3.2 Zen design

According to (Whately, 2000, p. 55), Zen is universally viewed as a Japanese concept, but is essentially an ancient Chinese belief which orientated in the sixth century as a merge of Indian Buddhism and Chinese Taoism. Whately (2000, 55) continues to explain that Zen is a bid to find the path to true enlightenment, through the joining of the speculative with the practical as well as the metaphysical with earthy.

Zen was enthusiastically adopted by the Japanese and throughout the eras the philosophy evolved to embrace the three main design principles; simplicity, functionalism and minimalism. (Whately, 2000, p. 55)The above mentioned has been reinterpreted by western designers and architects, since the nineteenth century. Japanese architects such as Tadao Ando, take inspiration from their own culture. (Whately, 2000, p. 55)

3.2.1 Simplicity

According to (Bodoano, 2003) the notion of a pared-down approach to life is appealing to people that are caught up in the chaotic web of one’s everyday life. One of the easiest ways of simplifying one’s life is to get rid of clutter. With regards to Zen’s seven principles to live by, simplicity or elimination of clutter, ‘Kanos’, is explained by (Montgomery, 2008,1) as avoiding extravagant, ornate and over embellished and rather focus on sparse, fresh and neat. (Montgomery 2008,1)Things are articulated in a plain, simple, natural manner. This allows for fewer distractions in one’s environment. Austerity is another principle of Zen ‘Kokou’ asks for reduction of everything to the ‘core of essence’. (Montgomery  2008,1) it can also be referred to as basic, weathered and bare essentials that are aged and evokes severity, forbiddance, maturity and weight.(Pilloton, 2010)

3.2.2 Space

Whately (2000, 55) describes the typical Japanese interior to be calm, understated and bereft of the innumerable belongings that frequently fill western interiors. Japanese interior design recalls peacefulness of the past, Zen living includes paring down and the importance of space and light. (Whately, 2000, p. 55)

Bridget Bodoano articulates that one’s desire for space reflects the need for relief from ones crowded, chaotic lives. (Bodoano, 2003, 14) Space is needed for the restoration of one’s soul, to relax and develop new ideas. Bodoano (2003, 14) explains that through the use of a restrained palette of light colours and natural materials, as well as keeping furniture to a minimum, a small space can be perceived as larger.

3.2.3 Light

Light is associated by the positive aspects of life, says (Bodoano, 2003, 21), and light is essential to one’s physical and spiritual wellbeing. Bodoano (2003, 21) continues to explain that the absence of light, both natural and artificial, dulls ones senses and effects ones emotions. Light is used to enhance the feeling of a space through creating a composed and calming atmosphere (Bodoano, 2003, 21). \

One can create moods that are favourable to the function of the room, as well as to the time of day, by manipulating quantity, quality and illumination of light. Bodoano uses an example of low-level glazing, which allows a room to light up, but does not disturb the spaces calm ambience.

3.2.4 Seven principles for changing perception

3.2.4.1‘Fukinsei’

There are 7 philosophies of Zen design. Montgomery (2008, 1) defines the first philosophy of Zen design to be asymmetry, odd numbers, unevenness or irregularity, which allows one to be free and spontaneous, rather human than godlike. According to (Pilloton, 2010) imbalance is used as a denial of perfection and symmetry does not occur in nature.

The image below is House 3R in Japan, by architect Hirouki Arima. The image below depicts an asymmetrical interior space that can be manipulated into many different variations. The three mobile timber panels provide one with many options of configuring the space.

3.2.4.2‘Shibui’

The term Shibui refers to beauty by being understated, or rather being precisely what it was meant to be and not elaborated upon. It is a direct and simple way, without being flashy. Elegant simplicity, articulates concision, it can be described as something cool, but also beautifully minimalist, which includes technology and some consumer products.

The image below is also part of the House R3; the space depicts a minimalist interior, with the bare essentials to a minimum. The floors a wall are painted white top maximize the amount of light quality within the space. The wall partitions are a translucent plastic to ensure for optimum amount of light, but still have privacy within the space.

3.2.4.3 ‘Kanso’ 

According to (Tierney, 2009) Kanso refers to the simplicity and/or elimination of clutter. Things are expressed in a plain, simple, natural manner which reminds us contemplate in terms of clarity rather than decoration, a kind of clarity that may be achieved through omission or exclusion of the non-essential.

The interior below is part of the house Hempel situated in London, by architect Anouska Hempel. Each interior space has been designed independently; the common factor in each space though is the importance and validity of light to create mood and atmosphere. Simple geometric shapes form part of this space, as well as the objects and floors being timber, to give a warm feeling of elation.

The interior below is a bedroom in House Maison Pawson, by architect John Pawson, the interior depicts a simple bedroom suffused with natural light. The materials of the space are as simple and direct as possible.

The image below is an interior by Bridget Bodoano (Bodoano, 2003); the bed is in the centre of the room to add ritual to the act of sleeping and waking.

3.2.4.4‘Shizen’

Naturalness is the fourth philosophy and depicts that Zen is unworldly, without deception or pretences. It is bare wood, unpolished stone, and flowers from the backyard. (Montgomery, 2008) Dinah Hall describes stone to have strength past its utter physical carrying chattels. She continues to say that stones raw elemental nature connects one back to earth; meanwhile its natural abrasion allows one to find tactile comfort in the passing time. (Hall 2005, 118)

The image below is House Finca in Mallorca, Spain, by architect Vincent van Duysen. The interior has a sensorary richness of materials, such as anded and stained oak, stone and marble as wellas ceramics. The furnishing solutions for each room are based on simple plane and elementary volumes, solids and space. Elements for storage and display, makes reference to a austere classical living.

3.2.4.5‘Datsuzoku’ 

The fifth philosophy depicts freedom from worldly attachments it is said to not be attached to worldly things, or rules (Montgomery, 2008, 1) discusses. It can be referred to free and true creativity.

3.2.4.6 ’Yugen’

The sixth philosophy is subtle profundity or suggestion rather than revelation, within Zen, there is a deep reserve for a mysterious, shadowy darkness. The hint of soft moonlight washed onto a wall or floor would be Yugen. (Montgomery 2008,1) it can be described as a suggestion and not reveal layers of meaning hidden within. It is invisible to the casual eye and avoids the obvious.

The image below depicts that sense of mystery, of ‘yugen’, the light washes gently onto the dark wall, giving intimacy and mood.

3.2.4.7‘Seijaku’

Lastly Silence, portrays being inwardly oriented and tranquil as well as calmness, stillness and solitude. (Montgomery 2008,1) seijaku can be referred to as blissfull solitude with the absence of noise and disturbances. Seijaku will form a big part of the art of meditation.

3.2.5.8 Zen garden

According to (Rossbach & Yun, 1998)people who want to enjoy outside spaces, but are not bothered by actual gardening and growing things, should have a zen garden. Rossbach & Yun, (1998, 115) continues to explain that a zen garden concentrates on horticulture rather than flowers,the meticulous arrangement of stones, shrubs, water, trees and sand have evvollved into art forms. Where flawlessequilibrium of yin and yang occurs, it allows the life giving forces of nature to reach their complete potential.

(Rossbach & Yun, 1998) goes on to say that Zen gardens revolve around three main features, namely; water, stone lantern, and stepping stones. The ‘tsukabi’ or water basin, is a simple, rounded stone with a recess or dip, filled with water, together with the water, there is ladle, to wash the face and hands before entering the tea house. (Rossbach & Yun, 1998, p. 115)further explains that the stone lantern or ‘ishidoro’, is a symbol for a guiding light, that steers one safely along lifes chaotic paths. The third element according to (Rossbach & Yun, 1998) is the stepping stones, which create pathwys to certain parts of the garden, if good Feng Shui is desired, rounded plants should be used in the garden, which synbolises weath and prosperity. Laslty zen gardens encompass have a tea house, a moon viewing apavilian, as well as stone or timber benches, for quiet contemplation.