ABOVE, THE SLIM SILHOUETTE
OF THE CHAPEL’S LIGHT ROOM,
WITH CAREFULLY POSITIONED
VERTICAL GLAZINGBurns’ trajectory is unconventional. He didn’t finish his
architectural studies, but took the advice of University
of Sydney professor Michael Tawa and decided to teach
himself. ‘I’ve focused on philosophy and practical
learning,’ he says, ‘and I’m still learning about tension,
the fine balancing of polar opposites. I’ve never had
a full-time job or worked for an architect.’
Instead, Burns describes several lifetimes of
experiences: ‘I’ve worked for a fisherman, for stone
masons and winemakers, built rammed-earth
structures and set up a design-and-build landscape
company. I’ve also exhibited paintings and studied
traditional Japanese carpentry.’ Burns loves to camp,
surf and live outdoors, and has travelled extensively
through Australia and Asia; all this has contributed
to his holistic approach. Two Australian architects
have been key influences. ‘I’ve been fortunate to take
Glenn Murcutt’s Master Class and build a relationship
with him and Richard Leplastrier,’ he adds. ‘They
both provided invaluable knowledge and advice.’
For the past four years, Burns has been based in Bali.
‘I don’t have a physical studio as I spend most of my
time travelling for projects,’ he explains. ‘Instead I have
a small team based in different countries.’ The designer
came to Portugal via a meeting off the west coast of
Africa, where he had been invited to run the client’s
resort project. Soon he was being tapped to explore
the potential of this expansive site. The first venture
was a pool house and the client then wanted to add
a meditation room. During the design process, thefamily acquired a 17th-century altar piece. The idea
of placing it within Burns’ already meditative design
transformed the project into a chapel. ‘The altar feels
very natural in the building – embraced, even,’ Burns
muses. There’s also an undoubted spiritual connection
with the site. ‘The design was drawn out from this
very specific space after days of walking the entire
property,’ he recalls.
Hefty rocks and a scattering of oak trees defined
the site; the new building had to acknowledge them.
‘We selected a moss-covered knoll with huge granite
boulders, all covered in a bower of leaves,’ Burns says.
‘The project was sketched in situ and was determined
by these elements. The landscape is critical.’ The chapel
makes the most of the rugged topography, wrapping
itself around a vast chunk of stone. The structure is
assembled as a carefully staged sequence of spaces and
views, starting from the approach via inset stone slabs
that lead to the so-called Light Room and across the
rectangular reflecting pool that frames the site.
Meticulously finished in smooth, raw concrete, the
triangular form of the Light Room rises up from the
hillside, announced by a thin sliver of a wall that makes
a stark backdrop to the surrounding oaks. Its geometryis pinched and slender, concealing the bulk of the (^) »
‘The project was sketched in situ.
The landscape is critical’
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Architecture