encompassing fabric (that is neither a thing nor a nothing) wherein space and perceiver determine each other through their perpetual interconnectedness.

The aspiration of this research does not pertain in demonstrating the credibility behind the notion of emptiness or to assure the "true" manifestation of space (i.e., whether space fundamentally is as it appears in separateness from its observer or is a unified whole). This study simply meant to investigate, understand and make use of the notion of emptiness to eventually establish the theory of interconnectedness and to demonstrate -via the experimentation- that architectural space can actually influence individuals. Hence the validation of a certain degree of interconnectedness that would provide the opportunity for future endeavors suggesting the use of space in altering the state-being of its perceiver.

Methodology and Description

The research study was conducted following a chronology that basically revolves around the notion of emptiness. It consisted of (1)philosophical section (i.e., Emptiness and Buddhism), (2)theoretical section (i.e., Emptiness and Architecture) and (3)experimental section (i.e., Emptiness and Individuals):

(1) From the philosophical stance this section has attempted to elucidate and clarify the controversies that exist behind the notion of emptiness (e.g., its relation with the notion of "non-self" and "dependant origination" and the erroneous misinterpretation with nothingness…) thus providing an adequate review and philosophical background. Also this part has undertaken an investigation into the different interpretations, understandings and diverse expressions of this notion that has been expounded by many individuals, sects and cultures following the evolution and spread of Buddhism throughout at least three major areas: Central Asia, East and South-East Asia. Accordingly, emptiness can be found initiated in India as a logical system that was grasped negatively by relentless refutations. Then in China, it became practically expressed in a more substantial manner through specific rigid and static illustrations. However in Japan, the highly estimation of the phenomenal world has influenced the interpretations and expressions of emptiness by reflecting the emphasis on momentarily fluid representations and daily mundane actions.

(2) From the theoretical stance this section has attempted to elucidate the nature and understanding of the idea of "empty" space and how the notion of emptiness can in fact contribute and be compared with many contemporary scientific theories. In addition and since meditation is the way to experience emptiness and going to practice meditation was closely related to going to an empty place, this section has attempted -in relation with space/Individual correlation- to explore the monk's individual space of meditation wherein the apprentices usually experience such state. Then later it has attempted to retrieve spatial characteristics (i.e., Isolation, Individuation, Nothingness, Impermanence and Mediation) in order to implement them on the subsequent spatial experimentation.

(3) From the experimental stance this section has interpreted and analyzed the results of a spatial experiment that was performed on 141 subjects (in relation to the required hypothesis). The scheme of this experimentation relates to a simple method of survey which has requested from an apposite number of participants to experience spaces and while advancing point by point in space they were asked to provide a feedback of their feelings (i.e., referred to by intuitive feelings). Also among many inquiries they were asked to rate -according to their own assessment- their feelings prior to experiencing the spaces and after being isolated inside the secluded "empty" space. The outline of the subsequent observations was systemized in an overlapping subject(individual)/object(space) method. Basically two sets were illustrated; (I) portrayed all spaces per each feeling, (i.e., by fixing the subject and comparing it with the variation of objects) and (II) represented all feelings per each space (i.e., by fixing the object and compare it with the various subjects).

Synthesis

Following the spatial assessment the described pattern of intuitive feelings has demonstrated a variety of comparable alterations in relation to the spaces. Obviously the external stimuli (i.e., the physical appearance of the space) have influenced the inner subjectivity and have caused the multiple alterations in all feelings. And although each individual had the autonomy to select from a large variety of feelings (i.e., numbered 15) the answers were not irrelevantly related or chaotic but followed a pattern that demonstrate a level of interconnectedness between the objectivity of the external spaces and the subjectivity of the internal self. Furthermore, participants have shown a decrease in the level of fatigue, anxiety and tension and they have revealed an increase in the level of relaxation, comfort, peacefulness in addition to an enhancement in their concentration ability. Also Concerning the before and after variable -conducted as a difference between (PJV) and the (NJV)- results have shown a significant difference with a strong indicator of decreased negative psychological state and increase of positive psychological states. Finally, individuals who walked through these spaces, according to their own assessment, felt less fatigued, less anxious, less tense, more relaxed, more comfortable and more peaceful and their concentration ability has improved as well.

"シュニヤタ"というのはサンスクリット語で"空"を意味する言葉である。空(emptiness)という概念は、全てのものを肯定した場合に行き着く先で、逆に無(nothingness)は全てを否定した時に至る何もない状況である。両者は共に一元の世界における究極の姿を表現しているが、無からは何も生まれることはないが、全てを肯定した空からはさまざまな哲学的な思考が展開され、それらの一部は空間概念となり、建築空間に反映されている。"空"概念は仏教と共にインドに始まり、中国、朝鮮を経て日本に伝えられ、禅の奥義として深化しているが、その影響は今日まで続いている。現代の日本の建築家にも、意識的であるにせよ、無意識的であるにせよ、その思想は受け継がれていて、多くの作品に"空"概念が看取される。本論文は、建築空間における"空"概念に着目し、その歴史的な展開や建築との関係に言及した後に、"空"概念の体験実験を通して、その真相を考察したものである。

論文は5章からなる。

第1章は序章で、研究の目的、究明すべき課題、分析の方法等について、全般的な解説がなされている。

第2章は哲学的な思弁に関する解説で、この論文のキーワードである"空"概念について、宗教的、哲学的な視点から、その歴史的な発展形態や文化的な背景についてふれている。西田幾多郎や鈴木大拙、中村元等の日本の哲学者の言説や、哲学書の記述、あるいは、絵画や図象等を援用して"空"概念に対する理解を深めている。加えて、筆者自身の寺院巡りや、禅僧との対話、座禅の体験等を通して得た結論として、瞑想の実体験こそが"空"概念を理解するのに最も適したものであると述べている。

第3章は"空"概念と建築に関する考察である。瞑想は"空"概念を直感的に体得する最良の方法であるが、そのための場所について、初期の石窟寺院から、禅堂に至るまでその設えを調べて空間的な特質を明らかにしている。また、現代建築に現れた"空"概念を参照しながら、次章で行う"空"体験の場はいかなるものであるべきかについて検討している。

第4章は"空"体験の実験である。空間が人にどのような影響を与えるかについて調べるために、平面がスパイラル状で、それに沿う高い壁と狭い階段状の通路があり、中央部がボイドになっている実験構造物を造り、その内部での空間体験について実験を行っている。この構造物に入る前と後とで各自の感覚(空腹、怒り、心配、緊張、悲しみ、寛ぎ、集中、平和、興奮)がどのように変化したか、また、構造物内の各所(7カ所)でどのような感覚(怖れ、息苦しさ、困惑、疲労、怒り、悲しみ、緊張、自然、安全、興味、満足、寛ぎ、楽しみ、興奮、平和)を抱いたか、そしてそれは空間的などの属性(色彩、光線、比例、形態、空虚、その他)に影響されたかを調べたもので、アンケート形式で回答を得ている。この実験のプロセスと結果が詳細に記述されている。

第5章は全体の総括で、前章で行った"空"体験の実験で、体験の前後でどの知覚がどのように変化していったかについて統計的な検定を行っている。その結論として、疲労、怒り、心配、悲しみが減少し、寛ぎ、集中、平和、満足、興奮が増加していることがわかっている。この結果は人と空間の関係性、あるいは主観的な個人と客観的な空間の関係性に有意な相関があることを示している。空間のどの属性がどのように人間の感覚に影響を及ぼしているのかを直接的に対応づけることは難しいが、両者に内的な関係性(interconectedness)があることは確認されている。

以上要するに、本論文は"空"概念について、その歴史的な変遷をまとめ、それが建築空間にどのように表象されているかについて考察し、最後に、実際に空間体験の実験をして、空間の様相がどのように人々の知覚に影響を与えているかを検証したものである。瞑想のための空間が各地に造られているが、これらは必ずしも宗教的な施設ではなく、瞑想することに意義を見いだす施設になっている。こうした施設が成立することからも解るように、人は瞑想により精神的な安寧を得る。しかし、空間のどの属性が、どのような効果をもたらすかについては、現在のところ全くわかっていない。建築家は単に、効果的とおもわれる演出を空間に施しているにすぎないが、ある空間で共通した体験ができるということは、そこに何らかの因果関係があることを示唆している。本論文は、瞑想に至る空間の諸相を心理的、精神的な観点から分析し、体験実験により実証的に明らかにしようとした試みで、建築空間における空間概念をより鮮明に、かつ、豊饒にするものとして貴重な研究である。これは現実の設計行為にも役立つものであり、建築計画学の基礎的研究として有用で、その意義は大きいものと判断される。

よって、本論文は博士(工学)の学位請求論文として合格と認められる。