Contemplating the Meditation Centre

A Clear Plan

The building’s plan is clear and legible — a reflection of meditation’s strive for clarity. A strong symmetrical axis cuts through the orthogonal plan as an ordering principle, in the spirit of a typical traditional Chinese temple plan.  The main programmes are a library, a main meditation hall, a series of smaller configurable meditation halls and the Sangha Meditation Hall. Sustained by the simplicity in function, the clearness of the plan extends to the section where each primary programme occupies a single floor by itself. 

On each floor, the spaces are layered inwards from public to private — from the circulation verandas at the periphery, to the servant auxiliary spaces such as the lift cores, washrooms and staircases, and finally to the innermost heart of the building: the meditation halls. The large volume of the halls anchors the centre of the building as the surrounding servant spaces frame the cardinal spaces and act as a physical buffer to the elements, giving the plan a clear servant-served hierarchy. 

As one journeys through the building to the main meditation hall, there is a series of curated spatial compressions and expansions. From the grand arrival at the main entrance foyer, to taking the lift upwards in a confined space, to transitioning past the high-volume lobby area, one finally enters a phenomenal domed ceiling hall, where the realm of meditation resides. The transition from external to internal is not only physical and metaphorical but manifested in the architectural details as the building begins to shed the punctuations and hard edges of its exterior façade, revealing white surfaces, curved ceilings, and contiguous strip lights to minimise distractions within the interior. 

Apart from several beautifully restored intricate finials conserved from the demolished Dharma Hall, the interior is articulated by geometric forms and a restrained palette of whitewashed walls, timber finishes and bronze highlights. These subtle visual gestures achieve simplicity and cleanness of lines, eliminating sources of distraction for a clear mind.

Within and Without

Traversing along the naturally ventilated verandas, the articulation of the façade screens come into focus, revealing its their performative role beyond aesthetic. Internally, a row of glass louvres line and shield the building from the weather while allowing natural light and air to permeate through. Externally, a porous epidermis comprising of dense vertical rods of differentiated hues and sections wraps around and unifies the entire building. The three-dimensional screen mimics a thick bamboo grove, drawing inspiration from nature. Notwithstanding that being one with nature is a tenet of many meditation practices, the landscape is subdued both internally and externally. Perhaps, a metaphorical link suffices as the building stays true to its urban context.

Meditative Spaces

With meditation as its raison d'etre, creating a quiet and calm space is critical. Ar. Tan ruminates that calmness of mind is achieved by removing both external and internal distraction. Paradoxically, while external distractions can be eliminated by immersing oneself within a peaceful and uncluttered environment, the key to removing internal distraction is by focusing one’s attention on visual, aural or sensational stimuli. This is customarily achieved through the adoration of icons and the chanting of mantras etc.

Keeping in mind its secular nature, the meditation halls are clean and symmetrical; devoid of all features save a circular dome ceiling which creates a central focal point. The dome ceiling acts as an architectural device not only to create a singular focus by drawing the eyes upwards,  to the centre but also has acoustic properties that captures and amplifies sounds within the space. Precisely calibrated diffused lighting enhances the atmosphere of the sanctuary and imbue the space with an ethereal quality. 

Distinguished from the other meditation halls, the pièce de résistance is the Sangha Meditation Hall, which is exclusive to the monks. By virtue of its placement on the highest floor, the pavilion-like hall connects to the environment as natural light filters into the refined space. Surrounded by austere stone gardens against a backdrop of white walls, its elevated position and palette reflect the monk’s aspiration for enlightenment and provide ample privacy for meditation.

Conclusion

At first glance, the premise of a dedicated meditation building in highly urbanised Singapore conceived at the expense of the existing Dharma Hall may appear to be contrived, given that its context is neither nearly remote nor truly tranquil. However, KMS Meditation Centre debunks this hypothesisnotion;; through its nuanced form, clear layout and refined spaces, it re-affirms architecture’s ability to transcend beyond locale and religious faith to deliver a meditative experience. The building is a prime example of modern contemplative architecture that stands testament to the power of architecture in shaping our perceptions to induce a sense of peace and clarity, providing a respite for both mind and body.