chapel. ‘The building is not readable as a whole from
any angle,’ Burns says. ‘It’s partially hidden in the
landscape, with the internal spaces revealed in the
journey around and through it.’
The stepping stones also provide an alternate
entrance to the Meditation Room, which has a single
window overlooking the water, boulders and sky to
create a quiet, reflective space. An external courtyard
containing a solitary tree links back to the main
chapel. Dark, textured schist rock is used for these
inside-outside spaces, contrasting with the soft greys
of concrete and limestone in the chapel itself.
The building’s ceremonial entrance is through a
Corten steel ‘tunnel’, a tight, cave-like sequence that
amplifies the lofty drama of the Light Room beyond.
The eye is drawn to the high-level roof lights –
throughout the project Burns has deployed natural
light to throw walls into sharp relief, and concealed
windows behind extended wall planes for a multi-
layered interior. Steps lead up to the chapel itself, with
a line of candles in cylindrical stone holders. At the
end, set beneath a gently curving roof, is the original
altar piece, weathered and wondrous and standing in
complex contrast to the minimal chairs and limestone
floor and walls.
The arrival of a new baby meant the chapel debuted
with a family baptism. ‘It’s a room for ceremonies that
mark important events,’ Burns explains, and his own
family also contributed. ‘My son Noah, then 13, was
researching candle-making at the time. He helped me
develop the design of the candle holder and collected
the wax for the candles – he made 100 for the project.’
Above all, the chapel brings together references
from all over the world. ‘Living between Europe and
Asia is a constant source of inspiration,’ Burns says,
and his experience of Balinese crafts has also informed
his use of local craftspeople, all of whom have become
deeply invested in the project.
Such dedication from designers, craftspeople and
the client family itself underpins the longevity and
complexity of this site. Burns continues to design
for every facet of the property, including gates and
kitchen gardens, picnic spots and water features,
but the current focus is a new primary dwelling and
winery. This intriguing combination of site, client
and designer will continue to evolve over the years. ∂
nicholas-burns.comLEFT, STONE STEPS LEAD
TO THE BUILDING’S MAIN,
CORTEN STEEL ENTRANCE
BELOW, ROOF LIGHTS
ALLOW NATURAL LIGHT TO
PLAY ON THE INTERIOR’S
DEFT CONCRETE CURVES068 ∑
Architecture