Project For Retreat Design

Retreat
Supporting Yoga Through

Architectural Expression
RAIC 690 Syllabus Diploma Project
by
Morgan Lesov
BC090023 
Retreat - Supporting Yoga Through Architectural Expression
A thesis submitted in partial fulfilment of the requirements for
the RAIC Professional Diploma in Architecture (Dipl. Arch)
in
The Royal Architecture Institute of Canada (RAIC) Syllabus Program
July 2020
Victoria, BC
© Morgan Lesov, 2020
Reproduction in whole or any part requires written permission of the author.

Retreat - Supporting Yoga through Architectural Expression
ACKNOWLEDGEMENT
I wish to extend my appreciation and thanks to the members of my
committee - Peter Johannknecht, Rance Mok and Erica Sangster;
for your constant encouragement, guidance and insight throughout
the development of my thesis. Thank you for pushing me to
explore the limits of this project.
Many thanks to my ever supportive colleagues, both academic and
professional, your understanding is everything.
My deepest thanks to my family, for your unwavering enthusiasm
throughout my time on this project and in the syllabus program.
Finally, my love and gratitude to my husband Boyan for your
endless patience and support. Thank you for never letting me settle
on an idea without being able to defend it.
Heartfelt gratitude to you all.  
ii
ABSTRACT
The aim of this thesis project is to observe the relationship between
yoga and architecture in order to study two key questions. First,
how do the guiding principles of yoga inform architectural design?
Second, how do the architectural qualities of form, materiality and
physical-spatial synergy support a space of retreat for yoga
practice? 
iii
TABLE OF CONTENTS
ACKNOWLEDGEMENT ii
ABSTRACT iii
TABLE OF CONTENTS iv
LIST OF ILLUSTRATIONS & TABLES vi
INTRODUCTION 9
Why Yoga? 9
Methodology 11
Paper Structure 12
Project Aims 13
YOGA AND ARCHITECTURE 15

Evolution of Yoga and Yoga Retreats 15
Yoga Theory - 8 Limbs of Patanjali 17
Yogic Limbs + Architecture = Limb Framework 20
ANALYTICAL 26
Case Study Selection 26
Joshua Tree Retreat Centre 29
Kripalu Centre Annex 35
Vajrasana Buddhist Retreat Centre 42
Case Study Conclusions 48
EXPERIENTIAL 52
Personal Retreat Experience 52
Salt Spring Centre of Yoga (SSCY) 54
Santosha Retreat at Stowell Lake Farm 62
iv
Shambhala Meditation Retreat 68

Victoria Yoga Conference 73
Interviews 75
RESEARCH CONCLUSIONS 78
SITE 82
Selection and History 82
Climate 85
PROGRAM 87
PROJECT DESCRIPTION 89
Circulation - site as connective tissue 90
Floor Plans 91
The Journey - a narrative … 97
Structure 108
Sustainability 111
CONCLUSION 114
REFERENCE LIST 117
FURTHER RESOURCES 123
APPENDIX A - Interview Questions 124
APPENDIX B - Interview Transcripts 126
APPENDIX C - Water & Solar Calculations 164
APPENDIX D - Final Evaluation Letters 170
v
LIST OF ILLUSTRATIONS & TABLES

Figure 1 Methodology Process ....................................... 11
Figure 2 Tibetan Monk ...................................................16
Figure 3 Sacred Geometry, Joshua Tree .........................31
Figure 4 Circulation Paths, Joshua Tree .........................31
Figure 5 Spirit of Place, Joshua Tree..............................33
Figure 6 Sustainability, Kripalu......................................36
Figure 7 Poetic Form, Kripalu........................................37
Figure 8 Site Entrance, Kripalu ......................................39
Figure 9 Site Plan, Vajrasana ..........................................42
Figure 10 Circulation, Vajrasana ......................................44
Figure 11 Spirit of Place, Vajrasana .................................46
Figure 12 Setting, Salt Spring Centre of Yoga .................55
Figure 13 Circulation, SSCY............................................58
Figure 14 Journey, SSCY .................................................58
Figure 15 Spirit of Place, SSCY.......................................60
Figure 16 Setting, Stowell Lake Farm..............................62
Figure 17 Interior, SLF .....................................................63
Figure 18 Journey, SLF ....................................................65
Figure 19 Spirit of Place, SLF ..........................................66
Figure 20 Elements of Architectural Retreat ....................80
Figure 21 Galiano Island Context ....................................83

Figure 22 Site Location ....................................................84
Figure 23 Site Context......................................................84
Figure 24 Site Analysis ....................................................85
List of Illustrations & Tables

vi
Figs 25-30 Site Context ................................................85-86

Figure 31 Site Aerial.........................................................86
Figure 32 Program ............................................................87
Figure 33 Program Distribution Concept .........................88
Figure 34 Program Distribution on Site ...........................88
Figure 35 Concept Sketch ................................................89
Figure 36 Concept Development Model ..........................89
Figure 37 Site Circulation ................................................90
Figure 38 Key Plan ...........................................................91
Figure 39 Communal Building Floor Plan .......................92
Figure 40 Key Plan ...........................................................93
Figure 41 Accommodation Building Floor Plan ..............94
Figure 42 Key Plan ...........................................................95
Figure 43 Meditation Building Floor Plan .......................96
Figure 44 Concept Sketch ................................................97
Figure 45 Pratyahara Limb ...............................................98
Figure 46 Yamas Limb .....................................................99
Figure 47 Pranayama Limb ............................................100
Figure 48 Niyamas Limb................................................101
Figure 50 Pratyahara Limb .............................................103
Figure 52 Asana Limb ....................................................105
Figure 53 Dharana Limb ................................................106
Figure 54 Concept Sketch ..............................................107
Figure 55 Communal Building Section ..........................108

vii
Figure 56 Handrail Detail ...............................................108

Figure 57 Accommodation Building Section .................109
Figure 58 Accommodation Building Section .................109
Figure 59 Meditation Building Section .......................... 110
Figure 60 Wall Section ................................................... 110
Figure 61 Materiality ......................................................111
Figure 62 Site Water Strategy......................................... 112
Figure 63 Site Water Schematic ..................................... 112
Figure 64 Energy Strategy .............................................. 113
Figure 65 Living Building Petals ................................... 113
Figure 66 Rendering - Site Overview............................. 114
Figure 67 Rendering - View from Water ........................ 116
Table 1 Yogic Limb Framework ...................................23

Table 2 Site Selection - Yogic Limb Framework ..........82
Note - all other graphics and sketches produced by Author. 

viii
INTRODUCTION
“The lesson of all sacred architecture, all sacred
space: that we need only look about us, and feel
with a new intensity the space and light and solid
and void, and the sound and the quiet, and listen to
the presence of the past, and from there look into
ourselves. And then we will find the transcendent.”
- Paul Goldberger (2010)
Why Yoga?
I believe yoga is an important practice - one capable of bringing
moments of stillness and peace to its followers. I have practiced
yoga for longer than I have practiced architecture and, in my
experience, the one has increasingly informed the other. Although I
initially came to yoga primarily as a physical practice and means
of stress relief, it has had a larger impact than I could have
imagined, on all aspects of my life. I think there are many
connections between architecture and yoga; many sparks of
inspiration and joy that relate yoga to architecture and vice versa.
This paper aims to further explore these connections and sparks.
The practice of yoga can be a crucial element of personal
wellbeing and connection to the wider community, and further
universal connection. I believe it is important to have a place of
retreat in order to nourish our souls and rest our minds. Being able
to disconnect and recharge outside of one’s normal daily routine
brings a different focus to individual practice. Personally, I have
Introduction
9
found an increased need for, and benefit from, longer moments of
stillness and reflection; an essential break from the constant noise
and movement of my life. I carry a sense of peace with me into my
daily routine long after I leave a retreat.
Yoga has existed for centuries, or more, as an established element
of daily life in many parts of the world. The Sanskrit word yoga is
derived from the Sanskrit root yuj, meaning “to yoke” or “to unite”
(Dass & Thomas, 1981). In the practice of yoga, this union is the
connection of body, mind and spirit. The underlying significance
speaks to our need for connection - with ourselves, with each other
in community, and with nature.
In terms of religious roots, yoga comes from Vedic and Hindu
traditions, with elements that pre-date Hindu religion (Iyengar,
2012). This ancient practice dates back thousands of years and has
seen a resurgence of interest in the last century or so. Modern
yoga, particularly as practiced and understood in the Western
world, often has a different meaning, shifting away from the
spiritual and religious connotations. A person from any religion, or
no religion at all, can come to yoga without having to give up, or
change, a personal belief. Essentially, yoga is not associated with
any one belief system, although the practice of yoga can have
spiritual elements for many people. The opportunity to rest in
Introduction
10
stillness and reflection can bring the sacred to the forefront of
many people’s experience of their personal yoga practice.
Methodology
Thorough exploration of two main areas of research have been
undertaken during this journey: the investigation of sacred
architecture, through a review of modern retreat centres; alongside
a comprehensive inquiry of the foundations of yoga theory to
ground the intention of this project and establish a framework.
FIG. 1 - RESEARCH METHODOLOGY

AND PROCESS
Literary reviews, precedent studies, qualitative and quantitative
analysis and personal interviews have been the main focus of the
research methodologies. The iterative nature of this research will
Introduction
11
extend into the next phase of the diploma project and will continue
to inform overall process.
Paper Structure
This paper, following this introduction, is divided into three
sections. The first section, Yoga and Architecture, provides an
introduction to yoga theory and considers how yoga has been
incorporated into the western world. The key tenets of yoga
philosophy are outlined and connections are made to architectural
theory. The integration of yoga and architecture is explored in the
establishment of a guiding framework.
The second section, Analytical, views architecturally relevant case
studies through the lens of the yogic limb framework to establish
some interpretations about how architecture supports the practice
of yoga in a retreat setting.
The third section, Experiential, will explore both my personal
experiences while attending various retreats, as well as those of
interviewees. These interviews add additional layers to test against
my own experience. Investigation continues to follow the lens of
the yogic limb framework, but will focus on the experiential
elements, rather than the analytical.
The culmination of the first three sections will result in the
exploration of design strategies that can be used in the
Introduction
12
development of a new typology of architectural expression. The
possibilities for integration of sustainable solutions are also
explored here.
The remaining sections will be developed in terms two and three of
the Diploma Project (RAIC 690b) and will form the foundation for
the design project (annotated visual argument). Section Four, Site,
will explore site selection and describe the site chosen to
investigate the concepts introduced in the research term. Section
Five, Program, will introduce a functional program for the site that
serves to illustrate the issues discussed.
The final section, Project Description, will present descriptive text
of design process and concepts, with integration of reproduced
drawings of the final design project: the architectural expression of
spiritual space in the form of a yoga and meditation retreat centre.
Project Aims
This project endeavours to create a retreat centre where urban
dwellers can extract themselves from their busy daily lives and
discover moments of stillness and quiet. The intent is a holistic,
experiential retreat for the union of the mind, body and spirit,
allowing for solitude and self reflection, as well as a re-connection
to nature and the larger community. Although people from further
afar may visit the retreat centre, the project is primarily targeted for
Introduction
13
people living in the urban centres of Vancouver and Victoria,
British Columbia.
It is important to locate the retreat centre away from urban centres
for several reasons. First, the congestion of the city does not
contribute to a sense of calm or a connection to nature. Spending
time in nature has been shown to contribute to a healthy body and
mind (Psychology Today [PT], 2003), while city living tends to be
distanced from nature. The connection to the natural rhythms of
our larger natural environment are more clearly evident, and
therefore more easily accessed, outside an urban setting.
The vision can be expressed in the following mission statement:
TO CREATE A RETREAT CENTRE THAT PROVIDES A SUPPORTIVE

ENVIRONMENT FOR CONTEMPLATION AND SOLITUDE IN NATURE;
GENERATING A RICH SPIRIT OF PLACE, LAYERED WITH THE
INTEGRATION OF SUSTAINABLE ARCHITECTURAL PRINCIPLES AND
YOGA PHILOSOPHY.
Taking time out for a retreat can help people find inner peace and
invigorate the mind, body and spirit while re-connecting with the
authentic self and with nature. Architectural design can support this
practice by using a holistic approach, where numerous elements
(including siting, orientation, adjacencies, circulation, approach,
building materials, and the built form) are all considered to inform
the ‘enlightenment’ of a project. 
Introduction
14
YOGA AND ARCHITECTURE
“It is essential sometimes to go into retreat, to

stop everything that you have been doing, to stop
your experiences completely and look at them
anew, not keep on repeating them like machines.
You would then let fresh air into your mind.
Wouldn't you? This place must be of great beauty,
with trees, birds, and quietness ... For beauty is
truth and truth is goodness and love.”
- J. Krishnamurti (1999)
Evolution of Yoga and Yoga Retreats
The concept of retreat is an ancient one. In its function as a verb,
the word retreat means to withdraw, and is often used in
description of military tactics. The phrase to “beat a hasty retreat”
brings to mind a visual of quickly getting out of danger. In its
function as a noun, retreat has roots in spiritual seclusion practiced
by various religions, including Buddhist, Catholic, Hindu,
Christian and Islamic communities (Cooper, 1999).
Ancient retreats were not practiced to escape the daily stressors of
life, but to quiet the mind in order to get closer to god. These
retreats were seen as an essential element, simply one part of the
whole of a follower’s spiritual or religious practice (Mann, 2002).
The architecture of the retreat is historically simple, even
simplistic, and in many ways still is. The ‘retreatant’ does not need
opulence, luxury or even things in order to withdraw and sit
Yoga and Architecture

15
quietly. In very early days, a typical retreat setting was simply
nature. Sitting atop a mountain or in the woods, with no shelter or
‘architecture’ per se, a monk would meditate or pray, often for long
stretches of time. The ideal retreat setting eventually progressed to
the more formal container of a monastery or a temple location,
which can be extremely simple architecturally; or in temple
architecture, can tend towards opulence.
Towards the 1950s, organized group retreats gained in popularity
in North America, requiring the introduction of a space large
FIG. 2 - TIBETAN MONK IN NATURE. enough to host more than one individual (Goldberg, 2010). These
IMAGE CREDIT - PUBLIC DOMAIN FROM:
HTTPS://UPLOAD.WIKIMEDIA.ORG/
group retreats ranged from religious to secular and often fit
WIKIPEDIA/COMMONS/5/51/
ПРАКТИКА_ТУММО.JPG
themselves into existing spaces or buildings. Due to lack of funds,
these spaces were often used temporarily by the group and
repurposed the remainder of the time in order to earn
supplementary income.
Supporting this challenge, even today it is difficult to find retreats
that have been designed and purpose built, rather than a renovated
building such as a farm house, barn or decommissioned church.
Yoga and meditation retreats have significantly risen in popularity
along with the increase in mainstream yoga classes in the western
world (Syman, 2010). The intent has not changed however - the
function of a group retreat is still to withdraw and focus inwards,

16
now just surrounded by the energy of like-minded people. Retreat
gives the opportunity to physically, mentally and emotionally draw
back to oneself and allow time and space for reflection and
stillness. Practicing yoga and meditation while on retreat adds to
the connection with oneself and with nature.
Yoga Theory - 8 Limbs of Patanjali
There are a multitude of branches of yogic teachings, including
Jnana, Karma, Bhakti, Raja and Hatha (McCrary, 2014). In the
west, outside India, the term yoga is typically associated with
Hatha yoga and its asanas (physical postures), or as a form of
exercise. All types of yoga fall under the umbrella of Classical or
Ashtanga yoga. Ashtanga is a Sanskrit term that comes from
ancient yoga Sutras (books) of Patanjali and refers to an eight-fold
path to enlightenment (Stiles, 2001; Iyengar, 2012). Ashtanga
literally translates to ‘Eight Limbs’, with Ashta translating to eight
and Anga translating to limb (Dass & Thomas, 1981). Patanjali’s
sequence consists of five “outer” limbs and three “inner” limbs.
These limbs, or aspects of practice, progress from concrete,
external ideas to subtle, internal concepts (Sarbacker & Kimple,
2015). Enlightenment, or peace, is the ultimate goal of Ashtanga
yoga practice and is the eighth and final limb.

17
Enlightenment, according to ancient yoga texts, is the freedom of
the mind from worldly attachment, where one comes to terms with
their true nature (Hanh, 2011; Iyengar, 2012). It is the ultimate
union of body, mind, and spirit. According to Sarbacker and
Kimple (2015), another way to articulate this eight-limbed path is
“outer, inner, and then everything” (p. 13).
The eight limbs are laid out as follows:
1. Yama (restraints or disciplines towards the outside world) 
2. Niyama (observances or rules of conduct personal to oneself) 
3. Asana (posture) 
4. Pranayama (breath control) 
5. Pratyahara (detachment / withdrawal of senses)  
6. Dharana (concentration) 
7. Dhyana (meditation) 
8. Samadhi (Enlightenment)
It is interesting to note that asana and pranayama, the most
popularized forms of yoga practice, especially in the west, are third
and fourth on the list, building upon personal, or internal, restraints
and observances, and ethics towards the greater community.
Physical postures and breath work on their own are not yoga, but
simply two components of the whole of yoga. The physical body is
viewed as a means to unite the breath body in order to reach

18
enlightenment. Each of the eight limbs builds upon the previous,
but the process is not necessarily linear; much like architecture, the
yogi’s journey will likely take a circuitous route, and begin again
and again, over the course of a practitioner’s life.
Both the limbs of Yama and Niyama contain five further sub-limbs.
The five yamas are restraints that relate to how we function in the
world, how we treat ourselves and others, and how we choose to
live on the earth. The five yamas below can be viewed as similar to
several of the ten commandments and are a version of “thou shalt
not” (Adele, 2009).
1. ahimsa, or non-violence; this can extend to compassion for
all living beings, including ourselves and the planet we
inhabit. Ahimsa also refers to internal thoughts, not just
gross actions.
2. satya, or truthfulness; this extends to living truthfully
among our fellow humans and being honest with ourselves.
3. asteya, or non-stealing; refers to both physical, material
stealing and abstract, internal theft.
4. brahmacharya; refers to moderation or control over the
impulse to live in excess.
5. aparigraha; refers to non-hoarding or contentment with
what you have.

19
The five niyamas below can be seen as rules of conduct that
mandate self discipline and internal observances (Adele, 2009).
1. saucha, or purity; references physical and mental
cleanliness.
2. santosa, or contentment; related to aparigraha, refers to
being satisfied with what we have and where we are, in
practice and in life.
3. tapas or austerity and discipline; can relate to burning off
what no longer serves us and also to challenging yourself
with staying in a moment of discomfort.
4. svadhyaya, or self study; relates to becoming self aware
and going deeper with self observation, especially of habits.
5. isvarapranidhana, celebration of the spiritual and surrender
to the unknown.
Yogic Limbs + Architecture = Limb Framework
These limbs are integral to the foundation of yoga practice, where
if one limb is missing, an unbalance occurs. A comprehensive,
integrated approach to yoga, and subsequently to architecture,
requires a balance in all elements. Successful architectural design

It is only with the heart that one
can see rightly; what is also speaks to a holistic approach, with the union of body, mind
essential is invisible to the eye.
The Fox to the Little Prince and spirit.
- Antoine de Saint-Exupery

20
The following framework, based on Patanjali’s yoga limbs, has
been established, during this research process, as a means to
evaluate both precedent projects and my own retreat experiences.
This framework has also informed interview questions. Each limb
corresponds to an architectural concept or experience of space. The
last two limbs, meditation and enlightenment, are so tied to each
other, in an intangible sense, that they are combined to correlate to
one framework concept - Spirit of Place.
The first limb, Yama, corresponds to the architectural concept of
ethics; particularly site, materiality and sustainability. The sub-
limbs of the yamas pertain to truthfulness, moderation, non-
stealing, and non-harming, and these have a direct link to
architecture and sustainability. Being true to the site with selection
of local materials that honour the climate and setting, as well as
minimizing, or even eliminating, harmful impacts on the earth, are
important elements to architecture (Feuerstein, 2007; Álvarez,
2014). The equivalent retreat analysis is similar; exploring the
experiences of location and setting, as well as materiality and
sustainability endeavours, of a particular retreat.
The second limb, Niyama, the internal rules of conduct,
corresponds to the architectural concept of program and the
guiding rules that influence the program and adjacencies of a

21
precedent project and also of a retreat experience. Whether the
program is clustered together in one building, or is sprinkled
around the site in separate buildings, relates to internal rules. As
this limb relates to cleanliness and austerity of the body, it directly
connects to the experience of spaces where retreat participants eat,
sleep, bathe and practice.
The third limb, Asana, the physical postures of yoga practice,
corresponds to the architectural concepts of form, geometry and
structure. As in a physical yoga pose, the structure of the body
supports the pose; similarly, the structure of a building supports its
architectural expression. In an experiential retreat analysis, this
limb corresponds to the variety of classes or sessions offered as
well as the interactions of participants between sessions.
The fourth limb, Pranayama, breath work, corresponds to the
architectural concept of circulation. Much like exploring how the
breath circulates within the body, we can study how participants
circulate within a building, site, or a retreat centre. Additionally, as
the practice of pranayama sometimes means constraint or
restriction of the breath from certain parts of the body, this
corresponds to an investigation of public versus private spaces.
The fifth limb, Pratyahara, can be viewed as a bridge between the
external limbs and the internal limbs (Sarbacker, 2015). Pratyahara

22
Yogic Limb Architectural Retreat

Concept/ Experience
Precedent
Analysis
Yama (restraints or disciplines towards the Ethics - Site / Site / materiality /

outside world) materiality / sustainability
sustainability
- non-violence, truthfulness, non-stealing,
moderation, non-hoarding
Niyama (observances or rules of conduct Rules - Program / Amenities - food,

personal to oneself) adjacencies accommodation,
washrooms, spa,
- purity/cleanliness, contentment, heat/ gardens.
rigour, self study, surrender to unknown
Asana (posture) Form / geometry / Variety of classes

structure offered &
interactions
between sessions
Pranayama (breath control) Circulation (public/ Circulation (public/

private) private)
Pratyahara (detachment / withdrawal of Journey / Approach Journey / Approach

(ACTIVE • EFFORTS)
senses)
Things you do
Dharana (concentration) Scale - Length of Length of retreat /

retreat / size of size of group
group
Dhyana (meditation) & Samadhi Spirit of Place: Spirit of Place:

Things that happen TO you
(PASSIVE • RESULTS)
(‘Enlightenment’) - combined
sacred / magic / sacred / magic /
special special
Long term / short

term effects
TABLE 1 - YOGIC LIMB FRAMEWORK

23
is the idea of withdrawing or detaching one’s external senses and
journeying inside, in preparation for meditation. The
corresponding architectural concept is journey and approach,
applying to both architectural analysis, as well as the experience of
journeying to a retreat, no matter if it is near or far. Formal or
informal procession, a fundamental architectural concept, is also
related to Pratyahara.
The sixth limb, Dharana, is intentional concentration, or “paying
attention on purpose” (Dass & Thomas, 1981, p. 9). Like
Pratyahara, Dharana is also internal preparation for meditation,
with concentration on the rhythm of the breath, or a repeated
mantra, such as OM. The corresponding architectural concept
looks at concentration from the perspective of scale, relating
specifically to the intended use of the space, in conjunction with
the length of retreat and size of group. A retreat space will likely
have significant differences if it is intended to support a group of
fifty staying for three months, versus a group of twelve participants
visiting for a weekend.
The seventh and eighth limbs go beyond physical concepts to
ephemeral concepts. They no longer are within the control of what
a person can do; rather, these limbs, and the concepts behind them,
are a result of the six limbs that have come before. Dhyana, the

24
seventh limb, is classified as meditation, and is different to what
most of us think of as meditation, which in actuality is simply
Dharana, or focused concentration. Actual Dhyana meditation is
the lack of striving to meditate. The natural culmination of the
previous limbs results (in rare occasions) in Samadhi or
enlightenment, something that is impossible to do by trying and
difficult to express in words. The architectural concept that
corresponds to these two limbs is Spirit of Place, the intangible
feeling of the sacred, special and magic. In architecture, this
feeling is not something tangible, the outcome of which can
actively be controlled, but rather it occurs as a result of successes
in the previous elements. The hope, and intention, is always the
culmination of an architecturally and spiritually rich spirit of place.
“I see the task of architecture as the defence of the

authenticity of human experience.”
Juhani Pallasmaa (2005)
The table on the following page synthesizes the information above
and outlines the framework which has been used as a lens to view
each part of this research process. It also highlights the similarities
between precedent analysis points and retreat evaluation points, as
the analytical and the experiential are several times linked. 

25
ANALYTICAL
Case Study Selection
While there are many properties around the world that host
retreats, I chose to look at retreat centres that were designed and
built with the specific purpose to hold space for yoga and
meditation retreats. Out of several retreats that were reviewed,
three retreat centres were selected to be explored in depth. Each
was selected for a different reason and is unique from the rest. Two
are located in the United States, in California and Massachusetts,
and the third is situated in Suffolk, England. All three projects are
ground breaking in that they were designed specifically around the
practice they support, rather than reusing and renovating existing
buildings, with the challenge of fitting the retreat’s needs within
existing walls.
Joshua Tree’s desert setting is home to North America’s oldest
retreat centre designed and built for the sole purpose of creating a
spiritual oasis. Also known as the Institute of Mentalphysics, the
Joshua Tree Retreat Centre now hosts several thousand visitors
every year and has fulfilled the vision of a place of spiritual
connection that inspired its founder, Edwin Dingle, more than
seventy years ago (Institute of Mentalphysics [IM], 2018).
Analytical
26
The Kripalu Centre, located on the opposite coast from the Joshua
Tree Retreat Centre, has similarly deep roots. It was founded by
Amrit Desai in 1970 and functioned for its first several years as a
residential ashram, with few visitors. The property itself was
established in 1983, after moving from Pennsylvania to
Massachusetts. After undergoing significant organizational
changes in the mid-nineties, the burgeoning centre hired an
architectural team to design and construct a new residence hall in
2009 (Kripalu Centre for Yoga and Health [KCYH], 2018). For the
purposes of this research, the focus is on the new Annex building,
with a cursory overview of the older, existing building on the site.
The third retreat is the Vajrasana Buddhist Retreat in England. This
particular project differs in its purpose, namely being designed for
meditation and following Buddhist teachings, rather than the
practice of yoga. Physical asana practice does occur on some
retreats, so the principles of sacred space at this retreat centre can
still inform this research. The retreat was built in 2016 as an
extension of the organization’s Central London home base, in order
to have the ability to welcome larger groups for longer periods of
time. The London Buddhist Centre was established in 1978 under
the larger worldwide order of Triratna Buddhist Community
(London Buddhist Centre [LBC], 2019).
Analytical
27
Additionally, I have reviewed a few small retreat centres in
Canada, the United States and the United Kingdom, brought into
being by a handful of individuals with a desire to share their
passion for yoga and wellness with the larger community. Each
purpose built precedent will also serve to inform this endeavour in
some way.
These three main case studies are explored in depth below using
the Yogic Limb framework as a lens through which to analyze the
architectural concepts found in each project. With exception of the
Joshua Tree Retreat Centre, I have not personally visited these
sites, so any reference to experiential opinions has been inferred
from others’ experiences in combination with thorough analysis of
images, videos and articles available.
Analytical
28
Joshua Tree Retreat Centre

• Joshua Tree, California. (1945-1955) Frank Lloyd Wright Sr. &
Frank Lloyd Wright Jr.
The Joshua Tree Retreat Centre (JTRC) was designed over the
course of a decade by Frank Lloyd Wright, with his son, Frank
Lloyd Wright Jr. Due to conflicting design ideals between client
and architect, ultimately the design and completion of this massive
project landed in the hands of the junior Wright architect (IM,
2018).
Located on 400 acres of sprawling desert outside Palm Springs, the
project was designed around ancient existing energy lines. Several
intersections of these energy lines culminate at a vortex, which,
according to the centre’s founder, is a place of amplified energy
(IM, 2018).
I have personally visited JTRC, although I have not participated in
a retreat here.
Yamas - Ethics: Site / Materiality / Sustainability
Due to the harsh desert climate, each building was designed to
minimize solar gain and maximize air flow, utilizing large
overhangs on low buildings. Locally sourced material, such as
natural stone from the Yucca Valley, forms a solid base which
supports lighter steel elements. All materials, including stone,
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concrete and steel, are intended to stand for decades in the
unforgiving desert valley.
In the words of the architect himself, “…each dwelling place [is]
rooted deep in the soil of the Desert, tied to it with quartz-jewelled
native stone quarried from the site” (Wright, 1947, p. 8).
Niyamas - Rules: Program / Adjacencies
The program for the site separates functions into different
buildings. Accommodation spaces are located in separate buildings
than the large dining hall. Practice spaces are contained within
three unique buildings, scattered around the site. There are separate
men and women quarters in dormitory style, along with smaller
cabins for four to six people.
Each zone of dwelling is clustered along linear paths, with
accommodation mainly to the west of the large site and program
spaces kept mainly to the south of the site, closest to the road and
main entrance. Nearest to the site entrance is the main temple and a
simple building that houses both the office and bookstore.
Asana - Form / Geometry / Structure
The architecture of the retreat centre reflects the desert that
surrounds it - spacious and sweeping (Wright, 1947). The low
desert architecture has a sense of restraint. The buildings are
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relatively small for such a large site and at times are clustered to
form intimate moments.
The geometry and structure are explicitly shown through the use of
external stone-clad concrete columns and external metal frames.
Frank Lloyd Wright’s style of triangle geometry is enhanced by the

FIG. 3 - SACRED GEOMETRY
IMAGE CREDIT - JOSHUA TREE RETREAT
CENTRE client’s wish to include ‘sacred’ geometry. These sacred angles are
present within many of the practice spaces as well, expressed in the
shape of a roof or the pattern of window mullions.
Pranayama - Circulation
Due to the large size of the site, there is some distance between the
various buildings and functions. This distance is covered on foot,
giving time for contemplation between the moments of a retreat.
Processing an earlier yoga practice while journeying to the dining
hall for a shared meal can impart a mindfulness and importance to
each experience, such as eating, sleeping and practicing.
Private administration functions are housed in separate buildings
and located on the outskirts of the centre.

FIG. 4 - CIRCULATION PATHS
IMAGE CREDIT - AUTHOR’S IMAGE
Pratyahara - Journey / Approach
Journeying to Joshua Tree requires an approximate one hour drive
from the nearest large centre, so one progresses from the lushness
of palm trees to the arid openness of the desert. Regardless of
which direction travelled, visitors enter directly off main highway
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with access via a slightly intimidating security booth. Directed to
the large parking lot, a retreat participant then travels further on
foot towards program and accommodation spaces.
Once off the main road, there is no paving on the site, it is simply
dirt or gravel paths. Given the nature of the desert floor, there is
often no delineation between the path except for a row of small
stones; both humble and practical.
Dharana - Scale: Length of retreat / Size of group
The immense site offers accommodation for up to 300 people, with
practice spaces for 1200 people (15,000 sq.ft./1400 sq.m.)
(Goolsby, 2015). Multiple retreats are often held simultaneously,
with up to fifty people participating in each retreat. The length of
most retreats held at JTRC are three to seven days long, but some
retreats stretch to several weeks long (IM, 2018).
Dhyana & Samadhi - Spirit of Place
The vortices mentioned earlier, and the energy lines on which they
are oriented, are integrated heavily into the design of site plan
resulting in special places on site. Several of the eighteen vortices
culminate in water features, which feels unexpected and significant
in the dry desert setting. The labyrinth and medicine wheel are
examples of other sacred places within the site that offer quiet
moments for personal reflection.
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There is a conflict here when I reflect on the spirit of place at
JTRC, as the first impression is that it feels simply like a business,
with the security booth and the office and reception area. There is a
lack of personal connection, and I believe this is due to the size of
the centre. However, since I have visited this retreat centre in
FIG. 5 - SPIRIT OF PLACE person, I feel that the site navigation and practice spaces feel
authentic overall and the project sits in the desert landscape with
purpose.
Strengths and Weaknesses
Referring back to the yogic limb framework introduced earlier, we
can interpret the analysis above. The strengths and successes of
this retreat centre are found within the limbs of the Yamas,
Niyamas, Asana and Pranayama. Respect for the site is evident in
every element of the centre, echoing a respect for oneself.
Physically separating the spaces, and introducing an internal
journey within the site, is suggestive of the self reflection that can
occur on a personal retreat. Truth in materiality, geometry and
structure help to anchor the JTRC as a place for exploring personal
truths.
The challenges of the JTRC ultimately stem from the scale of the
site, and the impersonal aspect of hosting multiple retreats
simultaneously. Although there is an element of journey to arriving
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at the centre, the absence of a formal approach lacks separation
between highway speed and contemplative pace. Therefore, the
subtle, internal limbs of Pratyahara, Dharana and Dhyana &
Samadhi are left unfulfilled. 
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Kripalu Centre Annex

• Stockbridge, Massachusetts. (2009) Peter Rose + Partners.
Located on a large wooded site in Massachusetts, this retreat centre
experiences all four seasons. Journeying to this East Coast climate
at various times of the year, a visitor might experience cold
winters, warm summers or fall foliage. The most recent addition to
the centre, the Annex, contains supplemental accommodation and
practice space.
The existing brick building was constructed in 1957, and further
renovated in 1983, with no special sustainability efforts. The focus
of this analysis, however, the Annex building, was newly
constructed to high eco-efficient standards for the time (Cilento,
2010).
Sustainability efforts employed in the most recent building include
the use of a structural concrete mass to act as a thermal sink,
absorbing sun and heat during the day to release it in the cooler
evening hours (United, n.d.). Additional heat, as well as cooling, is
provided via geothermal radiant ceiling panels to the dwelling
spaces and practice room. The simple wood cladding, sourced
from salvaged reclaimed wood, functions as a movable screen,
allowing visitors to adjust how much sun and therefore, heat,
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enters each individual room. According to the architect, the
combined effect of the above significantly minimizes the energy
consumption of the building (United, n.d.).
FIG. 6 - SUSTAINABLE STRATEGY

IMAGE CREDIT - PETER ROSE + PARTNERS
The layout of the building funnels fresh air through the corridor
and indirectly into each room, as well as bringing daylight from
each glazed end of the building deeper, into what could have been
a dark corridor with no natural light.
The general rule for organization of program within the Kripalu
retreat centre has the original, larger building housing the largest
program and common spaces, as well as the majority of the
accommodation rooms. The main building also contains secondary
amenities such as spa, sauna and bookstore. The newer Annex
houses a smaller program space and additional accommodation
rooms.
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Most of the housing in the older building is dormitory style, while
double rooms with private bathrooms make up the majority of the
accommodation in the newer annex building. Accommodation is
located on the more private upper floors, while activated, public
spaces are located on the lower floors.
A large, double height dining room in the main building holds 300
people for main meals; however, there is also a smaller cafe on the
ground floor of the Annex, adjacent to the practice room. Both of
these common spaces overlook the extensive grounds.
The design concept of the Annex resulted in an angled, split
rectangle floor plan, in order to take advantage of views and
increase ventilation circulation. The form is much like an open
book; a poetic reminder that Kripalu is a place of learning and self
study.
The exposed concrete structure is visible throughout the building,
expressed in the floors, ceilings and walls. While this is a benefit
from a sustainability aspect, the proliferation of bare concrete
results in sparse, almost institutional, spaces within the new
building. Tindale, who visited Kripalu for a five-day retreat,
opines, “It had a deliberately minimalist design - no extra
stimulation to cloud our minds…When you strip away the modern

FIG. 7 - POETIC FORM
IMAGE CREDIT - PETER ROSE +
PARTNERS
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light fixtures and bedding, we essentially stayed in a concrete
bomb shelter” (2017). The practice room and lobby, especially,
could easily be mistaken for spaces within a modern office
building, due in part to the exposed round concrete columns.
Each building contains all program spaces, common rooms and
accommodation under one roof, with travel between the two
buildings via a glass enclosed breezeway. This means a participant
may never need to venture outside during their stay at Kripalu.
Functionally, this makes sense for the cold winter months, but acts
to compress the experiences during warmer seasons.
Both buildings, several storeys tall, utilize stairs as purely
functional exit stairs, resulting in most people traveling via
elevator to their rooms. Given the size of the centre however, a
visitor may still travel on foot for a significant distance, just inside
rather than outside.
The centre is situated two and a half hours from Boston, and
visitors travel from the main highway into the historic, small town
of Lenox, MA. From there, the journey progresses through a
winding tree lined road, ten minutes from the nearest small town.
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The retreat centre sits in an isolated rural setting that requires effort
to reach.
FIG. 8 - ENTRANCE TO KRIPALU SITE

IMAGE CREDIT - KRIPALU CENTRE
In this remote location, an arriving visitor parks and walks a short
distance to the main building. Unfortunately, there is an abundance
of vehicles and paving at this retreat centre, with the expected
congestion and destruction of views from the new Annex building
(United, n.d.).
The 120 acre site offers accommodation for up to 400 people (with
150 in the annex), and practice space for 700 people (10,000 sq.ft./
930 sq.m. with 3000 sq.ft./275 sq.m. in annex). The 34,000 sq.ft./
3150 sq.m. annex contains eighty rooms over six storeys (KCYH,
2018).
Similar to JRTC, multiple retreats are often held simultaneously,
with up to one hundred people participating in each retreat. The
length of most retreats held at Kripalu are three to seven days long,
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but some programs stretch to several weeks, such as the yoga
teacher training courses.
The site’s history has both a positive and negative impact on the
spirit of place at Kripalu. The fact that a previous spiritual retreat
once occupied the site gives a sense of a rich past (KCYH, 2018).
The property itself features a distinct connection to nature, with the
grounds extending out to include a labyrinth, meditation garden
and hiking trails.
However, the fact that at the turn of twentieth century the property
was considered the “largest private dwelling in the United States”
as a summer vacation home, still imparts an energy of superiority
and grandeur (KCYH, 2015). According to a student who has
visited several times in various capacities, Kripalu is “run much
like a hotel. And they offer a lot of services. People come in from
New York and all over the world…complaining about their rooms”
(T. Boyd, personal communication, May 20 2019). This is not the
entire experience at Kripalu of course, but ultimately, it lacks a
feeling of authenticity and spirit, important elements to enhance
the practice of yoga.
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Referring to the yogic limb framework, we can further explore the
analysis above for successes or failures. The strengths and
successes of this retreat centre are found within the limbs of the
Yamas, Pratyahara and, to a lesser degree, Asana. While more can
always be done to make a building or site more sustainable, the
efforts put into designing the Annex building as a low energy
project are commendable. Aside from the sheer number of
vehicles, the journey itself is successful, gradually bringing
participants into a slower pace as they travel from city to town to
the retreat centre.
The challenges of Kripalu Centre also seem to be a result of the
scale of the site and the buildings on it. According to architecture
critic, Robert Campbell, the project is “daring and serious” (2010);
and I would suggest these are not qualities a building intended to
house the mindful practice of yoga should aim to achieve. The
overbearing structures in the landscape and the hundreds of people
sharing a meal together lends an impersonal aspect in a different
way, but with a similar result, to JTRC. Circulation being entirely
contained to the interior, when there is nature, and lots of it, right
outside, seems to counteract the principles of yoga. Therefore,
several limbs, such as the Niyamas, Pranayama, Dharana and
Dhyana & Samadhi are left unfulfilled. 
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Vajrasana Buddhist Retreat Centre

• Bury Saint Edmunds, England. (2016) Walters & Cohen
Architects.
The Vajrasana Centre has a different feel to it that than the other
case studies, in both its compact scale and inwardly focused nature.
Buddhist principles inform the centre’s focus and circulation,
bringing a participant to an almost monastic frame of mind. The
architects spent a great deal of time with the client group, learning
how they practice and the fundamental reasons ‘why’ behind those
principles, in order to incorporate them respectfully into the
architecture of the centre (LBC, 2016).
The Vajrasana Buddhist Retreat Centre (VBRC) features locally
sourced materials, such as wood and stone, and as a result feels at
home in the natural surroundings. Cross ventilation and natural
light are featured throughout wherever possible, through use of
skylights, clerestory glazing, and operable windows. The layout of
the buildings themselves also aids in maneuvering fresh air
throughout the site.
All new construction was constrained within the foundations of
existing outbuildings in order to minimize impact to the site
(Walters & Cohen Architects [WCA], n.d.). An existing Tudor style

FIG. 9 - RURAL SETTING
IMAGE CREDIT - GOOGLE EARTH
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home in workable condition was also retained and repurposed
(WCA, n.d.).
In a similar manner, but on a much smaller scale than Joshua Tree
Retreat Centre, each function is contained within its own building.
Because the retreat centre is smaller than JTRC, each purpose can
be housed within a single building, rather than several buildings.
One building bounding the main courtyard contains only
accommodation, with approximately sixteen rooms and forty-five
beds (WCA, n.d.). Another building forming the elbow of the
courtyard can house an additional fifteen people and contains all
common spaces. Communal dining and socializing occurs in this
space and the lounge features a large fireplace for chilly English
evenings.
Space for worship, contained within the main shrine building,
forms the fourth wall of the courtyard. The shrine room is scaled as
the largest volume in comparison to the other structures, to indicate
its importance in the hierarchy of the retreat centre.
The existing Tudor building mentioned earlier, renovated during
the construction of the new buildings, was repurposed to provide
private staff quarters and administrative spaces in a separate
building, held away slightly from the new buildings (WCA, n.d.).
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The rectangular shape of the retreat centre, focused around a
central courtyard, alludes to monasterial cloister layout.
Surrounding this is a vernacular language of simple peaked roofs
for secular spaces, bounded by the regular rhythm of a sheltering
colonnade. The sacred precinct is marked by a different form,
material, and scale for worship and practice space.
The main structure of the buildings is simple concrete block,
painted crisp white on the interior and faced with local timber on
the exterior. Regular structural timber frames express the roof
structure and provide scale and rhythm within the dining and
lounge spaces.
The overarching circulation of the project is based on three main
Buddhist concepts, informing a processional route (Harper, 2016).
This route, ambulatory in nature, leads through two courtyards and
terminates in the shrine room. Within the circulation of the space,
Harper observes "Transitions and thresholds have clearly received
a great deal of attention” (2016, para. 5).
Although the range between buildings is not nearly as far as at
JRTC, the distance, nonetheless, is similarly covered on foot. This
once again provides time for contemplation between activities.

FIG. 10 - CIRCULATION
IMAGE CREDIT - WALTERS + COHEN
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Due to the rainy and cold climate common to England, these
outdoor paths are covered to provide shelter. This provides further
reference to monastery architecture, with colonnades surrounding
the courtyard.
Journeying to the retreat centre from London, as many visitors do,
means an increasing separation from the bustle of urban life as a
visitor winds their way through rural English countryside roads.
The last step of the journey occurs when visitors turn off the small
farm road onto the property. Vehicles are left in a small parking lot
very close to the entrance and the remainder of the journey into the
site is traveled on foot.
The 5 acre site offers accommodation for up to 60 people and
practice space for the same. The retreat centre is approximately
13,000 sq.ft./1200 sq.m. and contains twenty sleeping rooms. Most
retreats held at VBRC accommodate forty participants (LBC,
2019).
Because of the relatively small size, only one retreat occurs at a
time, so all participants attend the same retreat. The length of most
retreats held at VBRC are three to seven days long, but some
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retreats extend to one or two weeks long. Generally, the centre is
intended to accommodate short stays, rather than extended sojourn.
The minimalist, sparse and almost monasterial feel, serves to direct
focus inward and towards the retreat’s monuments and worship.
According to Wainwright (2016), “It is minimal but not
oppressively so, and has a slightly spartan atmosphere without
being overly utilitarian…It is architecture that fades into the
background, allowing your mind to concentrate on higher things”.
The spirit of this retreat centre comes as a result of the element of
worship and the presence of monuments to Buddha. The stupa,
shrines, and the procession to the main shrine room differs from
the other precedents, but seems to heighten the sense of spirit of
place. There is a feeling of being “a small part of something much
FIG. 11 - SPIRIT OF PLACE larger” (Mark, 2016, para. 14) at this retreat, that helps achieve an
IMAGE CREDIT - WALTERS + COHEN
anchored spirit of place within a larger community.
Applying the yogic limb framework introduced earlier, we can
decipher the above analysis. The strengths and successes of this
retreat centre are found within the majority of the framework
limbs, including the Niyamas, Pranayama, Pratyahara, Dharana
and Dhyana & Samadhi. Physically separating the spaces and
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introducing an internal journey within the site is an important
element of a personal retreat. Truth in materiality, geometry and
structure help to anchor the VBRC as a place for exploring
personal truths.
The challenges of the Vajrasana Centre result from the difference
in purpose of this retreat centre compared to the others explored.
The acutely introverted quality of the site, in addition to its small
scale, seems too inwardly focused, lacking an opportunity for
distance and reflection. This comes as a result of the practice of
worship. Additionally, there seems to have been unexplored
opportunities for sustainable design, given that this is a current
new build project. Therefore, the limbs of the Yamas and Asana are
not entirely successful, especially if applied to the function of a
secular retreat centre.
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Case Study Conclusions
The case study analyses undertaken have resulted in several
conclusions about how architecture supports the practice of yoga in
a retreat setting. These interpretations are outlined below and were
revisited, after further testing against my personal experiences
attending yoga retreats, as well as the experiences of several
interviewees.
Honouring the site with local building materials that are of that site
is an important part of achieving this yogic limb. Natural,
sustainable materials, such as wood and stone, can have a less
harmful impact on the environment as well as a beneficial impact
on the inhabitants of the space.
Locating the centre within nature, outside of the air and light
pollution of a large city, gives the body, mind and spirit fresh air,
with the time and space to fully appreciate it. Being able to see the
stars and, conversely, not being able to easily run home or to the
office, offers a chance for deeper integration of the practices of
yoga and meditation.
Pushing sustainable efforts as far as possible can connect the
architecture of a retreat centre to nature in a similar way that yoga
is connected to nature. Natural ventilation and daylighting via solar
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orientation are beneficial, but the design can do more to support
the project in a self-sustainable manner that reflects the principles
of yoga. Carbon neutral, net positive, Living Building or Cradle to
Cradle design principles can be explored in support of yoga
philosophy.
Housing each functional space in a separate building is a means to
achieve a sense of separation while on retreat. Allowing the
hierarchy of spaces to be expressed externally can also have a
significant impact on grounding the main yoga practice space,
while giving it further importance.
Common spaces, such as dining halls and large lounge areas, being
purposely held away from the quiet spaces of a retreat centre, such
as sleeping rooms, smaller lounges and practice rooms offers a
distinct separation between public and private, sacred and
temporal. Direct access to the outdoors from each space is
important, whether that be a visual connection or a physical ability
to venture outside.
Intentional design ideas informed by a deeper meaning, such as
JTRC’s sacred geometry, Kripalu’s open book or VBRC’s cloister
concept, help to impart a feeling of purpose and significance.
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Architectural form influenced by local vernacular can also be
meaningful, to further anchor a project within its site.
Honesty in structure, and expressing how a building supports itself,
can also reflect a body’s structural support and the link to the
physical asana postures of yogic practice.
If the program of a retreat centre is organized per the Niyama limb
above, with exterior space between each activity, this allows a
participant contemplative time to process, reflecting on each
experience throughout their retreat before beginning the next.
Allowing this time for self reflection to occur outside rather than
within a building furthers a connection to nature and all its seasons.
Offering the option of protected shelter to the wanderer means this
sort of exterior circulation can be comfortable year round. A formal
procession, with thoughtful use of thresholds between spaces, adds
to the significance of practice.
A layered journey enhances the sense of withdrawing or retreating.
Simply turning off the main road into a parking lot is not sufficient
to prepare a retreat participant for the coming personal journey.
Journeying for at least some distance from one’s home, with a
further journey from the main road to the final destination,
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provides an expansion of one’s experiences. An additional layer of
journeying can take place on foot, further into the site, once the
visitor has left their vehicle. This also helps establish a mental
distance from the busy world, inhabited by the car, and the calmer
realm of walking in nature while on retreat.
A change in surface material, such as from asphalt to gravel or dirt,
can act as a tactile or auditory cue. The approach and arrival
experience should signal a change of pace and focus.
The scale of a retreat centre impacts almost every other aspect of
it, so finding the right balance here is important. Too large and it
can feel impersonal and institutional. Too small and it can feel
constrained and stifling.
Allowing for a single retreat group at any given time can help to
focus the program, and also the scale, of a retreat centre.
The culmination of design successes in the previous six limbs will
theoretically, and perhaps automatically, result in an authentic
spirit of place, with intangible sacred and special moments, both
architectural and spiritual, within the retreat.  
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EXPERIENTIAL
Personal Retreat Experience
While the previous section discussed architecturally significant
retreat centres, through the lens of architectural analysis, this
section will examine my own personal experiences and opinions of
retreat centres. The yogic limb framework, introduced earlier,
establishes a corresponding experiential element to each limb
(Table 1, p. 23). Instead of being based on architectural concepts,
however, these investigations are based on individual insight. We
explore these retreats from an experiential stance rather than an
analytical one.
In addition to weekend retreats I have visited over the past several
years, I recently attended a variety of retreat centres to explore a
diversity of settings and experiences; three were visited alone,
while one was attended with a friend.
The retreats vary in location and length, as well as in purpose. All
retreats took place in the province of British Columbia; either in
Victoria, where I reside, or on a nearby Gulf Island. Some were set
in rural locations, while others occurred in urban, city centres. The
shortest retreat was one day, with no overnight stay, while the
longest retreat was three nights, four days. The focus of each
retreat varied from a silent day of seated meditation, to a yoga and
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meditation weekend, to a conference event with a diverse selection
of workshops, lectures and physical asana classes.
This section will also explore the personal experiences of several
retreat participants, whom I interviewed with the intention of
interweaving my personal opinions with those of others. The yogic
limb framework was used as a foundation to create the set of
interview questions, tying each element back to the principles of
yoga.
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Salt Spring Centre of Yoga (SSCY)

• Salt Spring Island, BC; two night weekend retreat.
The Salt Spring Centre of Yoga is located on a 60 acre property
with a long, rich history. The site was purchased in 1970 by a non-
profit organization, with the purpose of establishing a community
to spread the message of peace of the yoga teacher Baba Hari Dass
(Salt Spring Centre of Yoga [SSCY], n.d.). With its founder, the
community renovated the existing farmhouse to function as
accommodation, practice space and dining room.
While not purpose built for the function of retreat, the centre
functions solely in the capacity of holding retreats, yoga teacher
training and community yoga events. The SSCY hosts many
retreats each year, ranging from two nights to a week long deep
dive. There is a community of long term residents who live on the
property, as well as karma-yoga residents who volunteer one or
two months of their time to be of service to the centre.
Yamas - Location & Setting / Materiality /

Sustainability
Salt Spring Island is located within easy traveling distance of both
Victoria, Vancouver and the rest of Vancouver Island. The property
itself celebrates, and is immersed in, nature with ponds, trails, and
a garden producing food for the residents and guests. The
farmhouse, renovated with reuse of simple materials to repair and
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make improvements over time, is rustic and charming. Additional
small outbuildings have been added over the years; most are very
rustic, constructed of wood framing and wood cladding.
The site is on grid, with no solar collection or wastewater reuse.
Rainwater collection is used for the organic farm and gardens. The
FIG. 12 - SSCY RURAL SETTING centre, and most of Salt Spring Island, sustains itself on well water;
which results in signage placed in the washrooms and dining area,
advising the reduction of water use.
Niyamas - Amenities
The accommodation features clean, simple, minimal rooms, with
shared washrooms down the hall. Most rooms are upstairs in the
main house, but there are also two rooms in a separate building
sharing one washroom, called the garden house.
There is a cozy library and sitting room, with books to borrow
during your visit, which looks out to the grounds. Located on the
ground floor of the main house, away from the dining area and
entrance, it is typically a quiet space. Aside from this simple room,
there is no other sitting area for guests, besides the option to go
outside into nature.
There are several practice rooms scattered around the property. The
largest, and most used, practice room is in the main house,
immediately off the entry and adjacent to the dining and kitchen
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areas. It contains some shrines and sacred elements, but is
otherwise very simple, with wood floors and a more intimate
carpeted area. A traditional wood stove is welcome during winter
months, and for chilly, morning meditation sessions. Because the
space was repurposed from a hundred year old structure, from the
interior there is only a moderate amount of glazing from the
sleeping spaces and the practice space connecting a participant to
the exterior. A smaller practice room in the separate garden house,
and an even smaller yoga space in the pond-side yurt, are also
simple and rustic.
There is a small common dining area, which spills outdoors in
summer. In rainy or cold months, this space is cramped and can be
uncomfortable. The small kitchen tucked in the back is located
very close to the practice space, which can interrupt silent
moments with the bustle of mealtime preparation. All meals are
cooked by volunteer residents in the Vedic tradition, with produce
from the property’s own organic garden.
The other unique amenities of the centre are the sauna and spa;
also very rustic and charming, a small walk away from the main
space, in the quiet garden house. Gardens to wander through, with
temples, shrines, ponds and trails to discover, are the other intrinsic
amenities of the centre. There are many hidden moments to explore
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on the property, which deepened my quietude and connection to
nature.
Asana - Variety of Classes / Interactions
Multiple instructors teach a variety of classes, such as meditation,
breathwork, yoga postures, and an evening workshop. The
workshop is typically about mindfulness or yoga philosophy,
brought into everyday life, and offers an opportunity for discussion
with the group. Most sessions are held with the entire group in the
main yoga hall, in the main house. Some yoga posture classes are
split into two groups and use multiple practice spaces.
Meals, including morning tea, lunch and dinner are shared together
in the small dining space. Interactions are usually quite lively, as
six people to each round table discuss the previous session or
simply, daily life. At times there is a lack of quiet and calm, so
being able to eat outside when the weather is amenable is
important to me. Meal time conversations are varied and
interesting, as there is opportunity to speak with fellow
participants, yoga teachers and the resident staff.
Opening and Closing circles at the start and finish of the weekend
give time to go deeper and synthesize the experience, as well as
connect on a deeper level with fellow participants and the centre
community.
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57
I have stayed in both the main house and the separate garden house
over the years. Staying in the smaller garden house means walking
a short distance between each class or meal. I enjoy this time to
process and the few moments of alone time in what can be an
intense group setting. Staying in the main house means simply
going downstairs for class or mealtime, with less space or distance
for reflection. This is beneficial on rainy visits, though, to avoid
getting soaked several times a day.
Public space is the upper two floors of main house, with the lower
FIG. 13 - CIRCULATION
floor for administration space and resident staff. Private dwellings
also exist on the property for long term staff and teachers who live
on site.
Pratyahara - Journey
My journey to the centre has each time been by car, from
downtown Victoria. A short, scenic ferry ride then transported me
to this popular and picturesque Gulf Island. This act of leaving the
shore of one island and landing on the shore of another, further
solidifies the act of ‘retreat’, both in a physical and mental way.
A further twenty minute drive via the main road and then a
secondary rural road brings visitors to the centre property. Located
approximately in the middle of the island, the centre’s location

FIG. 14 - JOURNEY ACROSS THE WATER
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58
means a similar journey for all visitors, regardless of where they
land on the island. The final journey is a turn from the road onto a
long gravel driveway. This change in materiality signals a shift in
mindset and is a reminder to slow down, literally and
metaphorically.
Ascending the front steps of the farmhouse leads arriving guests
through double doors into a quiet entrance space. Welcome tea is
served in the dining room during check in process. From the first
moments there is a sense of calm and peace.
Dharana - Length of retreat / Size of group
Approximately thirty people attend each retreat, although this does
vary with the seasons, as more people may camp on site in
summer. Only one retreat occurs on site at one time. Sometimes
the group is composed of several groups of friends; sometimes
more mother daughter duos attend. The number of couples and
individuals fluctuates. Visitors travel from nearby Vancouver or
Victoria and also from across Canada.
The stay at the retreat is two nights, three days, with only one full
day to enjoy the centre. The size of property felt manageable but
unnecessarily large, as not all of the 60 acres are being utilized. A
participant can explore most of the property via the creek trail and
through the gardens and farm. I felt that there was definitely
Experiential
59
enough space outside to support the size of group, but not enough
space inside to give supportive options.
The property and the centre have an intense sense of community;
both with other guests, staff and volunteers; as well as a connection
the larger community on the island, and even reaching around the
world to sister properties. A visitor feels the energy of living in
harmony with the land and the resultant connection to nature.
The retreat’s authenticity comes from the rich history of the centre,
the rustic nature of the property, the shrines and an overall feeling
of warmth. I bring home with me a feeling of connection and calm
that weaves into my daily life and lasts throughout the next week.
The intangible spirit of place is powerful at SSCY and is the

FIG. 15 - SPIRIT OF PLACE centre’s greatest strength. The journey here always takes me out of
my busy mindset, almost immediately after getting on the ferry.
There is a release; of tension and of control. The tactile change in
material from the paved road to the gravel driveway on arrival,
further signals a shift in mindset, reminding me to slow down even
more.
The challenges about retreating to this property are due to lack of
space, lack of options to support various levels of solitude, lack of
Experiential
60
purpose built spaces designed to work specifically for this
community and the general disrepair of the buildings. Each space
does have a beautiful view, through small windows, but this could
be enhanced. While the centre may not wholly celebrate nature
from inside, the overall property definitely does.
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61
Santosha Retreat at Stowell Lake Farm

• Salt Spring Island, BC; three night long weekend retreat.
The Stowell Lake Farm retreat centre is located on an established
farm, focused on ethical sustainable food production. The long
history of key founding individuals living and farming on the
property is evident in the care and love taken with every aspect of
the retreat. The introduction of retreats came many years after the
farm was well established, in order to offer visitors an opportunity
to stay on the land for longer visits.
Yamas - Location / Site / Materiality / Sustainability
While the centre is rural, it is also located close to a moderately
busy secondary road, resulting in road noise and noise from
neighbouring properties during practice sessions.
Although there is no visible use of solar panels, rainwater
collection barrels are attached to the roof of each building.
Geothermal energy provides power to the renovated barn and
recently built gatehouse, which houses the practice space.
Natural wood is featured both interior and exterior; with all
cladding locally sourced and locally milled wood. Most of the
buildings on the property are built with standing seam metal roofs
and an abundance of windows, giving a visual as well as auditory
connection to outside and nature. The metal roofs reflect the

FIG. 16 - SET IN NATURE
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62
change of temperature throughout the day with the sound of pops
and creaks, as well as the soothing sound of rainfall during a storm.
Niyamas - Amenities
A separate building, purpose designed for retreat participants,
houses the majority of the accommodation. Beautiful new rooms
and thoughtful design touches are present in the newly built
accommodation space, while large amounts of wood, and natural
light, on the interior keep the space feeling warm and special.
There is a small common sitting space and deck for guests to share.
Other accommodation options on site are small two-person yurts
and a few cabins, all sharing outdoor washrooms.
The larger common lounge and main dining room are found in a
nearby separate building. This is a renovated old barn with a new
farm house kitchen, located in a visible position; further
connecting a participant to the centre’s harvest and food
production. These shared common spaces are quite large, almost
overwhelming, and not very cozy or intimate.
A third building houses dedicated practice space. Recently built,
designed specifically for a retreat centre, this space features the
graceful curves of an exposed timber roof and plastered walls.
While there are good acoustics and lots of natural light, it is also an
irregular shape and layout, meaning some of the group is around a
FIG. 17 - INTENTIONAL DESIGN

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63
corner and can’t easily see the instructor. At times, the amount of
direct sunlight was overbearing, and became a distraction from
going inwards.
There were no sauna or spa facilities on this property, but the
grounds are idyllic, with ponds, gardens and stone walls to explore.
A generous variety of classes, such as meditation, breathwork,
yoga postures, yoga nidra, and restorative yoga, was taught by one
instructor. All sessions were taught in the same space, with all
participants.
Meals, including breakfast, lunch and dinner are shared together in
the large dining space upstairs in the converted barn or outside
around picnic tables. Interactions are usually quite lively. As at the
SSCY, at times there was too much animation, and I was especially
grateful to be able to bring my tea back to the small sitting area in
the accommodation building, for some time alone.
Opening and Closing circles at the start and finish of the weekend
give time to go deeper and synthesize the experience, as well as
connect on a deeper level with fellow participants and yourself.
As each function is separated into distinct buildings, participants
must walk or go outside between sleeping, eating and practice
Experiential
64
spaces. It was a short walk, but provided enough time for
contemplation and quiet. Regardless of which accommodation
option a visitor chooses, they would travel between the clustered
buildings in a similar way.
There was a small office near the farm house kitchen, providing
private administration spaces.
As with visits to SSCY, I journeyed by car, continuing on the short
ferry ride to Salt Spring Island. The retreat property is a 10 minute
drive from the ferry terminal, and arriving visitors turn directly
onto the property from a secondary road. There is a short gravel
drive, but it is not far to the retreat buildings, with no formal
procession or approach. From the main parking lot, there was no
official check in process and participants travel further on foot to

FIG. 18 - JOURNEY ACROSS THE WATER
the sleeping spaces.
Twenty-four people attended this retreat, although property can
sleep up to thirty. There were several individuals and a number of
couples. Visitors had traveled mainly from nearby Vancouver or
Victoria.
The stay at the retreat was three nights, four days, with two full
days to enjoy the experience. The 100 acre property felt
Experiential
65
manageable, because only a portion of it was used for retreat centre
purposes and the remainder used for farm functions, production
fields, and houses for the owners, staff and workers that live on
site.
There was ample space inside and out to support the size of group,
although the dining room and main common lounge felt slightly
cavernous, while the practice room felt slightly constricting.
The retreat centre and property provided me with a strong sense of
community; directly from connecting with other guests and also
indirectly from the sense of visiting a working farm. A definite
connection to nature exists on the farm, with the permanent
residents living in harmony with their land in a remarkable way.
This retreat’s authenticity is due to location and the warmth of the
interiors. The extra day spent on retreat added to my internal
connection, and I was easily able to maintain a calm and stillness
as I returned home.
The barn building felt like a social hub, located close to the main
accommodation building and acting as a point of connection for
visitors. The practice building set further away provided more
seclusion and a separation from the bustle of mealtime while

FIG. 19 - SPIRIT OF PLACE
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66
meditating or practicing. In this way, a sense of importance is
imparted to the practice space, introducing a minor processional
route to reach it several times each day.
I had some challenges with the common spaces; even though the
physical space for dining and socializing was larger than at SSCY,
there was still a lack of options to honour people’s preferences.
The layered journey, a minor pilgrimage, to reach the retreat
centre, in a similar way to SSCY, enhanced the experience of
withdrawing from my daily routines and surroundings.
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67
Shambhala Meditation Retreat

• Victoria, BC; one day (daytime only).
I attended a daylong meditation retreat at the Shambhala Buddhist
Centre. This space is also where my weekly yoga practice is held
and it was interesting for me to experience the space in two
different contexts.
Yamas - Location / Site / Materiality / Sustainability
The Shambhala Centre is located in the eclectic community of
Fernwood, close to downtown Victoria. The building is a reuse of
existing space, adapted to suit Shambhala requirements. The centre
also shares the building with a dance studio across the corridor,
which sometimes means the chatter of boisterous young dancers
filters into the meditation hall during practice.
The neighbourhood itself is quiet and filled with mature trees;
birds often chirp excitedly outside the windows. Aside from a few
small windows, there is little connection to outside from within
practice spaces or the library. The interior is very simple, neither
rustic, nor new, with aging gypsum walls and ceilings and a simple
wood floor.
There are no sustainable features to this centre, likely because of
lack of funds, not lack of a desire to live lightly in the city.
Members of the Shambhala community, by the very nature of
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68
practicing Buddhism, are constantly attempting to reduce their
footprint in daily lives as well as doing whatever they can at the
Centre.
Niyamas - Amenities
There are few amenities at the Shambhala centre; it feels very
basic, almost similar to a recreation centre. Partly this is because of
the washrooms, shared with the dance studio users. There is no
accommodation as this is a non-residential retreat centre, where
people do not come to stay long term, but return home at the end of
practice.
The special spaces are the main shrine room and the smaller upper
shrine room. Each includes sacred buddhist elements, such as wall
hangings, prayer bowls, and statues. The entrance to the main
shrine room is adorned with beautiful Ikebana floral arrangements
that change weekly with the season.
Off the main entrance space, there is a library with many books for
loan, as well as a small kitchenette to make tea. Lunch was served
in this small space around makeshift tables.
Given that this retreat was only eight hours long, there was a
surprising amount of variety. Several instructors throughout the
day led the group through both seated and walking meditation
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69
sessions, along with some short interludes of stretching, chanting
and Buddhist teachings to offer a break from the intensity of
meditation. The space this was held in functioned well for all of
these experiences.
Breaks for lunch and tea were observed in silence, though there
was a short discussion about personal observations at the end of
day.
Entering into the meditation space, there is an informal experience
of procession; first passing into the shared entrance, then through a
door to the cloakroom, where a visitor respectfully removes shoes.
The space, and the visitor, becomes gradually more quiet as the
journey continues through a sliding door. This door leads down a
walled in ramp, heading only towards a blank wall straight ahead.
Finally reaching the bottom of the ramp, the only choice is to turn
the corner into the space. The compressed journey culminates in a
large open room with minimal Buddhist adornment.
During the lunch break, I took the opportunity to give my body
some movement and walked around the neighbourhood. Because
the day was so still and intense, the time to leave the centre
momentarily was welcome. It would have been nice however, to
Experiential
70
stay in solitude and not need to encounter cars, bikes and the
‘outside world’
Although the centre is located close to home, I travelled by car due
to an early morning start time. I felt intrigued leading up to the day
of the retreat, but no large sense of anticipation or adventure
because the space is familiar to me. I wonder if my expectation
might have been different, had the retreat been held in an
unfamiliar, but still urban, setting.
The journey back home was a short commute; too short, in fact,
and would have been better suited to a thirty minute walk in order
to synthesize the experiences of the day.
A relatively small group of people participated in this day-long
experience. Ten to twelve people shared the space with me from
8am to 6pm.
Going home at night was challenging after the intensity of the day
and I missed the overnight factor of other retreats I have attended.
This spiritual oasis in the city gave me a sense of connection to
other Shambhala communities within this Buddhist organization;
more so than when I practice yoga in the same space. Sharing
Experiential
71
energy and focus with the participants, also layered authenticity to
the retreat space.
It was an entirely withdrawn, internal day. Due to the intensity of
the experience, there were real challenges and opportunities. I
found it quite difficult to return home that evening to “real life”,
with the expectation of my family to chat, watch TV and use
technology, that same evening. I ended up hiding out in my
bathroom, soaking in the tub, trying to drown out the household
din. Because of this, I found the benefits of going inward on a
daylong retreat were very short lived.
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72
Victoria Yoga Conference

• Victoria, BC; three day conference (daytime only).
While not following the typical idea of a yoga retreat, the Victoria
Yoga Conference was still an intensive period of time, away from
my daily life, focused on the journey of quieting the mind and
calming the body. Rather than investigate each limb in depth, I
have summarized the overall experience, while still following the
basic yogic limb framework.
The conference was located in the Student Union Building at the
University of Victoria, in a natural suburban setting surrounded by
trees. I appreciated the nearby gardens, ponds, and fountains on
campus to explore between sessions. I also thought it appropriate
that the conference was situated in a place of higher learning,
which grounded the overall intention of the conference.
The makeshift practice spaces were classrooms, multipurpose
rooms and meeting rooms and were mostly large, bright spaces,
although there was not a lot of warmth to them.
Due to the conference nature of this ‘retreat’, there was a lot of
buzz between sessions; vendor booths and tea bars held many
lively conversations.
The first day, all my sessions were held in one building, so did not
have time to journey outside. On the second day, I had sessions in
Experiential
73
both buildings, and had to travel between buildings, resulting in
welcomed fresh air, and time for digesting the day’s events.
The twenty minute journey by public transit to UVIC did not offer
me sufficient time to disconnect from the urban bustle of
downtown or regular life.
I shared this experience with approximately 200 people, and the
energy of such a large group of like-minded people sharing breath
and experiences was uplifting. I left at the end of each day feeling
extremely grounded and connected to something larger.
There was a lack of warmth and spirit of place due to the overall
institutional feel, but people made it authentic.
Experiential
74
Interviews
In order to anchor my personal experiences in the diversity of
others, a series of interviews were conducted with six individuals
who have recently participated in a yoga retreat. A variety of
interviewees was selected, ranging in age from 30 to 60, both male
and female, with differing levels of yoga practice. The interviews
were conducted using a semi-structured qualitative research
method. The interview questions were also grounded in the yogic
limb framework established and presented earlier. They were
recorded, transcribed and summarized as follows. Refer to
Appendix A for the interview questions and Appendix B for the
transcriptions.
Each person attended a retreat at a different retreat centre from the
others. The experiences and locations varied from a weekend at a
nearby local retreat centre, to a 10 day silent retreat in Alberta, to a
week long retreat in Oregon. All retreats were residential, meaning
there was an overnight stay component to all of them.
When asked to place the experiential elements that corresponded to
each ‘limb’ of the framework in order of its importance to their
experience, the results were interesting. I first noticed that every
one of them found it difficult to rank these elements. There were
multiple comments noting that all the elements were equally
Experiential
75
The beauty of it is being in important and that it was impossible to separate them from each
nature.
other. Unequivocally, the elements that were placed highest in
-T
importance were location and setting (Yamas) and spirit of place
Quiet, peaceful and isolated. So
(Dhyana & Samadhi). In most respondent’s opinion, these two
no neighbours, no cell service. I
love the total disconnect. elements are closely tied, linked together in a manner that was
-J
difficult to verbalize. The energy of a property, as I experienced, is
…people have meditated for a massive part of a rich spirit of place.

thousands of years in rustic
conditions. So are we making it
The aspect of being in nature was ever present in the comments
overly comfortable because of
all of us city folk that are driving regarding the Yamas. Partly due to the level of isolation and
out to the country for ten days
and having all these solitude, and party due to the energy of natural elements, such as
expectations?
-S hot springs, rivers, or lakes.
Generally, people enjoyed staying in accommodation that was

It’s too easy to get caught in the
trappings of beauty, rather than comfortable, over extremely rustic. However, there were a few
focus on the practice.
-T intriguing comments about being too comfortable, and whether
that conflicted with a yogic principle about getting to the place of

… more opportunity for solitude
when eating. being comfortable in discomfort. Does the beauty of a too perfect
-D
space actually serve to distract from the practice of yoga? Tanizaki
… needed more space for has written about this in a similar way, stating “As a general matter
myself in quiet.
we find it hard to be really at home with things that shine and
-J
glitter” (1999, p. 18).
I loved that [the spaces] were
separate because I got to go for Amenities, types of classes, interactions with others and the scale
this little walk.
of the property and the group were indicated as equally important
-D
Experiential
76
… walk through a beautiful to interviewees ranking the experiential elements. When speaking
setting, which is lovely because
then you get that time between. about interactions and scale a comment that came up several times
-W was the need for a retreat centre to support solitude, especially at
meal times, in larger groups.

The act of getting there, that
journey, separates you from day
to day life and puts you into a Although circulation and journey were placed lower on most of the
different mindset.
rankings, the consensus amongst all respondents was that
-S
separation and distance, both from moments and experiences while
…crossing that water was even
on retreat, and from daily life, was essential to their ability to
more symbolic to me of leaving
behind my normal life, my experience depth of practice. Being ‘away’ was an integral part of
normal concerns.
-D their enjoyment of a retreat. A prolonged, layered journey that
gradually transported the visitor from civilization to seclusion, was

The very definition of retreat is
leaving! preferred to a short journey that only offered an abrupt transition
-R
into the mindset required for periods of retreat.
There were issues with the The architecture of a retreat centre, in most cases, was viewed as a
really big windows during
certain times of meditation. The backdrop to the experiences, with the richness of the spirit of
sun would be a distraction from
a meditation practice. place, and a feeling of connection to something greater, being
-D
quintessential to the experience.
The property is infused with the Overall, the opinions of those whom I spoke with echoed those of
energy of the teacher.
my own, with a few minor differences as outlined above. The
-T
differing experiences are the ones that have caused me to pause
… the whole energy supports
longer and contemplate deeper, and will perhaps enrich the design
transformation.
-W phase of this project the most. 
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77
RESEARCH CONCLUSIONS
Layering the personal experiences of myself and others onto
conclusions formed earlier as a result of case study analysis lead to
the following ‘key tenets’ of architectural expression that can
support and enhance the practice of yoga.
In order to be as accessible as possible, the retreat centre will be
embedded within nature while being not too isolated from the city.
A retreat may be away from the city but still an active participant
in urban culture. Visitors need not rely solely on vehicles, but will
also be able to reach the retreat centre with public transit or by
bicycle.
The retreat centre will be ‘of its place’, with locally sourced,
natural materials anchoring it to the site. Sustainability, an intrinsic
element of yoga practice, will be explored to the fullest degree; this
will require further research to determine whether the design
principles of off-grid, carbon neutral, or net positive design are
appropriate. As mentioned earlier, one of the tenets of yoga theory
is ahimsa, roughly translated to mean ‘do no harm.’ This applies
both to our thoughts and actions towards fellow living creatures,
both human and animal, but also to our environment. Being
conscious of our impact is not only crucial as individuals, but is
also an important element of any retreat centre.
Conclusion
78
Separation of functions into different buildings recognizes the
collective experience, while still honouring the individual
experience. Architectural hierarchy can be expressed to distinguish
private sleeping spaces, from public common zones, from sacred
practice spaces. The site, and its grounds, becomes the overall
vessel to contain the collection of spaces and experiences.
Poetic, meaningful, but still simple, form and structure can honour
the building materials and express honesty in structural elements. A
deeper architectural concept can add larger significance to the
overall design of a retreat centre.
Space between buildings and experiences, outside in nature, offers
time to contemplate and process. Weiss asks, “what threshold do
we step across that elevates a location and makes a place feel
sacred?” (2008, p.19). This signal to mark the transformation from
everyday to sacred comes from each threshold and transition
encountered along the journey from one’s home, the procession
onto, and within, the property, and the internal circulation within a
retreat centre grounds.
Additionally, with the presumption that most visitors to the retreat
centre will arrive from the city, the separation of time and space
from city to retreat becomes a transportation from one realm to
another. Leaving the familiarity of one’s city for the unknown
Conclusion
79
natural surroundings of a retreat, further distances the mind from
habitual routines and daily stressors.
A balanced scale, pertaining to the entirety of the retreat
experience, from the size of the property to the types of amenities;
from the length of the retreat and the size of group to share the
experience with.
The above limbs, through thoughtful, engaged, architectural
design, can synthesize as a sacred space to unite with one’s inner
self and with nature; to experience both solitude and connection.
FIG. 20 - YOGIC LIMB ELEMENTS OF ARCHITECTURAL RETREAT
Conclusion
80
Yoga is not just about the physicality of the practice, but about
finding balance and contentment in the present moment. By
providing meaningful experiences like a sense of journey and
procession, with a balance of direct and obstructed views and a
variety of textured light and shade, architecture can enhance the
practice of yoga by celebrating the present.
Yoga instructor Lara Rubin Alexiou expresses the connection
between our body’s physicality and that of architecture: “Your
body is a living breathing piece of architecture, designed
specifically for you” (TED, 2014). The retreat centre can engage
with natural rhythms like the movement of light and the changing
temperatures through the days and the seasons, connecting
participants to nature in a tangible way.
The research findings discussed above will be applied to the design
of a yoga retreat centre in an annotated visual argument in
fulfilment of the requirements of RAIC 690b. 
Conclusion
81
SITE
Selection and History
Site selection was informed by the following parameters based on
precedent studies and experiential interviews. These elements were
further refined to tie back into the yogic limb framework.
Exploration of potential sites through the lens of the yogic limb
framework led to the selection of an interesting and varied site on
Galiano Island. Galiano is one of several Gulf Islands, and is
centrally located in the Salish Sea between British Columbia’s
mainland coast and the province’s largest island, Vancouver Island.
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TABLE 2 - SITE SELECTION -

YOGIC LIMB FRAMEWORK Site
Yogic Limb Framework • SITE SELECTION PARAMETERS
RAIC Syllabus 690b • Term 2 2019
82 Morgan Lesov • BC 090023Vic
FIG. 21 - GALIANO ISLAND CONTEXT

IMAGE CREDIT - GOOGLE MAPS
Formed of ancient sandstone, Galiano Island was home to the

GALIANO ISLAND Hul’qumi’num people, part of the Coast Salish Nation (Steury,
2012). The modern Penelakut nation are their presumed

Area • 60.15 km2 (23.22 sq.miles)
descendants and still retain rights to procure food from the island.
Population • 1,044
Shell midden beaches exist as a reminder of their presence, dating
Density • 17.4/km2 (45/sq.mile) back 3000 years (Steury, 2012). The island’s history supports the
Samadhi limb with a rich history and spirit of place.

Accessible via direct ferry from
both Victoria and Vancouver
With an area of sixty square kilometers and a population of just
Past industries - logging and over one thousand full time residents, Galiano Island is less dense
fishing
and less touristy than its popular neighbour Salt Spring Island.
Current industry - tourism and the A layered journey to reach the island supports the limb of
arts
Pratyahara by allowing time to shed the outside world and prepare
(Galiano Island, 2020). for retreat. The physical act of crossing water signals the start of a
withdrawal and a journey inwards. Further journey to a site located
Site
83
in the middle of the island, and at the end of a no through road,
serves to enhance this experience.
FIG. 22 - SITE LOCATION

During the twentieth century, approximately half of Galiano Island
was owned by the MacMillan Bloedel logging company (Griffiths,
2005). The site chosen for this project likely played a role in the
logging transport process, as evidenced by a large clearing that
spans multiple properties and terminates at the nearby cove at the
end of the road (H. Kottner, personal communication, September 6,
2019). 
FIG. 23 - SITE CONTEXT

Site
84
no thru road, turnaround

Secondary
access 20
Distant views m Northeast winds from
Northeast to Bodega steep hill opposite road
Ridge
Site acce vehicles approaching
ss from main road
Sunset summer equinox

Northern foliage provides
visual screen and some Sunrise summer equinox
shelter to the site
Westerly winds
10
Mature trees at m
west boundary up
hill and continuing
20m
to cove
Long
views to
meadow
Clearing
at top of
10 hill
m Mature trees at
Sandstone cliffs eastern
boundary
Sunset winter equinox Sunrise winter equinox
Distant views through the site

(on arrival) across Salish Sea
to Saltspring Island
Sheltered view to 10
ocean from trees m
6FDOH
6,7($5($ DFUHV
Prevailing southwesterly winds
4m high rising P
tide level (2200)
Midday sun
FIG. 24 - SITE ANALYSIS
Site Analysis • GALIANO ISLAND, BC
RAIC Syllabus 690b • Term 2 2019
Morgan Lesov • BC 090023Vic
Climate
Like much of the southwest coast of BC, the climate of Galiano
Island is characterized by year-round mild weather, with rainy fall
and winter months and relatively dry summers. The absence of
severe temperatures in either the winter or summer makes this a
location conducive to building ecologically and living off the land.
The selected site sits on the west coast of the island, oriented due
south. Prevailing southwesterly winds occur from the water for the
majority of the year, with occasional winds travelling down the hill
to the north and the hill to the west (Weibe, 2018). Average annual
rainfall is approximately 1,100 millimetres (Env Canada, 2019).
Site
85
One of the most compelling qualities of the idyllic four acre site is
its sense of containment. This is experienced from the gradual
descent into the clearing and the wooded hills that bracket the site.
A progressive unfolding of the terrain supports the Pranayama limb
with a sense of procession.
Mature Fir, Cedar, Maple and Arbutus trees densely fill in the hills
behind and to either side of the gentle meadow, while Alder, Birch
and Oak trees pepper the remainder of the site. The soil makeup
here is a combination of shallow sandstone bedrock, topped with
sandy loam, on the hill conditions, and gravelly, loamy sand, over
silty clay, at the meadow conditions (Agriculture Canada, 1989).
The site encompasses a variety of conditions — ranging from open
meadow to forested areas, to rocky cliffs, to flat shale beach,
giving opportunity for a variety of experiences. 
FIGS. 25-30 ABOVE - SITE CONTEXT

IMAGE CREDIT - AUTHOR’S IMAGES
FIG. 31 RIGHT - SITE AERIAL

IMAGE CREDIT - PETER NASH REALTY
(USED WITH PERMISSION)
Site
86
PROGRAM
The site conditions naturally informed the program of the project,
with the three main programatic elements being communal space,
sleeping space and practice space. The relatively modest scale of
the site called for a modest group size, accommodating up to
twenty guests. This also supported research conclusions from
personal experience, interviews and precedent case studies.
Each of these zones are celebrated with separation, allowing room
for pause and reflection between experiences in a way that
supports the Niyama limb. There is natural overlap and connection,
even with purposeful separation, as none of these elements
function without the support of the other spaces. 
PROGRAM
• Entrance / Reception - 30 sq.m.

• Community Cafe - 60 sq.m.
• Mechanical Learning Hub - 50 sq.m.
• Office - 40 sq.m.
• Living Room - 150 sq.m.
• Dining Room - 70 sq.m.
• Kitchen - 45 sq.m.
• Pantry - 25 sq.m.
• Quiet Lounges - 15 sq.m.
• Accommodation - 370 sq.m.
• Laundry - 25 sq.m.
• Yoga Practice Space - 160 sq.m.
• Meditation Space - 160 sq.m.
Total Area = 1200 sq.m.
FIG. 32 - PROGRAM
SIZE + ADJACENCY
Program
87
The site was also instrumental to the distribution of program,
progressing from public to private. The transition from collective,
to individual, to solitary, echoes the progression of yogic limbs.
Communal space is found at the north of the site, closest to the
access road, while individual sleeping space is centrally located in
the middle of the site, tucked into the treeline. A small clearing at
the top of the hill, to the southwest edge of the site, provides a
secluded location for the quiet solitude and reflection of meditation
and physical practice.
The contrasting form and scale of each of these volumes,
reinforces their significance within the experience of the site. In a
similar way to the Vajrasana Buddhist Centre, the sacred precinct
is marked by a different form, material, and scale to indicate the

FIG. 33 - PROGRAM DISTRIBUTION importance of the meditation space in the hierarchy of the project. 
CONCEPT
FIG. 34 - PROGRAM DISTRIBUTION

ON SITE
Program
88
PROJECT DESCRIPTION
A feeling of mindfulness and connection while still allowing space
for a completely personal experience is the intention of the design
concept of this retreat.
FIG. 35 - CONCEPT SKETCH

• PATH / WALL •
The introduction of path as a guiding element, serves to ground the
experience of the site in a unified, continuous cycle of movement.
This path then becomes wall and acts as a processional route,
merging in and out of built form. As one moves beside and through
the wall, this tactile interaction gives a grounding aspect to the
circulation.
The concept of the Dharana limb, as scale and focus, evolved into
the intent of compression and expansion. The wall is used as an
instrument to create moments of contraction and relief, both within
and outside the buildings.

FIG. 36 - CONCEPT DEVELOPMENT
• WALL TO BUILT FORM •
Project Description
89
Circulation - site as connective tissue
The concept of prana can be described as energy that rides on the
breath. In a similar way, the meandering paths found throughout
the property support energy that rides on the circulation of the site.
Water symbolizes the cyclical nature of yoga, time and nature. This
is represented by the continuous movement of rain and water
throughout the site, in gravel channels and retention ponds.
Internal circulation within the retreat site continues the idea of
journey; spiralling in and around the buildings to act as connective
tissue, following existing patterns of site topography. In time,
additional pathways and spontaneous moments will develop
through daily use of the meadow, forest and garden. 
FIG. 37 - SITE CIRCULATION
PRIMARY PATH
SECONDARY PATH
Project Description
90
Floor Plans
Communal Building
FIG. 38 - KEY PLAN
The communal building is located near the road, for ease of public
access. To the north of the building, vehicle and bicycle access are
located off of the rural no-through road. A curved parking
structure, concealed with a green roof, hints at the architectural
form of the practice space to come. This first, more public side of
the building contains the community cafe, mechanical learning
hub, and offices. The living room, dining room and kitchen occupy
the second, more private part of the building. The rammed earth
wall guides the entire entry sequence from the the road, through
and into the communal buildings, and onwards deeper into the site.
See detailed floor plan (Fig. 39) on following page. 
Project Description
91
FIG. 39 - COMMUNAL FLOOR PLAN
Project Description
92
Accommodation Building
FIG. 40 - KEY PLAN
The accommodation building is located centrally in the middle of
the site. The sinuous building contains twelve sleeping rooms for
guests and one for staff, in a combination of minimal single and
double rooms. Lower, more accessible rooms are entered from the
back of the building, tucked below the cantilever and through the
rammed earth wall. Upper rooms are accessed from a corridor
edged by the rammed earth wall, which runs the length of the
building. Additional spaces found here are two small quiet lounges,
shared washrooms, and staff laundry room. See detailed floor plan
(Fig. 41) on following page. 
Project Description
93
FIG. 41 - ACCOMMODATION FLOOR PLANS

 
Project Description
94
Practice and Meditation Building
FIG. 42 - KEY PLAN
The practice and meditation building is located at the furthest
removed portion of the site. The practice space occupies the ocean
side of the building, animated in its purpose. The introverted spiral
form contains the meditation space on the forest side. The nature of
the hillside topography here means the practice space hovers over
the ocean, while the meditation space burrows into the earth. See
detailed floor plan (Fig. 43) on following page.
All buildings are further explored in the following section, The
Journey - a narrative…. 
Project Description
95
FIG. 43 - MEDITATION FLOOR PLAN

 
Project Description
96
The Journey - a narrative …

From a place of stillness and movement, we’ll follow alongside a
meandering path of water that makes its way from the high point of
the site, through mature trees, down into the open meadow, and
continues on, guiding us through the experience of arriving.
Project Description
97
A rammed earth wall emanates from the entrance to the site, where
it pushes through the earth, awakening the land that it’s formed
from. The gesture of the curve responds to the topography and
becomes a grounding element for the retreat.
Gravel crunching underfoot, we make our way along the length of
the low wall as it gradually becomes a tall enclosure. Compressing
the entry experience, it guides towards a lantern-like entrance,
hovering over a reflection pond. The extended procession allows
us to shake off another layer of the outside world before fully
arriving.
The physicality of pulling on a door handle, carved from local
wood, curving in your hand, serves as a cue that this gesture is
integral to the entirety of the project.
FIG. 45 - PRATYAHARA LIMB • JOURNEY •
Project Description
98
A threshold is expressed, as wall becomes floor for a brief
moment, allowing the first opportunity to pass through and under
the rammed earth wall, as we turn and step inside.
A view through ‘showcase’ mechanical equipment towards the
meadow and edible garden, immediately anchors the connection to
sustainability and place. Learning opportunities abound for visitors
to both the community cafe and to the centre, as the highly visible
nature of rainwater treatment heightens curiosity about where our
water comes from.
Beckoned by curving ramps, we travel up to the cafe or descend
towards the private communal spaces. Lush planting edges each
ramp, a reminder of the water treatment strategy found throughout
the site. Ribbon skylights also follow the gentle curve, allowing
sunlight to bathe the wall and illuminate the path of the ramp.
FIG. 46 - YAMAS LIMB • ETHICS •

Project Description
99
Following the pull of light, a moment is offered to pause as we
pass between buildings and experiences. Finding ourselves outside
for a few breaths, the smell of ocean and fir trees anchors us back
to the present moment.
Travelling over a retention pond, sparkling with light, the journey
brings us over a bridge, into a space filled with warmth and energy.
Seemingly growing out of the landscape and reflecting the natural
flow of topography, the living room and the roof above it gently
spill down the site. Charred wood cladding is expressed on the
interior, bringing warmth, and contrasting the brightness outside.
Clerestory windows direct periphery views up toward trees, while
large southern windows support shifting moments of shared
experience or of quiet study.
FIG. 47 - PRANAYAMA LIMB • CIRCULATION •
Project Description
100
Circulation weaves through, and around, the wall; with stairs and
ramps sliding down the building, connecting services with social
space. Passing through the rammed earth wall to where meals are
shared, a higher ceiling reflects the dynamic, energetic nature of
the dining space, contrasting the lower ceiling of the more intimate
living room. Laughter and conversation animate the live edge
communal tables, while a view to nature, and the kitchen, keeps us
rooted in place.
Covered outdoor areas allow opportunity to enjoy the smell and
sound of rain on a metal roof, and observe the passing of seasons,
while still being protected from the elements.
Leaving the protection of the collective space, a path guides
through the clearing, towards individual space. A choice is offered
— to travel towards the glowing entry volume or slip behind and
FIG. 48 - NIYAMAS LIMB • SEPARATION OF SPACES •

Project Description
101
under the building, walking the length of the rammed earth wall,
toward the meditation building.
The short distance traveled outside supports the transition from one
moment to another, giving each experience its own importance.
Nestled into the tree line, we find small quiet lounges and screened
front porches. This retreat within a retreat offsets the sometimes
boisterous energy of the larger communal hub.
The curvature of the accommodation building is interrupted by a
glass element that serves to reorient and connect to the site by
offering glimpses of views and establishing an entry point.
Climbing the stairs that slice through the wall, an obscured view is
offered up the hill, while a glance over the shoulder, provides
outlook to the water’s edge and horizon.

Project Description
102
Ducking under the wall once more, to where sleeping spaces are
located on the water side of the rammed earth wall, while
cleansing, and common spaces, occupy the forest side.
The vaulted ceiling of the bright corridor alternates between solid
and transparent solar panels, giving a dappled effect as light spills
down the wall. Glazing wraps up and over the interior space, so
that the act of sleeping under the stars underpins notions of rest and
universal connection.
Continual interaction with this spine of wall, reinforces a
connection to place, and gestures towards the next moment. The
wall serves to both separate, and unify, our experience. Stairs hug
the rammed earth wall as they terrace down, and the exterior wall
becomes path as our journey continues.
FIG. 50 - PRATYAHARA LIMB • JOURNEY •
Project Description
103
To reach the meditation building, we embark on an uphill climb;
rewarded by solitary space, where movement is balanced by
stillness.
On approach, the practice volume shields most of the ocean view,
while a glass plane slices between two walls and a warm glow of
light filters from the interior.
Inside, the contrast created by the thick rammed earth walls and
dark wood ceiling serves to underline the brightness of the exterior
left behind. Compressed between two walls and a low ceiling, the
curve gradually narrows as it spills into the round softness of the
meditation space.
Project Description
104
Winding into this room for contemplation, a tactile transition to
cork floor underfoot, helps to soften acoustics and offset the
solidity of the walls. Slivers of sky allow for awareness, of the
passing of time, and elements.
Emerging out from this sense of burying in and cocooning, the pull
of more and more light guides us back to the surface. A portal to
one side serves as a transition between the experiences of
meditation and physical practice.
The practice space soars, echoing the animated nature of the
activities it supports. Heavy structure is expressed and celebrated,
suggesting the act of holding up the body during a yoga pose.
FIG. 52 - ASANA LIMB • FORM + STRUCTURE •
Project Description
105
The louvered side walls serve to restrict harsh afternoon light,
while still letting in glimpses of the surrounding trees.
A framed view to the ocean, reveals the suspended cliff condition
of the space; as the glazing appears to slide past the boundary of
the floor.
This perceived risk factor gives new meaning to warrior pose as
you face out from the edge of a cliff. My teacher often says that
this is warrior’s work — this journey and this practice.
Compressed once more from all sides, we pass through an
extended threshold, focusing the attention on a subtle reminder of
the ultimate limb of the yoga journey.
FIG. 53 - DHARANA LIMB • SCALE + FOCUS = COMPRESSION •
Project Description
106
From this place of stillness and movement, we’ll follow alongside
a meandering path of water that makes its way from the high point
of the site, through mature trees, down into the open meadow and
continues on… 
Project Description
107
Structure
Representing natural strength, wood makes up the ‘bones’ of each
building, while the spine is further articulated as rammed earth.
Simple roof structure honours this, highlighting the connection to
nature and the surroundings.
FIG. 55 - COMMUNAL Informed by the Joshua Tree Retreat Centre, respect for the site
BUILDING SECTION
echoes a respect for oneself, and allowing the roof to follow the
sloping topography of the site is one way this is achieved.
Further interaction with the guiding spine is encouraged by
physically reaching into the rammed earth wall in order to grasp
the ramp’s handrail. 
FIG. 56 - HANDRAIL DETAIL
Project Description
108
FIG. 57 - ACCOMMODATION
BUILDING SECTION 1 The form of the accommodation building is reminiscent of
residential architecture, to support a feeling of familiarity and
comfort. This was influenced, in part, by the Vajrasana Buddhist
Centre’s vernacular design language.
The structure clings to the wall and contains minimal rooms, while
a cantilever supports both common space above, and shelters a
person passing below. 
FIG. 58 - ACCOMMODATION
BUILDING SECTION 2
Project Description
109
FIG. 59 - MEDITATION
BUILDING SECTION The tectonic nature of heavy timber in the practice space,
expresses solidity and grounding, in a space of movement. The
generous overhang is supported by angled columns, reaching also
into the interior space.
By allowing the structure to ‘speak’, structural tensions are more
clearly understood and related to yoga.
The main structural element of the mediation space is emphasized
by indirect light washing continuously over the surface of the wall.
When natural daylight isn’t present, recessed lighting provides a
similar emphasis. 
FIG. 60 - WALL SECTION
Project Description
110
Sustainability
The materials selected are of this particular place, including wood,
from the old schoolhouse located on the site, and from nearby
reclaimed sources; as well as rammed earth made from soil and
sand excavated during construction. In a similar way to the Joshua
Tree Retreat Centre, truth in materiality, geometry and structure
helps anchor this project as a place to explore personal truths, as
well as supporting the Yama limb.
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Shou sugi ban offers a natural method of finishing, pest and fire
control, and adds an element of tactility that ties the separate
buildings together. Metal roofs offer an auditory connection to the
seasons, as they crackle with the transition from night to day.
Project Description
111
FIG. 62 - SITE WATER STRATEGY

Water reuse is celebrated in the mechanical hub of the communal
building, where colourful pumps and dials, labelled for clarity of
information, showcase the zero runoff nature of the project.
Rain water is collected, treated and used for sinks and showers.
The grey water produced by those functions, is then treated and
used to flush toilets and irrigate the edible garden. This waste
water is separated, treated and utilized for landscape irrigation;
meaning that the same water is recycled a total of four times. Refer
FIG. 63 - SITE WATER SCHEMATIC to Appendix C for further data.
Project Description
112
Retention ponds throughout the site offer both peace of mind for
fire protection, and a place of still water, to pause and rest.
Mechanical systems are reduced by use of natural ventilation, and
thermal mass, offset by radiant in-floor heat. Whatever power is
needed for this is supplied by solar collection. Virtually all spaces
relate to the outdoors and receive natural daylighting. Minimal use
of artificial light, strategically located, serves to elevate the
experience and reduce reliance on the power grid. Refer to
Appendix C for further data.
Using the Living Building Challenge as a guide, several ‘petals’
are achieved through design, including Net Positive Water and Net
FIG. 64 - ENERGY STRATEGY Positive Energy (International Living Future Institute [ILFI],
2019). There is an interesting correlation between several of the
petals and the yogic limbs. Several sub-petals relate to the Yamas
limbs of ethics, including Responsible Materials, Responsible
Sourcing, Healthy Interior En, and Access to Nature (ILFI, 2019).
Sub-petals of the Place petal (Ecology of Place and Human Scaled
Living) connect back to the Dharana limb, with a sense of balanced
scale. Additional petals such as Equity (Universal Access and
FIG. 65 - LIVING BUILDING PETALS. Inclusion) and Beauty (Beauty + Biophilia and Education +
IMAGE CREDIT - PALMER.OLIVIA
DISTRIBUTED UNDER A CC BY-SA Inspiration) are met simply by approaching this project holistically
4.0 LICENSE. RETRIEVED FROM:
HTTPS://EN.WIKIPEDIA.ORG/WIKI/
and relate to the Samadhi limb, or spirit of place (ILFI, 2019). 
LIVING_BUILDING_CHALLENGE
Project Description
113
CONCLUSION
We come back to the definition of yoga — as union. Union of all
limbs, union of all elements. And union of architecture that brings
it all together into one holistic experience.
The wall itself symbolizes each yogic limb on the path towards
enlightenment; while each building embodies the limbs in its own
way. This path to internal clarity involves a sense of journey and a
transformation of body and mind. Architecture can become a
container through which the ideas of compression and release,
movement and stillness, and collective and solitary experience, are
free to be explored.
FIG. 66 - RENDERING • SITE OVERVIEW

Project Description
114
The architectural design of this project supports the practice of
yoga with a holistic approach, where all limbs are supported, by
utilizing elements such as siting, orientation, adjacencies,
circulation, approach, building materials, and built form. The
whole of the project all come together to inform the
‘enlightenment’ of a retreat centre and the people who visit it.
The hope is that this research has the potential for a wider reach
than simply a framework to design a retreat centre. I believe the
elements here can be applied to the thoughtful design of any
building typology, but especially healthcare (including hospitals
and seniors homes), education, and inclusive housing, where the
union of body, mind and spirit would be particularly beneficial.
This project is rooted in the present, and has hopefully served as a
reminder that you are the stars that you sleep beneath, you are the
tree that you lean against for support, you are the earth that
comprises the wall you run your fingers along, and you are the
water that supports life in all of it.
We are all one, in our need to discover a place of retreat to nourish
our souls and rest our minds.
Project Description
115
 
FIG. 67 - RENDERING • VIEW FROM WATER
“Be not daunted by the enormity of the world’s

grief. Do justly now. Love mercy now. Walk
humbly now. You’re not obligated to complete the
work, but neither are you free to abandon it.”
- translation from The Talmud
Project Description
116
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Further Resources
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APPENDIX A - Interview Questions

How long have you practiced yoga? What made you first consider a yoga
or meditation retreat? Where have you attended a yoga or meditation
retreat?
I have created a framework for evaluation based on Patanjali’s 8 limbs of

yoga. We will review each element of the retreat through this framework
lens. If you’ve been on more than one retreat, let’s discuss the most and
least successful. If possible, try to focus on retreats closest to Victoria.
Yamas = ethics / materiality / sustainability
What was the location and setting and how did that impact your
experience? Was it rural or urban? Was the materiality of the building
rustic or new? Were there any apparent efforts at sustainability (such
as solar, rainwater harvesting or low energy consumption)?
Niyamas = amenities
What was successful or not about the accommodations, practice

spaces, common spaces? Were there any unique amenities and how
did that affect your experience?
Asana = type of classes and interactions between practice
What sort of sessions and classes? Was there one instructor or

multiple instructors? Were the connections you experienced between
practice sessions lively or subdued and how did that affect your
experience?
Pranayama = circulation
What was successful or not about navigating around the retreat? Was
there far to walk or travel outdoors between sleeping / practice /
dining? Or was everything in one building?
Pratyahara = journey
Can you describe your journey to the retreat and how it affected your
first impression upon arrival? How far did you travel? Did you travel
alone or with someone else? Once you arrived at the retreat, was there
anything special about your journey further into the property (i.e. to the
accommodation or check in)?
Appendix A
124
Dharana = scale
Can you describe the length of retreat and size of the group? Did the
size of the group work for you? Did the size of the retreat (including the
property and buildings) seem manageable, overwhelming or not
enough space?
Dhyana & Samadhi = Spirit of Place
What were the sacred, magic or special elements to the retreat

property? How did you feel a part of a larger community or something
greater than yourself? Did the space feel authentic? If yes or no, how
did the space feel authentic?
Please place the previously discussed elements in order of importance to

your experience:
i. Location and Setting
ii. Amenities
iii. Types of classes
iv. Circulation around the spaces
v. Journey (ie nearby or far away)
vi. Size of group / length of retreat
vii. Spirit of Place
What worked for you about this retreat?
What challenged you about this retreat or could have been better?
Thinking about the design of the retreat setting, was the building
repurposed or built specifically to function as a retreat centre? Does it
always function as a retreat centre or are other types of events hosted
there?
Is there anything you would like to add about your experiences while on
retreat?
Appendix A
125
APPENDIX B - Interview Transcripts

Interview ‘D’
M: I am gathering information about yoga retreats as you know, and my topic is kind of how architecture
can support the practice of yoga and vice versa, how yoga can support architecture. So I just have
questions about retreats that you have attended. If as this item says, if you've been to more than one
retreat, if we could discuss the most and the least successful, but if you've only been to one, that's all
good too. And if you've been to more than one, we'll focus on the ones that are closest to Victoria.
D: when you say retreat, do you just mean yoga retreats? These are only retreats, not have you been on
more than one retreat?
M: Generally a yoga retreat, yoga or meditation.
D: Okay. This is my only one.
M: How long have you practiced yoga?
D: Uh, I don't practice yoga. Before the retreat I wasn't practicing yoga at all. Uh, I had done it. Geez. I
don't know. I think when I was pregnant with my kids. Anyway, it had been a long time before I went
on the retreat. So, and then since the retreat I've been to one yoga class.
M: What made you consider a first yoga retreat?
D: I wanted some time that was away from my normal life. I just wanted to get away. I wanted something
structured where I had something to do during the day like, I didn't want to have just a bunch of free
time. I wanted something that was health focused, focused on healthiness and self focused, focused
on self care and you know, the self. And also I thought it was kind of weird to do a Yoga retreat, being
that I didn't do yoga and I wanted the challenge. I wanted to see if I could do it. And push myself a
little and I didn't want to have to cook my own food.
M: A little bit of pampering at the same time as putting yourself out there. That's great.
D: I think just getting to sleep in that was nice. It’s a different kind of waking up, that's for sure.
M: Where have you attended a yoga or meditation retreat?
D: Uh, what's the name of that farm on salt spring island, Stowell Lake farm. That's it. I don't know if I
said that right.
M: So that's our just kind of background questions so that I know a little more about you. For my
research, I created a framework for evaluating, existing retreat centres that are elsewhere in the world
and also evaluating my own retreat experiences. And it will be used to kind of as a lens to evaluate
your retreat experiences based on the eight limbs of yoga. And so we will review each element of the
retreat through this framework Lens and I'll guide that. So the first one is the yamas first limb, which
talks about kind of ethics. The correlating kind of element for my framework is kind of sustainability
materiality and site selection. So we'll kind of talk about those elements. So thinking about the
location and setting of the retreat and how that impacted your experience. Is it rural, urban?
D: It was a very rural setting. Are there is a lot of open spaces and was I would say a little, I think the
word’s bucolic, it's kind of pastoral. It felt like I was on a farm. I think I was on a farm too. I think it was
technically a farm, the buildings, they seem to, you know, fit in with the, the environment.
M: Was the materiality of the building kind of rustic or was it new?
Appendix B
126
D: Well, where the yoga itself was, where the yoga classes were taking place. It seems more modern,
there really big tall open windows. With that kind of fresh looking, I think it was lighter coloured wood.
And then where we ate though, it looked like an old, like a big old barn, you know, those big old farm
barn houses where you might back in the day have had horses or something.
M: Oh, so kind of both. Did one of those feel better to you when you were there?
D: Oh Geez. That's hard. Cause they were both good for their purpose. I guess I prefer the openness
with all the windows. I like that. Like where I was when we were in the building where we did the yoga,
I was at the corner and so I was really close to some sliding doors and also to windows. But there is a
bit of a wall, non see through wall, which was nice because I didn't have direct sunlight so I could hide
there. But also I felt like I really liked that there was a door in case I wanted to leave, especially cause
I didn't do a lot of yoga. It's like what if I can handle it? I mean that's easy exit going to hang out by the
exit.
M: Were there any apparent efforts at sustainability that you saw on the property? Like solar, rainwater
harvesting, low energy consumption, if you noticed Anything like that?
D: Yeah, it was, I think there was a fair amount of it, although I don't think I can put my finger on too
many of them, but I know that there was rain harvesting. I think I remember seeing a green roof
somewhere, but I don't know if that was, just that lean to where there was the little farm stand. You
know what I mean? I can't really remember. But it did feel, yeah, it did feel like there is an effort to
make, for example, the building that we were sleeping in, it seemed like there was an effort to make it
part of the natural environment instead of making it just in it because there was all these wood
accents inside seemed to match what was going on outside. So bringing kind of outside in, I guess.
M: Okay, nice.
D: I'm not an architect so I don't really pay attention to this kind of stuff to that degree. Oh, and then the
building that we did, the yoga in there was, like, I don't know what it's stickers on the windows. A bird.
And so I thought that was cool because there was an awareness that, you know, birds might try to fly
into the windows. So just being careful about the natural environment or habitat, and the animals that
are there.
M: The next limb is the Niyamas limb, which talks about, specifically with the Yoga Sutras. It talks about
purity, cleanliness, kind of honouring your temple, your body. So my correlated element is the
amenities that you have there, where you, where you slept, where you ate, where you washed, how
you took care of yourself while you were there. So I guess the question is, it's a broad one, but what
was successful or not about the accommodations, practice spaces, common spaces. And we can go
through those one at a time.
D: It's difficult for me to say anything negative about it. I felt like the food, if it's part of the body and
taking care of the body, I would say that the food was, it felt very clean and very pure. So I really
enjoyed that. I really enjoyed the food. I guess one of the things that I didn't like was how kind of the
only option for eating inside was to eat in a big mess hall with everyone, I guess it would've been nice
to have more options for instead of it being kind of a forced socializing when you're eating or you Eat
outside, maybe the weather wouldn't allow that to have more opportunity for solitude when eating.
D: Where my accommodations were, uh, was I think they were really new, like built in the last year or
something. And I just love the setup along one of the walls, the wall that my room was on was facing,
a house that a family lived on and it was a really farm like setting. So when I would look out my
window, I would see their house and they would see those two sheep and their kids would play there,
you know, that was their yard.
D: And then so it went in my room and then beside my room there was a bathroom and then two
individual rooms each with a shower and then another room with a bathroom, just had the toilet and
the sink. And I really liked that. I really like that the showers were separate from where the toilets and
sinks were. Because it just seemed like it would be a waste of space to have them integrated because
Appendix B
127
sometimes people need to shower but they don't need to go to the bathroom or vice versa. So I
thought that it made it really good for people sharing common amenities to have it separated that way.
D: There were just generally a lot of bathrooms, which I would say was nice, like where the yoga practice
space was. There is a bathroom, a toilet on the actual floor of the yoga. Then you could go down the
stairs and then there was another bathroom and I thought that was really nice that there was a
bathroom available. You had to go down two flights of stairs, maybe eight stairs, but it was made it
more private because the bathroom that was on the same floor as the yoga space, everyone might be
able to hear you. And so there it wasn't a very private bathroom, which some people might not like. So
I really liked that the one downstairs was quite private.
M: That perfectly covers off all of those three things. Thank you. Were there any other unique amenities
on site? How did that affect your experience at the retreat?
D: I'm trying to remember. Unique Amenities, you know, I can't really think of anything. The building that
the yoga itself was in. I just really liked the design of that building. Like how you go in the two glass
doors and then it seemed kind of very earthy colours and then that huge wooden staircase that was
so wide, yeah, I just love that staircase so much wood. I really liked the building, but I can't really think
of any amenities that just jumped out. And other than those bathrooms. The window is opened in my
room. I like that. To be able to get fresh air.
M: So our next limb is the asana limb, which is practicing yoga postures, and the correlating element is
the types of classes, the variety of classes, as well as the interactions that you had between practice.
What kind of sessions in classes were there, was there only one instructor or multiple instructors?
D: There was one instructor, Dorothy, and she was amazing. She was just perfect for someone who
doesn't do yoga because she would, you know, I feel like there was two or three levels to pretty much
every pose and she would start with level one and then say those of you who want more of a
challenge can do this. If you want even more of a challenge, you can do that. And I felt like it was
okay to just stay on level one or even just try to take a nap on the mat.
M: Yeah, that's always okay. I'm just going to hang out on the mat for a while.
D: Felt okay to do that. Which was nice. So the different classes there was the hatha flow classes, I think
they're called. I'm not sure cause I'm not, I don't normally do yoga and I really liked those. But there
was a point I think in day to where I thought if I have to do any more fucking yoga, I'm going to
scream, you know. Like the day before it was over, it just felt I hit some kind of yoga wall. It was really
weird. I think what's going on, you know, but it was, I've just not used to doing that much yoga and I
was doing five hours a day. And then there is meditation and then there was Yoga Nidra class, which
was yoga, meditation class. And that one was probably my favourite. I really liked that.
M: And you did all of these variety of classes in the same practice space?
D: That's right in the same space. Yeah.
M: And it all worked?
D: There is issues where the really big windows, during certain times of meditation the sun would shine.
It would be a distraction, you know, it would sort of be a little, yeah, it would distract from a meditation
practice. Cause I would be having some kind of concentration or mindfulness and then the sun would,
you know, start really, if my eyes were closed, I could really feel the sun, you know. Like it was a little
intense at times. I was really happy that I picked up that spot in the corner where there were solid
walls as options because at least I could move kind of over to get out of the direct sun. It's a problem
with really tall windows. Right. Having good blinds.
M: So kind of connections that you experienced between the practice sessions, were they lively or
subdued connections with people, with your fellow participants? I guess how was that experience?
Appendix B
128
D: They were cautious because I wasn't sure why other people were there and there was, I got the
sense, I was not even the sense, I was mindful of the fact that other people might be there for solitude
and so I didn't want to invade someone's, you know, solitary time. Like if they felt, like I myself did
want some solitude and just because I was having a moment where I wanted to socialize, it doesn't
mean that the other person was feeling the same. Right. So there was a mindfulness about that and I
felt like giving other people space. And at the same time there were some opportunities around, I
would say specifically around eating, to socialize. That was perhaps a bit more lively.
D: Yeah. I wanted to spend time alone and I did. I felt like I did spend time alone. So that was nice.
M: So it kind of, sounds like there was opportunity and support for however much alone or together
time...
D: That's right. And I feel like eating could have been where we eat, could have been more supportive of
alone, you know? But I don't know how they would make that possible. Like, I don't know, you know,
maybe they could have a no talking in this room or something.
D: But that seems weird, right? Because everything was, nothing was forced like that. I don't know. So I
don't know. Interesting. Silent. I loved the kitchen. I love that we could see where they were cooking
and we could go into the kitchen and it felt like, it felt like in that sense I was welcomed into the
community of the people that actually live there. Yeah. Even though it was temporary, it wasn't like,
you know, a permanent part of that family. But it did feel like I was integrated into it because I had
access to the kitchen, which was a beautiful kitchen.
M: the next limb is Pranayama, which is breathwork. So I liken this much as breath moving through a
body. It's how you move through how you circulate through a site or through a building. Um, so
moving around and navigating around the retreat is what we'll talk about next. Was there far to walk or
travel outdoors or was everything in one building? How much kind of space and movement
D: There was a lot of opportunity to walk outside, except, and there was a beautiful little pond that was
quite tranquil, walk around and we could leave the retreat grounds and go walk down the road, which
I also did, but one of the, I was a little concerned about walking around too far on the farm because I
wasn't sure where people's houses were and I didn't want to go on people's private space, the people
that live there. So, I wanted to be respectful of the people that live there all the time.So there was a
little hesitation also, I wasn't sure, there was quite a bit of forest space around it and I didn't want to
get lost or something or eaten by a bear.
M: So to get between kind of your sleeping, dining practice space, how was that?
D: Perfect. I loved it. I love that they were separate because I got to go for this little walk and the walk
from the sleeping space to the yoga practice space was along a little path and it was a very beautiful
little walk. It was short but beautiful. And I liked that it wasn't too far because some of the classes
ended at night and so it was dark and I didn't have a flashlight so there was minimal lighting along
that path. But it wasn't so far that I felt uncomfortable walking alone at night. Quite close. And there
was this big wall, some kind of stonewall and got to pass that. Anyway, that was beautiful. That was a
really nice, yeah, it was a nice path.
M: So, separate buildings for each function. And that was good. That was positive for you?
D: That was positive to me. Yeah. And also I wouldn't want the cooking to be in the same building
necessarily where I'm sleeping because then people might be coming and going a lot more if they're
hungry or thirsty or they need something. Also it could be like, it could smell, you know, there's certain
kinds of foods that it has a really strong smell and my nose can be like, my sense of smell can be kind
of sensitive to different kinds of smells. So I liked that it was separate. I liked that the food was really
close to where we were sleeping because if I got thirsty, I didn't have to go that far at all.
M: Dining was close and practice space a little further.
Appendix B
129
D: Yeah. That was Kinda Nice.
M: So this next limb talks about the journey. Pratyahara is the limb and it's about kind of withdrawing your
senses in preparation for meditation. So stopping, you know, closing your eyes. And so as we
withdraw our senses, we can also kind of withdraw our selves towards the retreat. That's the
correlation. Can you describe your journey to the retreat and how it affected your first impression
upon arrival?
D: My journey to the retreat was freaking awesome. It was part of the adventure. So I drank a little bit too
much alcohol the night before. So I woke up with a slight hangover, which my friend who's a yoga
instructor said was a shitty idea. And then I thought, because my kids aren't there, that I had so much
time. And then I realized suddenly I had 10 minutes to make it to the bus stop. So then I had to bee
line it to the bus stop. And this is my life is just a big rush all the time. So this is just part of my normal
life. And then I got on the bus and then it was an hour bus ride and it stopped in so many places. It
was so annoying. I don't normally take bosses, it didn't go in the most efficient route at all. But that
was good because that was like the whole weekend, you know, it wasn't about efficiency and that sort
of happening the minute I got on the bus. The journey kind of prepared me for sure. It was giving me
patience, you know, and then got to the ferry and I love taking ferries. I love the boat. I find it very
relaxing to be on water. And so just that crossing of the water was just a further reminder, like taking
the buses, letting go of control because you don't, it's not efficient, you don't control it. Being on the
boat, crossing that water, it was even more symbolic to me of leaving behind my normal life, my
normal concerns. And then when we got there I was nervous about, you know, who's going to pick me
up? What if they forgot me and someone was right there. So you know, it just all came together. It was
awesome. The journey back was even better, it was amazing.
M: How far would you say you traveled in kilometers wise or distance wise?
D: On the way there, I would say it was about two and a half hours, maybe two, two and a half hours.
M: Did you travel alone or with someone else?
D: Alone. Which was awesome. Solo travel‘s great.
M: Once you arrived at the retreat, was there anything special about your journey further into the
property? Like at the, uh, either at check in or at accommodation?
D: Uh, so the man that picked us up, oh, I remember now, we took us up to where the rooms were, he's
like, oh, I guess it doesn't matter which is which because they're all the same, but you're technically
here and I want it to be where I technically was. So I did go into that room and then I was really happy
because I think it was probably the best room. But other than that, I can't really think of anything. You
know, he gave us a little talk about where things were, which was good. Um, I was really pleasantly
surprised at how nice the room was. It was really nice.
M: The next limb is the Dharana limb a which talks about concentration. So I kind of relate that to the
scale. Like how concentrated are we? It's kind of a different way, to think about concentration.So if
you could describe the length of the retreat and the size of the group and whether that worked for you.
D: So the retreat was three sleeps. The size of the group. I would say it was about 20. And those both
worked for me. Yeah, I really liked, I think two sleeps wouldn't have been enough because I quite
enjoyed having two full days of retreat. I've done other things where I just go away, not retreats, but
other things where I go away for two sleeps and when you only get one full day, not as nice. You don't
feel, for me, I don't feel that I'm really immersed in the experience unless I have more than one full
day. It's too rushed. My whole life is rushed. That's why I went to begin with. So, and then the size of
the group was good. I felt like if it was any bigger, it might've been too big. You know? It was big
enough where it wasn't too intimate. I didn't feel like I had to get to know just a really tiny group of
people that we were going through something together. But it was, it was small enough still where I
felt like I can make connections and after three sleeps really kind of like, I feel like I know everyone's
face from it. And be and still feel like you're part of the community. So I thought it was nice.
Appendix B
130
M: Did the size of the retreat, including the property and the buildings seem manageable, overwhelming
or not enough space?
D: It was perfect. The size and I really liked the size of the yoga building itself. Actually where we did the
yoga practice of felt like people were maybe a little bit squished in at sometimes, yeah. Cause there
were times where people had to move to share a wall and the mats were a little bit close. But the farm
itself was really big and Nice. Not overwhelmingly large, not to me. No.
M: So the last limb is about enlightenment, which is really hard to define and kind of as a result, my
correlating idea for that is the spirit of place, authenticity, sense of community's, sense of connection
and how you can't really plan for that. We can’t really design for that. But if maybe if all the other
elements are done well, then you’ll reach enlightenment, in that sense. So it's hard to put some this
into words, so whatever you feel like saying. But what were the sacred magic or special elements to
the retreat property? We can start with that.
D: One of them go to like, I would say in the space of the yoga practice on the building itself was just so
beautiful and it just seemed to be a part of the natural environment as opposed to just being
something on it. Uh, when I opened those doors and not just that I really liked that staircase and I
liked the, I can't remember what the building material was, but it felt like, I don't know, Tuscan or
something.
D: I don't know. I've seen that in like magazines or something. Wasn't it stone or something? It would, do
you know what I mean? On both sides of the, almost like rock could be plastered. I don't exactly know
what it was, but in some kind of plaster thing or cob, I saw cob building there. Oh, it might've been a
cob building. I wonder. So that, I don't know, it just seemed, it made it seem like the building materials
were really natural. So that space I thought was pretty sacred to the yoga space. And then also I
thought it was really cool that there was a porch off the yoga room and that to me made it seem like it
was more flexible. Maybe it could have other uses. I could picture it serving other purposes. I could
picture people having a social event there. But I could hear animals from that building. And so when
we were doing meditation and I heard the farm animal that just seemed kind of sacred because it felt
like, okay, you know, like I was, I don't know, part of the farm or something. I don't know. I don't know
how to describe that.
D: And then the room where I slept, there was just a lot of wood. It was just, I just slept very well there.
So even though we had to wake up early, I didn't, I woke up and I didn't feel tired. I felt more rested
sleeping there, even though I knew there might be spiders.
M: this assumes that you did feel this way, but how did you feel if you felt that you were a part of a larger
community or something greater than yourself?
D: I did feel like I was part of a larger community. I feel like there were other people that were there for
the same reason that I was, which was to do self care and take time out of normal life. And to
remember for me it was remembering that many different ways to live. Like there's people that live on
that farm and do that all the time. And that, yeah, that was beautiful. And the other thing I liked about
it, it was, and I'm not surprised that this happened, before. I was a little worried about maybe not
fitting in or feeling uncomfortable because I don't do yoga and I kind of thought, man, Yoga people
aren't, they don't really seem like the types that are too judge-y or you know, exclusive snobs. So I
was right. They were very kind, very welcoming and accepting of me into their community.
M: So the kinds of the people that made it feel like a community experience.
M: Did the space feel authentic to you?
D: Definitely. It definitely did.
M: And how?
Appendix B
131
D: Well I guess, I don't know, it was just more like, I don't know, it was weird because I wasn't sure what
came first. Like I wasn't sure if they offer retreats to keep their lifestyle going or if it was the opposite.
Right. But it didn't feel forced. It didn't feel like we're just having you here because we need money.
You know, the hippies on the communes used to sell hammocks. I doubt that they enjoyed making
that many hammocks. Probably not. But it seemed like they enjoyed their work. Like I saw the cook
cooking and she appeared happy and I saw other people working there and they appeared happy. So
it didn't feel like we were putting them out by being there and you know, it felt like maybe they enjoyed
providing what they were providing. That part of it felt quite authentic.
M: The previously discussed elements, the seven of those, if we could put those in order of importance to
your experience. So location and setting amenities, types of classes, circulation, journey, size of
group and then spirit of place and I can let you do that.
M: It's all just opinion. So I feel like we've kind of covered a lot of this already, but what's the main thing
that worked for you about this retreat?
D: Yeah, the setting, I would say where it was, yeah, I would say the setting. The farm was so relaxing
and peaceful. And the food really worked for me too. I really like not coming to cook, not having to
care for others so that I could care for myself. That was what I wanted and that's what I got.
M: And what challenged you about the retreat or could have been better?
D: So much yoga. It was good though. I'm so glad I did it, but you know, I hit some kind of weird yoga
wall that I didn't know. I cannot do another down dog. You have to do with other aligned and then I just
refuse to do any.
M: thinking about the design of the retreat setting, was the building repurposed or built specifically to
function as a retreat center? Does it always function as a retreat center?
D: So the three separate buildings, the accommodation building was purpose built for people I think who
have accommodations, right. I think it was built after they started offering retreats successfully and
they realized they needed to expand, but it was definitely built. You could tell it was built with people
going to nice retreats in mind. Where the eating took place, building number two that was repurposed.
It used to be some kind of barn, I could picture cows being there or horses having lived in there or
something. It was repurposed. The third building where the yoga practice was, that was built, I'm not
sure if it was built specifically with yoga in mind, but I would say it was built some kind of like
Community Events Center, multipurpose space where people could maybe have a wedding there or
you know, have a yoga class or have a drumming class or whatever. You could tell it was built as a
common communal space.
M: And the last question, is there anything that you would like to add about your experiences that we
didn't cover?
D: No, no, no. It was great. It was great retreat. I'm so glad I did it because people thought it was crazy
that I was doing it cause I don't do yoga. And I'm so glad they did it. So yeah, that was very
successful. It's good to do something that you don't normally do to try new things is very good for the
You know, the spirit.
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Interview ‘S’
M: So a couple of background questions about how long have you practiced yoga?
S: How long have I practiced yoga? That's a good question. A number of years now. I first in Calgary and
then when I was doing my thesis I tried to do it. Then my work term, well actually before that, because
my work term here, I tried to do it a little bit here and there. It's actually been maybe five years. Then
the past couple of years have been a lot more consistent.
M: What made you first consider going on a retreat? Like aside from just going to classes but deciding to
go somewhere for a longer period?
S: So first I'll separate two things. So the retreat that I went on was not a yoga retreat it was a Vipassana
retreat and it came through ... so 50% of me is architecture, 50% of me is psychology. And so I know
there's a couple I've known for a long time that do group work and body work and energy work and
things like that. So years ago they had recommended to me as a way of getting into the body
basically. And so that's when I found out about it and that's why I went sort of as you know, motivation
of personal growth, you know, as a larger catch phrase. But then more specifically, just that process of
trying to locate your body and getting into it.
M: So Vipassana was actually your first retreat?
S: That was my first retreat. And then, yeah, that was the first, I guess more formal, publicly accessible
retreat. And then I've done retreats too with Doug and Naomi, which anyone can do that. Like you go
there, you could call them up and say, I want to sign up for a retreat. But they just do their own work
for themselves with their own clients, where for Vipassana and I was a larger organization. Right.
They have meditation centres all over the world. I did a 10 day silent.
M: Is that what you did?
S: Yeah. If it's your first time, there are certain parameters and things like that that they set that's just
different than if you've done one before.
M: Anywhere else that you've attended a retreat?
S: I don't think so. Like I said, I've been to Esalen but not for a retreat. That was just to see it.
M: So the base of my research, to give you a little bit of background on how I'm getting into this is that
I've created a framework based on Patanjali's eight limbs of yoga. I don't know if you're familiar with
the eight limbs, but the eight limbs that lead you towards enlightenment. And I mapped each one to an
architectural element and also to an experiential element.
M: So when you're analyzing architecture, that's, that's one kind of column. And then you're actually just
attending a retreat as looking at it through a non-architectural point of view.
S: But what's funny with that is Doug and Naomi kind of have seven principles that they have. So one of
them is self care. One of them is harvesting, meaning you work with your parents and you harvest
that material. Yeah, there's meditation and there's creativity.
M: Awesome. It might be connected.
S: I think so. My quick summary without sort of fully understand what the eight limbs are is I think the
body is designed in a particular way based on evolution. And so there's different methodologies and
strategies that different groups and different people have developed for working with the body, right?
And so the eight limbs is one sort of methodology for working with the body, so to speak. And then
they their own methodology. But because it's all grounded in how the body's designed, it ultimately
always comes back to the boundaries that the body represents or how the body's built, you know. So
for example, if you, if we're talking about strength training, the body has the capacity to develop
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strength and build muscle, right? So, but you might have one methodology and I might have a
different methodology, but we're still governed by how the body's designed and its potential for
building strength. So my interpretation is the fingers you're talking about is grounded in how the
body's designed and their methodology is grounded in how the body's designed. So maybe different
terminologies or interpretations.
M: This is just, this is one that I happened to as I started to do my preliminary research. It just kept
coming up again and again and again and it really resonated with me. So I just decided to utilize it.
M: Let's start with the first limb, is the Yamas, and it's the, I liken it to the ethics of, it's kind of, do no
harm, truthfulness, so similar to some of the commandments, how you treat the world around you. So
I correlated that to sustainability efforts and materiality and the site. So the questions follow what was
the location setting and, as in was it rural or urban, and how did that impact your experience?
S: So am I speaking to both retreat experiences or do you want me to just talk about Vipassana?
M: Let's focus on Vipassana and that was whereabouts in Alberta?
S: It was rural. And it was close to Red Deer. I can probably find it, but it was definitely rural. So they've
got five centres in Canada. One in Alberta is Youngstown, which is new. Actually. That's not where I
went. I'm just looking at the picture and that's definitely not where I went. They can't be correct. So the
center is located at 8.5 acres on the outskirts of Youngstown, Alberta. A small farming village in the
Canadian badlands. So this sounds to me as though it's a new location from the place that I went, but
I think they did that in BC at one point too. They built a new center. And it was still rural for sure.
M: The materiality of the building. Was it rustic? Was it new, bright?
S: Oh, rustic. It was, it was kind of an old, uh, I don't know the age of it, but, and I don't know when it
would have been built, but it was basically, you want me to just fully describe, just so you know,
everything. So there was basically, I would say two common houses. So one was the common
kitchen, fairly large. And then there was the meditation hall itself. And then there were the individual
huts, I guess, and they slept at least four people in bunk beds. And you'd get up at five in the morning
and then you'd go to the Meditation Hall and then you would meditate and then you would go for
breakfast and there'd be the senior people who had signed up to cooking and, you know, everyone
was quiet even while you ate and then go back and meditate and that kind of thing. But it was all
rustic in the sense that it had been there for a number of years and it was wood frame and, you know,
I can imagine when it was first built, they didn't probably have a huge budget and, you know, they just
built kind of what they could.
S: Oh, definitely. Secluded. Definitely quiet.
M: And the rustic and isolated aspect of it... did that affect your practice?
S: Well, looking at, I mean, I don't know where this retreat is, where that picture is from, but I, there's no
way. I think doing it in a city would be much, much more difficult, because I think part of when you're
going on a retreat, so similar to Doug and Naomi, their retreats were in Taos, New Mexico. And so
part of getting there sort of puts you in a certain frame of mind, right? So if you're living in Calgary and
you're going to drive out to, you know, Kananaskas or the foothills or wherever it was, you know, just
even that transformation or that or that, that journey sort of sort of puts you in the right frame of mind.
Or if you're going all the way down to Taos, New Mexico, which is not easy to get to. It kind of
separates you from your very busy active day to day life and it puts you into a more isolated, separate
mindset. So, you can focus on what you're there to do.
S: So there's a, there's a meditation center in Calgary, a Buddhist Meditation Center, off the Bow River.
It's kind of downtown and it's big. They built a brand new, there was an old one and then they rebuilt
and whatnot. So I'm sure it has value within a certain context because, or I guess is how I would
define it. If it's a meditation center within a city, it can facilitate daily practice because you have a
place that's accessible. You can go on a daily basis. Like there's a shambhala centre over Fernwood
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and sometimes I go there Wednesday evenings. But a retreat, that's not a retreat though. Right. So
it's separating out what helps you in your daily practice and what's accessible versus a dedicated
retreat where you can move and go much deeper and much farther, much quicker.
M: Did you notice any sustainability like solar?
S: No. And I would say that was just partly because, I mean, it was literally, I don't remember what year it
was, but early 2000s, before, culturally, we were really understanding the consequences. But it wasn't
awful. No. Well, I guess what I would say is if there was, it would be a natural part of what it would be
to have a facility like that in a rural setting. Like there wasn't sort of additional steps being taken. I
would say, if you were living on a farm in 1980 there would have been things you were doing that
were sustainable that were just by virtue of just living on a farm in the 80s. Like composting. I'm sure
everyone on a farm composted, you know, just because it's like you just take your kitchen scraps, you
feed them to the pigs.
M: Yeah. That's fair. It's kind of an innate part of rural life.
S: So I'm sure there was innate things. But nothing additional.
M: So the next limb is the Niyamas, which is about kind of how you treat yourself, treat your body. So I
likened that to, as you purify and nourish yourself, the actual amenities and the accommodations and
the dining spaces. So you mentioned what was there, but maybe we can talk about how it felt inside,
the space inside. Accommodations, we can start there.
S: It's harder to talk about because it's hard to separate out, I think, experience and the expectations
from the environment. So for example, as part of the retreat, yeah, I think, I think we, did we get up at
five or maybe four in the morning and it was something ridiculous like that. And so that almost
undercuts, if you're not used to, that sort of almost undercuts everything else in a way. But I would say
that the old rustic cabins didn't really facilitate getting up at four in the morning. Right. Everyone's
expected to be quiet. But you know, it would have been better in hindsight if you had, if you would've
had your own space, cause inevitably somebody is going to snore or somebody's going to get up at,
you know, two in the morning because they're sneaking out to have a cigarette when they're not
supposed to be, you know, or somebody goes for a pee break or something like that.
M: And the meditation hall itself?
S: I don't know. I just keep thinking of how intimidated I was during the first time. So I don't know. It's
interesting. No, it's not because of the space, but just because it's your first time and you're having
this meditative experience and you don't know what to expect and what the rules are and you don't
want break a rule and get in trouble.
M: Was it kind of focusing towards the outside or lack of windows to outside?
S: Definitely lack of windows. So yes, to that sense it was, there were no windows. And it did facilitate,
cause it's all about getting into your body. So it's trying to minimize the distraction, so you're not
allowed to talk during the retreat. I would say it facilitated the sense that it was a very sparse space.
There was the cushions, no windows, the walls, you know, it was minimalist as much as those things
typically are. I mean there was adornment to things like that, but yeah.
M: In the cabins, just going back to the accommodation, there was four sharing and then each cabin had
it's own washroom or are you outside to washrooms?
S: So, so there was another common building, which was the bathrooms. Kind of like you would see at a
park, a national park or something like that. And so yeah, you had to go outside and use the facilities.
M: Did you like that or hate that, or were in indifferent?
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S: I don't know. I feel it's almost a bit of a philosophical question, how comfortable do you want to make
the experience, you know, are you trying to make it super easy. So your focus is only on the
meditation or are you strategically making decisions or design decisions to sort of push people in
certain ways to maybe make things tougher or easier? You know, I don't know.
M: That's an interesting thought.
S: Maybe having separate washrooms. Like what's the cause and effect of that? You know, I don't know.
I think I, you know, again, in the context of it being my first time, I, I kind of just accepted it for what it
was and was also equally intimidated by it. But I don't think I have an opinion one way or another
about whether, I mean, it's always nicer to have a washroom in the same cabin you're in ... always. Of
course you get up and you're just, you have a washroom in your room. That's better.
M: The common spaces. So you mentioned there was a common house or two common houses and
then the kitchen, I guess a dining hall.
S: Yeah.
M: And any kind of lounge, common space?
S: No, no, no. It was pretty much you eat and then you go back to meditating.
M: Dining hall?
S: It was large, meals were provided, but there were people who were, well I guess I guess in terms of
how it was structured, the students just meditated, period. But then there were people who
volunteered to cook in the kitchen who had experience who, I guess you could say they had enough
experience that they could be meditating while they were working. I guess. So in theory, if I had to
kept doing it, I might have signed up to do a retreat. And then to be somebody who was participating
in the cooking as part of your way of giving back to, you know, the, the program or you know, the
culture of it. But it was definitely a separate, as a student, there was no expectation that I was going to
be in the kitchen cooking and cleaning, you know.
M: Were there any other kind of unique amenities that we haven't touched on?
S: No. The only other side of it was that that's probably important actually is so part of the meditation
would be in the hall, for certain periods of time you would be meditating in the hall and then
sometimes you could, I don't remember if it was a choice or whether it was an expectation, but they
had a courtyard. But basically, you know, there was the kitchen and then the meditation hall and then
the washrooms and then the cabins. And so there was a central area where you could meditate while
walking. So you're outside, meditating and walking. Almost an active meditation in the sense, again,
you're still not talking, you can't leave that confined space. You could walk outside and it's similar to
the Shambhala Meditation Center. You'd be 20 minutes sitting, 20 minutes walking, 20 minutes sitting.
M: So the courtyard kind of becomes another space.
S: A hundred percent. And I think part of it is like, I think philosophically when you're meditating, you
want to have boundaries around you, right? Cause part of it, I mean this is my interpretation is your
body's like a boundary that contains you and it holds you. Right? And so you're having that similar
relationship reflected in the physical environment. So the meditation hall was a boundary that holds
you while you're meditating. And then the courtyard space is a boundary that holds you while you're
meditating. So, even if you were taking that and then turning it into a path, there's still boundaries on
that path and you're still sort of holding you and containing you. Cause if you don't have those edges
then you're in chaos. You're out of control, so if your body doesn't have edges and boundaries, then
your energy is just spilling out of you out of control. So I'm pretty sure, I don't know this for sure. But
I'm pretty sure that the courtyard also represents boundaries that's holding you or helping to continue
while you're trying to have this inner experience.
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M: Asana is the next limb, which will be a little bit different for a meditative practice, that's what variety of
sessions or classes did you have and whether you had one instructor or multiple instructors.
S: I guess in a way there was multiple although not really. So there were two people who were sort of
facilitating it. That were seniors, but they were quiet and they were there at the same time. So it
wasn't like you were having two different instructors coming in and give you different instructions. It
was two people who just kind of, you know, were holding the space so to speak. But then there was
also the video screen of the head guy, I can't remember what his name is and they would play those
in the evenings. So you were kind of getting two instructions, but the people who were physically
there were just kind of holding the space.
S: And the practice was essentially the same. At least within the context of Vipassana. And from what I
remember, it was essentially the same practice. It just depended upon how far along you are in your
practice. So within the context of that, it was at that time as a first timer, it was all about physical
sensation and becoming a quantum is with physical sensation. So, you know, you'd start by feeling
the physical sensations around your, around your nostrils, and as you're breathing in and out, right. As
a way of tuning you into sensations you aren't normally attuned to. And then you just follow that
sensation and then if you feel that somewhere else in your body, you sit with it for a minute and then
you move on because if you avoid it, then you're developing avoidance stuff and if you sit with it for
too long, then you're developing attachment stuff so to speak.
S: Right? You want to become a quantum, this where the sensation is not driving you, but you're just sort
of feeling it and just scanning your body. And so depending upon how experienced you are, it just, it
just determined how deep you go inside your body, how subtle the physical sensations were, how
good you were at, not reacting to sensations, but just being aware of them, but still holding your
presence and your attention I guess. But the practice itself, the overall was one, it's not like, it's like if
you go to the yoga place, a different instructor will have a different whatever, right? But within that,
within the Vipassana specifically, it was one practice. With Doug and Naomi as a different example, it
was the same two teachers, but they would be different exercises they would have you go through So
I think it just depends on the methodology. Right.
M: Were the connections that you experienced between practice sessions, with your fellow participants.
Was that lively or subdued?
S: It was very subdued. Number one, cause you weren't supposed to talk period. Uh, and if anything,
there was this tension around it because you get in trouble or not just get in trouble, but you could
literally be kicked out. You'd be asked to leave if you were to disruptive. So within that context, it was
a very inner process and the rules and the space and the structure was all about trying to facilitate
that. So the rules were about, don't talk to people and the space was about, you know, you could walk
and meditate, but only within these boundaries.
S: Right. And then there was like, you get up at four and then you go meditate until this time. And then it
was all structured around isolation in a sense. Right. Whereas, you know, by comparison with Doug
and Naomi, you know, there would be group work where there'd be a circle of people and you'd be
participating in what their experience was because there'd be a couple in the middle of the circle and
you would be sort of on the outside participating by relating it back to yourself. And then you'd break
for lunch or dinner or breakfast and everyone would be participating in the meals and you'd be sitting
around a big table and you'd be talking and conversing and you know, so, it's two totally different
approaches
M: Would you say one worked better for you?
S: I think it just depends on, I think you have to have, uh, I dunno, that's a tough one because I think it
depends on what your goals are. Not to be overly philosophical, but you know, a lot of sort of
Buddhist, not the Vipassana per se, but a lot of Buddhist work is sort of about almost in a way, leaving
your body because it's transcendence. Whereas Doug, Naomi's work is all about getting into your
body, right? It's about being grounded in this life, right? Like you're here on this earth to experience
this earth. Like Naomi will always say like, why would you want to leave it? She almost kind of
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represents the body in a sense and speaks from the body, which is might sound weird, but, so their
practice is ultimately about being in your body and being grounded in your body , whereas a lot of
Buddhist stuff is about actually exiting.
S: So it's two totally different philosophical points. And Naomi would argue within this life, you should be
grounded in your body, later on when you're older, then yeah. Then maybe you start to experiment
with, you know, spirituality and all that other stuff, but you know, while you're on this earth, you should
be connected to the body. So it's two totally different philosophical approaches and I would say the
Vipassana space was appropriate to that approach. And the facilities were appropriate to that
approach.
S: Although the Vipassana was also, at least, at least initially was also getting into your body, but it was
a different, that was a physical sensation whereas Doug and Naomi, it's about, you know, the
emotional body and energy through the body and that kind of stuff. I guess ultimately what I would say
is that the different approaches of ultimately, you know, built up a structure, whether it's in the
scheduling for example, and the programming as well as the physical environment to facilitate
whatever their philosophical goal is. It aligns with their purpose.
M: So the next limb, is pranayama which is about moving breath. Okay. So I liken that to as breath
moves through your body, how do you move through space or property? So what was successful or
not and about how you navigated the spaces?
S: Brilliant. Well, I guess I would say that the vipassana one was successful in the sense that, you know,
like I was saying earlier, your movement was restricted based on their goals. Right. And sort of having
that container. So I would say it was successful even though it was difficult because if it's your first
time, it's very hard to sit still. It's very hard to be contained. It's very hard to just be in your body. It's
very hard to just sit there and do that. So you want to run around, you want to walk wherever you
want to walk, you want to break those, you want to break that container. So it was successful in the
sense that it was facilitating the goals that they were trying to achieve, even though it's difficult and
tense while you're in that space. Because it's not, you know, conceptually you kind of understand
what's happening and you're there because you want to get what you can out of it. But it doesn't
mean that it's easy to do or that your body wants to sit still.
M: We kind of covered this already, but maybe not. Was there far to walk or travel outdoors between the
sleeping, dining practice spaces?
S: It was fairly contained. You were just walking across the courtyard.
M: The next limb is pratyahara, which is about withdrawing your sentences. So starting to close your
eyes go inwards. So I liken that to the journey, how you got to the retreat and how that effected your
first impression.
S: How did I get to do retreats? So it was by car on the highway. It was from Calgary to the retreat
center. And so I got picked up, I can't even remember how I found out about the vipassana retreat
initially, but somebody, I got a ride up there with somebody who had experience. So it was basically
carpooling, which I think in hindsight probably helped because then it sort of immediately put you into
a different mindset is, and you're talking about it and somebody senior is there to talk about it. And
then as I said earlier, the process of physically getting there just helps to sort of create space, I guess
between the retreat and what you're going to get out of it and your past busy life basically. So it's
almost, maybe it's a little too pretentious, but it's like you're being transformed because you're going
from Calgary and you're on the highway and then you go to a secondary road and then you go to a
rural road and that, you know, each transition just helps to like, you know, help transition.
M: And you traveled with someone else like an hour?
S: Yes, I would say, it was at least an hour, maybe an hour and a half.
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M: So when you arrived at the retreat, any processional further journey into the site or were you just kind
of, there?
S: There was the parking lot and then there was the courtyard and whatnot. There was no, yeah. I guess
the only thing I would maybe kind of related to a co-housing project where cars park on the outside.
Uh, but there was no, I know in architecture that, you know, you might sort of design an approach and
that approach helps facilitate or transform. That wasn't there at this site. It was just a parking lot,
grounds and so I don't know the history of that specific site enough to know whether it was purpose
built or whether they just sort of took over an existing campground and bought that. And then, you
know what I mean? They would have obviously built the meditation center, but I don't know if they sort
of took over an existing campsite is like, oh great, it's good. You know, we'll build the facilities we
need. We already have the cabins. All we need to do is build a meditation hall. I don't know that. The
newer ones obviously would be purpose built. So maybe they would have something that's more
approach driven, but based on that picture doesn't look like it.
M: The next limb then talks about scale, which is about how big was the group? How long was the
retreat? How big was the property?
S: So the length of the retreat in terms of time? Oh yeah, 10 days.
M: And how many people?
S: I would say like 40 or 50.
M: Okay. So scale in both of its sense, of the length and amount of people, did that work for you?
S: Time again is one of those things that, the length of time is just driven by them sort of determining
what's a good amount of time, right, yes. If I had to determine the time, I might've chosen something
that was less, but then, but who am I, you know, I'm not the person who should be deciding that. So
the time worked in the sense that it was set up by them and you know, challenges you and that was
okay. I think they have 7 day ones as well. It's hard to know whether, did they go with seven days
because people were having difficulty and complaining and so then they sort of softened it, but then
the people aren't getting as much out of it as they could have had they just stuck it out.
S: It's almost like if you're on the exercise bike is that 20 minute mark. That's the magic mark when your
body turns over, so to speak to the next gear, you know, so if you're just like, oh, I don't want to be 20
minutes if you're not getting out of it, but if you're a personal trainer that's like, know what you're going
for 40 minutes, then you get more out of it. As far as the number of people, because it's driven by the
finances of what they're trying to do and accomplish. I think that many people in some ways actually
helps the anonymity, meaning that it actually facilitates you being more internal. Whereas if it was four
people, I think will almost become harder not to socialize in a way.
S: With Doug and Naomi's work for example, smaller groups just work better because then you get more
time with them. They do pods now just four people and so Naomi can work quicker and faster and go
deeper with people. So again, I think it depends on kind of the structure and the goals, right? Like for
the Vipassana you could probably do 50 and go bigger because it's just people giving you a class
instruction and that you're taking that in. There isn't a one on one interaction that's happening.
M: The size of the property and the buildings we kind of did talk about this, but did the size of the
property and the building seem, manageable, overwhelming or not quite enough? I know Im asking
for you to repeat yourself a little bit.
S: Yeah, it was fine. It was sort of the Vipassana. I would say it was appropriate. I think if it had it been
bigger than you wouldn't have been as contained, you would have had to walk farther between the
buildings, and then therefore people would have lolly gag, so to speak, and dinner would have started
later and it would have ended later and people would have been striding into the meditation center, all
those kinds of things. Yeah, I would say the size of it was appropriate.
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M: The last limb, and then we do have a couple of short follow up questions afterwards, but the last limb
is really the enlightenment limb and it's the hardest to define. So I've likened it to the spirit of place.
Which is something you can't really design for, but if everything else falls into place, hopefully achieve
a rich spirit of place. So the questions that pertain to this topic or what were the sacred and special
elements of the retreat center?
S: I think just the meditation hall, if you removed the meditation hall, then it's just a camp ground, right?
With a big kitchen. So within that context of the meditation hall that was the, because yes, you could
meditate in the courtyard, but that was just, that was just an alternate sort of supplementary sort of
experience. It was really about the meditation hall, which contains the Meditation and it held the
instructional practice, right? So without that, nothing existed.
S: So anyways, what does it, kind of an interesting experience. But the point of that being is that the
energy was, that's what defined that place. That's what makes that place famous and why people
come to that site specifically because of the energy of that space on that site. And I asked Naomi, I
said, so, cause when she goes to space, she can feel that, right. And so in certain places they feel
flat, right. So Victoria, to her feels flat. Christchurch Cathedral feels flat, you know? Whereas when
she goes to Sedona or even Vancouver, she could feel the energy of those places. Right. So it's a
much, much harder thing to define and the only way you're going to define it is if you know somebody
who's really sensitive to that or you yourself are sensitive to it. But that would be something that would
define a space more than anything. The feel of it for sure.
S: But yeah, history of a place that's that intangible thing, you can't define it, you can't design for it. And
the thing about the work that we're talking about, body work, Yoga work, meditation. I was like, if we
were talking, welding, it's not going to matter. You can set up a welding shop or anywhere and it's, it's
still going to be defined by building. It's a purpose built building for welding. But you can do that
anywhere. But if we're talking about this work and ultimately body work and energy, but that's a whole
other layer that, how do you, how do you account for that? Because it's just, it's either there or it's not
there, you know, as opposed to just like, I'm going to build a church here. Okay, great. But is there, is
there something else that facilitates that and how do you find out if you're not.
M: I skipped ahead to this one earlier, but the space felt authentic, you mentioned; what about it made it
authentic?
S: I think part of it was the journey, right? Cause you're on this journey and that's transforming you. And I
think part of it is, I think almost in a more intangible way. It was the choice to go there. It was the
process of getting there. And I'm like, if that same building had of been in Calgary, it wouldn't have
been as impactful. But then also obviously the meditation hall itself, Right? Because it has its own
presence. I mean it didn't look like anything special, but it just by virtue of it being called a medication
center and the acting as a meditation center. That kind of defined that space. Not just that space of
that building, but the entire site.
M: So the elements that we've just discussed, the limbs, if you could place those in order of how
important it was to your overall experience in terms of what mattered to you most or had the most
impact?
M: In general, what worked best for you about the retreat?
S: I almost want to say the overall site and its location. It's the separation. Especially for something like
the Vipassana, which is supposed to be kind of isolating. It can transport you to a place which
facilitates you being able to then be more successful in the program.
M: And what challenged you or could have been better?
S: I think what challenged me was me. Because it was just not an easy experience. So it's just, you and
yourself just trying to maintain the discipline to do it and continue. And in theory, I mean, I'm not the
kind of person that would've done this, but in theory had it not been outside of Calgary, you know, in
theory I could have left the retreat halfway through, got on a bus and been back home in half an hour,
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you know, bailed on it. Right. But if you're out there in the middle of nowhere, you can't really do that.
Right. Even if you have your own vehicle is so becomes, then you've got to drive all the way from an
hour and a half, and then you're thinking about how you just let yourself down right. In terms of what
could have been better, I don't know. I think the sleeping accommodations, I would say the shared
nature of the sleeping accommodations because on one hand that was, yes. Okay. So I would say
that was the one contradictory side of it because you're supposed to, it's supposed to be inner
journey. You're supposed to not have any distractions. And here you are trying to get up at four in the
morning and just getting a decent sleep. And then there's other people who are going to be coming in
later or if somebody snores, I'm not going to sleep. Then if I can't sleep, then it's completely
undermine the entire experience. So, so I would say that would be the one thing that I would've
changed.
S: The only counter point to all of that is at the Shambhala center you're supposed to meditate with your
eyes open because it's supposed to sort of symbolize that when you are like, if you learn to meditate
with your eyes closed and in isolation, when you go out into the real world, you can't meditate. It's sort
of broken for you in a way. But if you learn to meditate with your eyes open, then that means you can
be sort of grounded and present even as you're walking around the city of Victoria. So that's the only,
I guess counter argument to what I would say. But at the same time, what I would also then argue
back on the other way is that if it's a retreat, it's not really about, the retreat is about being separate
from other people while you're meditating because you're going farther and deeper and you're doing it
with a span of 10 days. Right. In other words, the Shambhala center is where I can go to practice
meditating amongst other people with my eyes open, et Cetera, et cetera. But if I'm going away to a
retreat for 10 days, and that's an opportunity for me to be isolated and try to go in as deep, as quick
as possible.
M: You mentioned this before, but the design of the retreat was repurposed or built specifically to function
as a retreat?
S: I think the meditation hall was built by them to be a meditation hall. And the rest of it, I just don't know,
I could see it being both, because I don't know if the meditation was new. It was old. It was like, I just
don't remember how old it was in relation to the other buildings, whether it was newer or the same,
same age. And how many places have a large communal kitchen like that. So it could have been built
specifically for that. But at the same time, assuming it was built back then that's kind of what they
were building, right? Like they were just kind of building local materials. They were just building a little
shacks for people to sleep in. Like, you know, whereas design nowadays would probably be more
thoughtful. It would have more, it would probably have more. Uh, I dunno, but it's Kinda hard to say
whether that's better or worse in the sense of people have meditated for thousands of years in rustic
conditions. So are we making it overly comfortable because of, you know, all of us city folk that are
driving out to the country for 10 days and having all these expectations.
M: Do they host any other types of events here or just meditation retreats?
S: I'm pretty sure it was solely for the purpose of retreats, but I think they had different types of retreats.
Like some of them are 21 days.
M: There's only one happening at the same time?
S: Oh yeah, for sure. Yeah, that would have been way too disruptive. Had there been multiple.
M: Is there anything that you would like to add that we didn't cover already?
S: I don't think so. No, I don't think so. Thank you.
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Interview ‘W’
W: I’ve been to retreats on salt spring, several in Mexico. And then I went to Tulum with Dorothy a couple
of times. I went to Italy with Dorothy once. I'm thinking of abroad and went to Bali with Dorothy.
M: Closer to home... Other than stowell lake?
W: Anywhere closer to home? Well, I did a one day out of what is now the roundhouse.
W: I'm thinking of all the countries I've been in, which ones? I've done yoga retreats and, let me see.
Mexico. There was, two inside Kalita, that Hara Mara, but that was before.
M: Okay. My intent is to find ones that aren’t super tropical, more with a climate like our own.
W: I, back in the day I went to Kripalu, you know, in yogi Desai was still there. And that was in the old
shadow brook monastery that turned a yoga retreat
M: yeah. So I know a fair bit about that one. So I think we'll, not do that one.
W: I've been to Breitenbush hot springs for yoga retreats.
W: It's in an old growth forest an hour and a half east of Salem. Near Mount Jefferson. Mount Adams. It’s
a natural hot springs intentional community on a dirt road. One of my favourite, favourite places on
earth. I love that place.
M: Oh yeah. Maybe we can talk about that one cause I don't know anything about it.
W: Right. Breitenbush is awesome. I haven't done a yoga retreat there for while. I've done a bunch of
other retreats more recently, but I can certainly talk about the space.
M: Yeah, let's do that. That sounds good.
W: Do you have sort of a thesis or is it just sort of you, what's your kind of like, bent?
M: yeah, my thesis is, really how the eight limbs of yoga are expressed in architecture and how can a
retreat center support that. If you have any questions throughout the process, feel free to ask. If you
need something clarified, feel free.
W: Sort of funny. I mean, I first went to yoga classes back early seventies. And I would go to retreats here
and there. But in terms of actual formal practice, you know, not sort of here there, you know, I think I
started in 1990 when I was in Berkeley. So, however many years that is. How many is that? I'm not
good at math.
M: A fair bit. Yeah. 20 or 20 plus years at least.
M: So what made you first consider a retreat or going deeper in your practice?
W: Well, I don't really remember where my first retreat was, but just thinking about the concept, I think I
find it exponential. Like you can maintain a practice by going to class or having your home practice,
but you break down, in my opinion, a lot of barriers, both spiritual, well spiritual, emotional and
physical, I should say. All three when you go to a retreat because it's, yeah, it's exponential. And also
when you've had a highly stressful life like I have, they're like little islands, you know, of ways of
reminding yourself that there are more important things. I mean, I do meditation, so I've been, I've
done a bunch of meditation retreats, but sometimes just sitting, it's, it doesn't serve me as well. It
depends on where I am in my life. But the Yoga I love because it's like moving meditation. So I get the
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meditation, kind of get the movement, I get the mindfulness. And it's nice for somebody else to make
the food.
M: That is awesome.
W: Yoga retreats. I would say almost always have fantastic food and they're in a lovely place. And the
other thing is that they sort of support your practice in a lot of ways. Oh, and I also think the people, I
think out of any groups that I've traveled with and I traveled with a lot, cyclists, hikers, paddlers, cross
country skiers. I mean I've been on group trips with all kinds of different people, rock climbers, and I
would just say Yogis, you could almost be guaranteed with a few exceptions that there aren't going to
be any jerks in the group. And when I say jerks, I don't, you know what I mean? Like people was such
huge issues that they kind of colour your experience.
M: We've already been over this question. Where have you attended? So many, many places. That's
amazing. And when was the Breitenbush retreat?
W: The last time I was at Breitenbush was, uh, a year ago, but it wasn't for a yoga retreat. I'm trying to
think. When I went to a yoga retreat, it was a teacher from Portland. I can't remember names. So I'm
not exactly sure the place hasn’t changed, so, okay. Whatever I would say about the physical space
and everything and it hasn't changed. Yeah.
M: So I kind of gave you a heads up that I'm basing all of this on Patanjali’s eight limbs of Yoga, but I've
created a framework for evaluation. So we'll look at each element, each limb, and I have questions
that are kind of focused for that. And answers are both what was successful and what was not
successful. So either way, I'm not only looking for critical, I'm not only looking for positive, so
everything. So the first limb being the Yamas, I liken that to the ethics of a site and have a place, also
how sustainable a project is and what kind of materials they use. So along with that comes location
and setting. Was the hot spring, rural or urban, secluded or?
W: It was quite, secluded. They're off the grid and they run everything geo thermally. Yeah. And they, well,
not in winter, but the rest of the year, they grow a lot of their own food and they have very sustainable
practices and uh, yeah, I mean they've been that way for a very long time. I'm trying to think the first
time I went there, I want to say it was yikes. Maybe early, mid nineties. Yeah. So I mean if anything,
they've, you know, improve their routine, but they were way ahead of the curve. They’re an intentional
community. So they kind of been getting it right for a long time. Yeah. And they have a, they built,
some years in a salmon ladder type contraption for the river because they have a wild river, the
Breitenbush river that runs through there. So they built this whole thing and got funding for that. And
then they’re forest is old growth forest and on, so that more super active in the whole spotted owl
thing in Oregon. And you know, they're, they're just, yeah, it's a multigenerational. But the people who
started at were my age or older even, you know, so it was originally just a hot springs resort and then
this community came in and bought it. And yeah. So it's pretty neat.
M: Would you say that the materiality of the building is fairly rustic or was it new and bright?
W: Rustic, rustic, rustic. Charmingly rustic. Like elves in the woods rustic, like a real hobbit should come
out of it. They have a variety of accommodation. Did you want me to speak to that?
M: We will get to that moment.
W: Yeah. Rustic for sure. Yeah.
M: And aside from the geothermal, was there any solar or rainwater collection or they're off grid, so
probably,
W: Yeah, I'm sure they have it all. I know for sure they have some solar, I don't know about rain water
collection. I'm sure they must, I don't have a visual memory of rain barrels and stuff, but they must.
M: And material was kind of wood cladding or stone or how was it built?
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W: Yeah, it's all the old wood, the cabins, everything. And uh, I think there's some rock foundation. If my
memory serves me, I'm sort of visualizing some rocks on some of them.
W: yeah, they're definitely rocks. And then they built a new little cob building for a meditation hut. And that
was really, that was a new addition. It was very sweet.
W: And they have their own little fire departments there, which is on site, yeah, they're own the little fire
truck. And so cause being that secluded and you know, things can get a little scary and a dry summer.
M: So thinking then next about the Niyamas limb, which in the limbs of yoga is about kind of purity and
cleanliness, how you take care of yourself, how you're rigorous with yourself. So I liken that kind of to
the amenities. How do you purify your body while you're staying there? How do you rest? Where do
you eat? So we can talk about the accommodations and then the practice spaces and also the
common spaces and kind of what was successful or not about those.
W: Well, the accommodations are a myriad. There is a little campground that you can camp in during
certain months and also during certain months they have, uh, this is a different price ranges, right?
They have platform tents with beds in side two single beds. They also have cabins, some with a
shared bath, some with their own bath, and they're just sort of lined up in little rows. They look very
cute, like little monopoly houses, you know, all made out of wood, you know, and they're very rustic.
Again, geothermally heated. And then there's two rooms in the lodge. They usually try to reserve
those for people who are handicapped, because you know, the food and some of the programs are in
the big building in the lodge. However, I've been able to stay there, uh, on several occasions. It's
really nice when you go when the weather's Yucky, so you don't have to go outside.
W: You can just be tucked in. And there's a really comfy library, which is, you know, quiet room, quiet
space. They have a massage building, they have a kitchen, they have a big dining room and, and
they have a big, you know, deck outside and in the back. So when the weather's lovely, people just
eat outside. And the hot springs are amazing because they're all wild and they have cold showers by
the hot springs. And there, uh, there's one that's silent pool that's way out at the edge of the meadow.
And then a few others that sit in the upper and then down below is more the social pools where they
have four pools that represent the four directions and they’re of different temperatures. So the silent
pool is go there, but no talking. Yeah. And the other two pools before the silent pool are quite nice.
W: I mean, people can talk there, but they're not sort of the chatty pools. Where as the ones, the four that
are, you know, that's sort of where people go and chat, you know, and they're quite nice and you
know, when the weather's decent, like when we were there and there was a particularly warm day and
people were dipping in the river, which is, there's a bridge that goes from the facility by the salmon
thing across to where the community lives on the other side of the river. They have their own hot pool
over there. So the bridge is really nice and there's a little thing, it's almost like doing a puja where you,
you know, throw your troubles downstream and gather in. There's a little plaque of what to do as you
cross the bridge. Yeah. There's something about, I don't know how to describe it.
W: And then there's all these hikes in the old growth forest. And they have a hiking map. There's
something about that place, that I think Tassajara and Esalen and those are on hot springs too. Even
for a weekend where I did not experience a energy shift of some description, something shifts.
Sometimes I've had major shifts and that's usually for a five day retreat or a week long retreat. But
even on the weekend retreat, it's a combination of the trees and the community and the silence and
the hot springs and whatever workshop you're involved with. Plus the people there. I mean most of
the people there are from Oregon or the Pacific northwest, so they have this kind of mellow vibe, you
know, they're not strident aggressive type of people. Yeah, they're just mellow.
M: Yeah, it sounds, pretty amazing. Yeah. I'm actually really excited that we're talking about a place I
know nothing about. I don't know to, to connect it, so I'm just, I'm just getting your, I like that. Thank
you.
W: Two years ago I went to, they have an annual service weekend. I went to that where everybody, you
don't have to, but people offer things that people take things and then you do sign up for service and
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then a couple of years in a row in the fall I went to their annual mushroom thing or my colleges come
in and we'd go out on four raise and they hire chefs and cooks up much rooms. You know, they still all
bunch of different
M: So the accommodations, like the cabins, as you say, they're rustic, but they have indoor washrooms?
W: Some of them do and some shared washroom apart or Greek bath house situation. I've stayed in
every possible option there is.
M: Is it one room per cabin or are there multiple rooms per cabin ?
W: Well some, there's a front room and a backroom. Some I think even have bunk beds. I've never been
in one of those. So they have a variety of ways in which you can sleep there. I don't know if there's a,
strictly a dormitory cabin. I've never seen one that large, you know, like a hostel. So I think probably
the largest would be three people in a room or something. That's my guess.
M: So the practice space, how would you, how would you describe that and how did it work for you?
W: Well, generally we're in the big room. If it's yoga, in the big room it has a fireplace and has a carpet
that they roll the cart it up, you know, kind of like salt spring center. And just a lovely old log room, you
know, with windows on all sides. And yeah, it's, it's very cozy. Just a very sweet space. They have a
little sort of hut thing with a carpet that they do yoga classes, you can just go to yoga classes and it's
a very small space and that's really nice. It's very kind of Woodsy, cozy. I think those are the only two
spaces I've been to for an actual yoga retreat. All the other places were various small buildings for
things like writing, but I don't think any of them accommodated yoga. So I think it's pretty much always
in the big room.
M: And so there was a connection to nature with the windows and the logs and the materials.
W: yeah. And, and it's really nice cause you know, on warm days, all the windows are open. You can hear
the river down below. And it was just really nice. Yeah. Oh and I forgot to mention they have the most
amazing geothermal heated sauna. It's like you're in the sauna and then you go outside and there's a
bathtub or you can fill up with cold water. Almost nobody wears bathing suits. We don't, you don't walk
around naked. I bet if you did people wouldn’t freak. But it's just considered bad form. But at the tubs,
everybody's naked and in the sauna you're naked. And the sauna, it sounds like a dragon, you know,
that you, if they're more growers this roar, you know when you're in there low rumble, there's also ice
cold showers outside. So the sauna is just the best sauna ever.
M: So the quiet library that you mentioned, that's a shared space and it's small or big?
W: Well, there's two rooms. There's one room, that has some children's toys in it and you can shut the
door if you're in there with your kids. So they have a little toys they can play with and things like that
where people can just lounge in there and talk quietly. And then the other libraries just sort of silence,
please take off your shoes. That kind of thing.
M: How about the dining room is that kind of big and long tables or smaller and more intimate.
W: Most of the tables or four tops. There are some two tops, uh, the four tops are generally round. There
are some two tops. And then trying to think if there's any, there might be one long table, something
like that. Oh. And then they did put up a sort of a canopy outside so people could eat outside if they
wanted, if it were raining and cold. Yeah. There's some people like to do that as well. Yeah. So theirs,
but on a nice day everybody sitting outside eating, you know, even if it's sitting on the grass, you
know, with your food.
M: Yeah. For sure. Yeah.
W: And it’s buffet style, you just, there's a time that you go in and eat and eat and the food is vegetarian
and you can request, they have gluten free and all that, all the options. And it's basic delicious food.
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M: And a lot of it, you said it was grown on the land?
W: During the summer. Yeah. Or as close by, they try to do really good job.
M: So we're going to move on to the Asana limb. Which I liken to the variety of classes and what kind of
sessions were you doing there and did you have one instructor for the whole time or multiple?
W: just one this particular one I'm thinking of because it was a large group, she had an assistant with her,
so there was actually two of them. So I'm not actually sure if she were an assistant, but she led
different, she had sort of a bit of different focus. I can't describe it, but I can't remember exactly. But
one of them did a certain thing and the other one did a certain thing.
W: They had their own roles. Yeah. They just, they just had a different practice. I knew it was all Hatha,
but I just remembered, so-and-so's going to do this part and I'm going to do this part. And they
complemented each other very nicely.
M: Huh. Did they split the group in two or did they just kind of do it at the same time?
W: Yep. Same time.
M: and so, and then you said it was all kind of a Hatha postures.
W: Yeah. I don't remember it being like, you know, it wasn't, yin, it wasn't anyasara and it wasn't hot. I
don't do hot. I mean it wasn't any of that. It was just sort of nice practice.
M: Yeah. Okay.
M: In between your practice sessions, the connections that you had with people, there are other
participants. Was it lively or was it subdued? And how did that work for you?
W: You can do either there. You know, there's people there who even have little things on staying in
silence, you know, that you can put a little thing on just like, I'm not ignoring you. I'm just in silence all
the way to people who are just really connecting, you know, I just want to connect, connect, connect.
So there's some livelier conversations going and you know, I wouldn't say raucous, but very
enthusiastic, to people who are clearly just wanting to be on their own. So it accommodates I think all
of that. Yeah. Cause I could, I did both those people. I've never been the in silence one, but I've been
the person who just, I just really need chill time and my purpose here is not to connect with others and
not being on friendly, but I really need my energy to go to me. Whereas other times it was much more
of a connective kind of thing.
M: And there was space to do that.
W: Yes. Mostly I remembered Jai Utah had a, had a workshop in kirtan. Man. We were like, we were so
elevated. It's really funny. Yeah, that was awesome. That was one of the best ever. Yeah.
M: So we'll talk next about Pranayama and uh, for me the connection there is however the breath may
move through the body. How does a person move through the building or the space or the property of
the retreat? Were you kind of in separate buildings and moving between them? Are you all in one
building?
W: Yeah. As far as accommodation, we were all scattered around the property and then the hot springs
where different places, you know, but where we ate and where we practice was in the same place.
Yeah. And, but sometimes I've been to workshops there that weren't in the main building, so they
were smaller cohorts and so they would be in an outbuilding. But yeah, for Yoga we were all in the
same place.
M: Okay. And did that, did that work for you having dining and practicing the same building?
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W: Yeah, no, it's fine. It's nice, although, you know, it's fine the other way too, because then you know,
you're forced to walk through a beautiful setting, which is lovely because then you get that time in
between, you know, your accommodation and where you're eating and where you're practicing. So
yeah, I wouldn't, ideally, I wouldn't want to stay unless the weather's just horrendous. Like there's a
snow storm going on. I was there one time for that. I would not want to stay all three things in the
same building unless the weather is really crappy, then I just feel like it's too much closeness. Right.
M: The distance between the accommodation of the practice space, was it far, close, how long of a walk?
W: Depends, if you're in the camp ground it's about, maybe 10 minutes. If you walk briskly. They also
have this thing called the inner path. It's this sort of path through the woods that you can take like a
little contemplative path. And the others are fire roads, they can run their own vehicles on them, but
cars don't go down there, you know, just their own vehicles. I think probably a little over 10 minutes
would be the longest between one to the other.
M: And where you stayed was how far?
W: Well, again, I stayed in various cabins, you know, different times. So, between five and 10 minutes
walk.
M: What was your favourite distance, I guess?
W: It depends on the weather, you know, cause if it’s crappy weather that 10 to 15 minute walk is in the
rain is not so great, you know. But it depends on the weather. If the weather's nice, I was fine with.
W: Walking through the forest, it was great.
M: We will go on now to Pratyahara, which in the eight limbs of yoga is about withdrawing your senses
and starting to, you know, not listen and really focus inward. So I kind of correlate that to the journey
to the retreat and kind of preparing yourself for, for what's to come. So because you are in a
completely different state, how did you get there? How was this, what was that like?
W: I think only one time did I share a ride with somebody because I think I've been biking and I got a ride
with somebody from Portland. They do a ride sharing thing, you know, lots of people from Portland,
but I was always in my own vehicle. So for this purposes I was in my own vehicle. I always bring my
bike, my bike because I like to bike around there. There's a great cycling just off the property. Uh, and
I always hike. I mean as you're getting there, you know, you're driving through Portland, it's very busy.
Then you go, there's a back road from Portland, which is open in the summer or not, not open in the
winter, I should say. It's open spring, summer, fall because it's quite high and it gets a lot of snow. And
as you go along that road, it just gets more and more beautiful and more and more rural.
W: There's a beautiful, one of the Oregon scenic byways, or you can just go down the I five and come in
from Salem. But regardless, the closer you get to the property, the more and more isolated it is. So
you're, I just always remember when I drive off property after a workshop, uh, I just feel like I'm in no
hurry at all. Like I don't just don't even want to drive more than 20 clicks and hour, you know, I'm just
Kinda like, I'm in Zombie land, you know, cause I’ve slowed down so much. Yeah.
M: Yeah. Getting back on the i5 would be interesting.
W: Yeah, yeah, yeah. So I take it slowly.
M: Hmm. And so how far of a drive from Portland?
W: It's not that far? I think maybe an hour and a half. I, I want to say cause I've never, yeah, I, yeah, I
want to say an hour and a half.
M: Yeah. Time to transition. And were you, are you usually alone or with a friend or somebody else that
you're traveling with or?
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W: I once went with girlfriend, years ago we had a blast. I was there with my boyfriend and our little trailer
last fall. I went there with an ex boyfriend and 2012, that was not for a retreat specific retreat. The one
I went to last fall was a yoga retreat. I, there was one, uh, years ago by myself, but we went for a
weekend cause I wanted him to experience Breitenbush . So yeah. That was that. The ladies from
Portland and that was, that would've been last fall. Late September that I did that retreat. It was a
weekend retreat with him and we were in the trailer. A little campground.
M: Mm. And then as you arrived at the retreat, was there anything special to greet you upon arrival and
then further journey into the site? Anything special about that?
W: Yeah, they have a really neat checkin at the gate cause they don't want people just coming on
property so they have this nice little check in, cheerful people giving you maps, telling you where to
park, your cabin, whatever it might be. So yeah, they're very, very good about helping you when you
first get there.
M: And then you park and walk further in?
W: yeah, there's a parking lot where everybody parks and then they have these sort of little, well unless
you're in the campground and then you just go right down this little road and camp your vehicle. But
they have these little pull carts, like garden carts and you load all your luggage in that role. It, you roll
into your cabin. down this little road. It's really nice. The hard part is rolling it up the hill afterwards.
getting down the hill is no problem. There's just a slight incline as you go back.
M: When you're all relaxed. Yeah, Dharana, the next limb talks about scale, and concentration. So
thinking about kind of how long were you there and what size of group, were you there with on most
occasions?
W: Oh, it's so varied. Like sometimes, I mean for Yoga, you know, it's, there was always the full room,
you know, so I don't know, 20 some odd people for the yoga. I've been to writing retreats where there
were 10 people in a small space. So yeah, different sizes depending. And then I just been out on
personal retreats where I just went and that was kind of the, you know, after nine 11. And I think I've
been there one or two times more where I just was there cause I was passing through and I just
wanted to be there.
M: Do you have a preference on a small group or medium group?
W: No. No. I think it just depends on what you're doing. I mean, you know, I wouldn't want a huge group
for a writing retreat. I would be kind of awkward. But yeah, I think it just depends in that, you know,
then they limit the size of the group because of the facilities that they have there. So they kind of know
that yoga is going to be the big room and you know, the Kirtan was the big room.
M: Would they have multiple retreats happening at the same time or is it usually, just one?
W: yeah. Yeah. And they're only, they're very good about it because they're only limited by the size of
accommodations. Right. So, so they know that they allot a certain number of spaces.
W: And then they kind of juggle it is, I guess the workshops fill up and then the spaces themselves can
only fit a certain number too. So somebody is doing a lot of logistics on that one.
M: How is it to be there with other people who aren’t in your program?
W: Well, it's really fun. There was on that, there was only one workshop. It was, I hate to make fun of it,
but it was kind of funny because I can't remember what I was in, but there was a workshop there for
people with depression and anxiety. And I hadn't really clued in at that time too, who were my fellow…
at Cortez, you know, I think there are always be running at hollyhock one or two, maybe three at the
same time. So it's always kind of fun. They give presentations about what's going on. So you kind of
know and you can attend evening talks if you're signed up for one, you can go to a talk if somebody's
doing something right. So, so at Breitenbush , it's just, it was kind of funny because there were a lot
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of, and I hate to, I hate to say this was true, there were a lot of very unhappy sort of overweight
people, right? And I would just say anything like, I wonder what's going on with some of these people.
They look really unhappy. And then, I thought I'd look at the schedule to see who else was there with
me. And I thought, oh, these people are here for depression and anxiety. No wonder.
M: Yeah. Interesting.
W: Yeah. So I, I, you know, then it was like, oh, okay, I get it. So then sometimes I would sit with some of
the unhappy looking people and just kind of chat with them and you know, everybody's been there,
right? So it's kind of Nice to connect and unless they want to be by themselves, but usually when
you're depressed, the worst thing is to be by yourself, you know, just sort of wallow in it. Anyway.
M: So the last element that I talk about is the spirit of place, which is really hard to define. I know that, but
it's kind of a culmination of the elements that came before really. And if those are all successful than
hopefully we have a rich character and the spirit of place. So thinking about the buildings or the
property really, were there any kind of secret, magical elements that were there?
W: Well, the whole place is magical. I mean, I, I love that. I love the space. I just, the energy, you know,
the, the movement of the river, the movement of the hot springs, you know, there's just so much
energy. And one time I went there when I was there with my ex boyfriend in 2012 I hadn't taken
mushrooms for a really long, is there any place I would take mushrooms? It was there and we took
questions and went out in the old growth forest and then we sat in the hot springs and this is really
weird. We heard the earth rumble and it, you know, there weren't any jets flying overhead and we both
looked at each other and I said, did you hear that? And he goes, I was just going to ask you the same
thing. So we talked to some people on site and they call it the Breitenbush rumble and they said
certain people here at certain times and they feel like it's just something geothermal, that it kind of
reverberates throughout the property. It's a very rare thing and we thought we were losing our minds,
but we both heard it right in. Of course we're on mushrooms, so we’re hyper tuned in.
M: Oh, okay. So there's some energy to that place.
W: Oh, it definitely has energy. Yeah. So the whole, the whole energy supports transformation. I mean, I,
it's like I said, it's one of my favourite places on the planet. I love Breitenbush.
W: Yeah. I've done some pretty heavy work there. I have to say
W: You know, I went back to Esalen just to contrast, uh, in 2012 and it just felt I would go there in a
heartbeat again, but it just felt like, uh, I dunno. Just too glitzy California for me. You know, I was there
in the 90s and it was amazing and it's still a beautiful site, but it just felt a little kind of LA glitzy, you
know?
M: Oh, interesting. Yeah.
W: And I don't think Tassajara Zen Center, will ever change. I mean, that place is extraordinary. There's
something about hot springs that I think really facilitate a deep practice. Something it's sort of in
Yucatan, you know, they have those, underground rivers and cenotes and there's something about
the energy there that really supports transformation. I dunno. So that's my theory on Breitenbush
anyway. Plus the old growth trees are extraordinary.
M: So thinking about the place as a whole, the buildings, the property, what specifically worked for you
about, about the buildings and, and the practice spaces or really anything?
W: They're clean, but cozy, you know, I mean, the people in the community, there are the ones that
maintain it. Like it's, it's Karma Yoga. So it’s like salt spring centre, right. So, you know, they take pride
in their place. It's not like employees, not that they would do a bad job, but I think it's special when it's
the people who are part of the community. So they maintain it and they're cheerful little employees
who are always coming through. I think that makes a difference. And, and just, there's, there's just a
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lot of history in those rooms of people who've been coming for years and years and transforming
themselves. Right. So there's, there's a legacy, I guess I'd say it's been around for a very long time.
W: Maybe there's a collective vibe of souls who have transformed. So I liked that about the place, the
history.
M: Hmm. So the flip side of that question is what, challenged you about being in this space on retreat or
what could have been better?
W: Well, I would say the only thing that is hard because you're, you're at some sort of elevation. One year
I went seriously, they had to have a guy picks up at the end of the road, out by the highway. Not I five
but the highway cause you know, that goes through there because there was so much snow. They
had gotten record snow and it was wild because there were tunnels. They had to dig tunnels between
the cabins. And it was like, it was very strange because you were walking through this tunnel and
literally, I mean I'm not that tall, but all I could see with somebody else's head and the top of their
shoulders was disembodied, you know, you've ducks in a shooting gallery. It was so strange and I
brought my snow shoes and to get up to the level where I could even snowshoe was absurd.
W: I mean they had dug pathways, you know, to the pools. But it was extraordinary and it apparently right
before I got there, the first time in history, their whole, uh, whatever by tower or something got snowed
out and had to do, be repaired and we knew it was losing stream. Yeah. It was really, really extreme.
And I happened to arrive right in the middle of it. It was in March and it was a, uh, a huge snow storm
and it was unexpected. I was on my way north back to BC. Yeah, it was intense. I would say the only
challenge is when I arrived there and the weather's crappy and you've got to transport your stuff in the
rain and was just a, uh, you know, a momentary or, and then you've got a walk in the rain, you know,
and it's cold and clammy and you know, around, you know, and go down to the lodge. But then
everything's fine. You get in the hot springs, everything's good, but you know, when it's pouring rain,
like it is out today, you know, and you arrive and you've been driving for a while, but that's just road
crankiness, you know? And that is, that just melts away very quickly.
M: Weather, it does affect us for sure. Yeah.
W: Yeah. But it's part of the beauty there. You know, it's green and lush and reforest is beautiful. So.
M: So thinking about the design of the retreat, was the building repurposed from some other function or
was it built specifically to be a retreat center?
W: Well no, it originally was it an old fashioned, but no it was originally some sort of hot springs resort.
They have pictures of people back in the day and old timey clothes, you know. And I think in the 70s is
when this community bought this place, started an intentional community. That's what I think anyway.
M: Does it always function as a retreat center or other types of events hosted there? Like conferences or
weddings?
W: I don't know about weddings. They do have, they shut it down I think for one period of time to have
stuff for their own people there. And then there's the annual service thing, right. Where there's just
that one thing going on. Kind of like salt spring centre when they just have their one thing going on.
But people from outside come to that. Not that I'm aware of. You can look at their website, but I think
it's pretty much… Yeah, they're just running retreats pretty much all the time.
W: Yeah. I mean, as I said, you can go there as a private retreat, but people sign up for a retreat get
priority. And there are times in where I think they don't have retreats, so then you can just do a
personal retreat and you don't have to worry about priority.
M: All right, our last question then I'll let you go. Is there anything that you would like to add about the
buildings, the spaces that we didn't cover already that you think was important?
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W: Well, you know, I think that given, the things, I think that, I mean ideally the place, the food, the
nature. Well, like you say, they should all support the eight limbs and, and I think that it doesn't really
matter to me how luxurious places, although I've been to some, you know, more fancy places, but
there's also always some sort of natural element and really good nourishing food.
W: To the ones that are in my mind, the best, you know, I mean, even Dorothy's retreats in Italy, we were
out in the countryside, you know, and I can go for a run in the countryside and I, you know, I, I'm trying
to think if I've actually ever been to an urban yoga retreat and I'm racking my mind to think if I have
been, because to me retreating entails not urban. I've been to urban yoga classes for sure, but, oh, I
remember I went, oh yeah, I went with some people from, was that studio? It's done in Granville
island. They got a bunch of them, a semperviva. I went to a Galliano with those guys. And that was
neat cause that was hiking and yoga. Okay. Yeah, that was a lovely retreat. I just think that how the
facility connects to yoga and nature, all you want all the inputs to be transformative. That's my ideal.
And the people that you go with are important for sure.
W: But I don't think, to me it's as critical and element because I find that the people you go with are
almost a given.
W: I just assume when I go to a yoga retreat that the people are going to be mellow and just kind of good
people. Right. I suppose if I went to some really power yoga, you know, calisthenic kind of thing.
There might be some people that were a bit different than the way I approach my practice. I don't
know if I dislike them. I just think it would be a different approach.
W: And I was much older but more advanced in my practice and they were all in their attire. You know, I
don't really dress in attire. I have some, but I'm not an attire person, you know, it's just amusing to me
that sort of perfect look. And I just thought, oh, okay, that's interesting. This is where yoga has gone.
But that was, that was about, I don't know, 10, 15 years ago when they were the perfect bodies in
yoga journal and everybody was getting outs, you know, look and fancy, you know,
M: Well, there you go. That's all that matters. Well thank you so much Whitney. You're welcome.
W: and as you go along, I know how this works with embedded research and stuff and as you go along if
there's things you need to circle back on as if some themes emerge, you know, please feel free to, to,
you know, look, look back. And I'm like that. I think I've been to more yoga retreats in anybody. I know.
I'm a junkie and I've been to more of Dorothy's than anybody that's for sure.
M: No, I'd definitely more than anyone I've talked to. So I think you would be a wealth of knowledge for
sure.
W: All right. Thank you so much. Thank you. I appreciate it. Thanks. Take care. 
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Interview ’T’
T: Since the mid nineties. Yeah, 20 plus years.
M: And thinking about your very first retreat, either yoga or meditation, what made you first think like, I
want to do this for a longer stretch of time?
T: That one's interesting cause I never parse out yoga and meditation. For me it's all one thing. So it's
difficult. But I guess back in the earliest days I probably, I probably did have that idea. Like Yoga, I
would consider yoga, just physical practice and meditation, something else. And my first, I guess real
retreat was on salt spring island. I mean I had been doing classes here. You know, here and there. but
my first retreat where I actually pulled up stakes and went somewhere, was on salt spring at the
center.
M: And so what made you think, okay, I want to go for ....
T: Well it was a gift. So it was just a random thing, but in fact I had been looking at this place for a long,
long time online for literally years. And then for my 40th birthday I was gifted a retreat. It was kind of
all very weird and serendipitous. I think I was always too afraid to go on retreat because I just thought
I wasn't good enough. They're not for me, I'm not going to know enough. Those kinds of things. So I'm
kind of the type of person that needed to be pushed in the direction.
M: So nudged you towards something you were already thinking about?
T: I was already curious about, which is interesting when you start to think about in the bigger context of
the mind not being here and ideas floating around out there and then just like, you know, kind of
grabbing onto them. That's kind of what it felt like. It felt like it had been floating around out there for a
long time, and then suddenly it was like, okay, it's your time.
M: So other than salt spring center, where else have you attended retreats?
T: Oh Gosh. Okay. So, Kripalu in Massachusetts, Sivananda Ashram in The Bahamas. I've taken some
city retreats here in Victoria, say at Moksana or Hemma. And I would call, when a teacher comes to
offer something for periods of time, days or even a day, I would call that a retreat. Gosh, where else?
Vancouver at this studio. For a weekend. Mary Winspear, with Angela Farmer and, and her husband
Victor. So they offered something at Mary Winspear and it was a city retreat. So go home every night
and go back every day. Tall Tree in Cordova Bay. Shambhala Meditation Center.
M: So I've created a framework for evaluation based on Patanjali's eight limbs of yoga and we will review
each element of the retreat through this framework lens.
T: Well, Kripalu and Sivananda, which are very near and dear to my heart. There are some things that I
love about them and some things that I don't love about them, but as, I mean, they're not close.
M: For some reason, the Bahamas one, just because I feel like you can do different things with space in
a tropical climate than what you could do here in terms of ...
T: Well, it's very interesting because it's very modest. Like that's the other thing. The thing that's really
appealing about it is that it's on the beach and little cabins and then outside meditation and practice
spaces, platforms that just look out to the water. So there's nothing special, but they're very special. I
mean, other than that, the food is very modest. You know, that it's a very simple diet, very, very
classical teachings.
T: oh, Mt Madonna. Also, in California.
M: Okay, let's talk about that. I mean is that okay?
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T: Yes. See it feels like a home to me. Mt Madonna feels like a second home because it's a sister center
to salt spring. Because it's so connected and so, yeah. I'm not sure if you'll get the most out of that
from me, but let just ask me the questions. I'm just not sure if I can be that objective because it really
does feel like going to my grandma's house or something.
M: So thinking about the yamas and ethics and materiality and sustainability, we'll just kind of go through
these questions one by one. What was the location and the setting and how did that impact your
experience?
T: Okay, so it is on a mountain, with a redwood forest attached to it. I'm not entirely sure of the number
of acres. I want to say 70 acres of redwood forest. It's pretty, pretty significant and it overlooks
Monterey Bay. So, it's not, you know, coming from Canada it's not super easy to get there. You can,
you can't fly into it, so you have to fly into San Francisco and then drive an hour to get there, so it's
pretty rural. It's relatively secluded, although it's a big retreat center. I would say it's an ashram more
so than a retreat center. Although they do have a conference building and they have a community
building and they have a lot of accommodations for visitors.
T: They have temples there. A beautiful hanuman temple that has grown in leaps and bounds, that they,
you know, brought the hanuman murti from India. And so it's a pretty big deal. And then of course,
Babaji, lived there and, well he didn't live there, but he taught there. He lived in a place nearby in a
house with one of his students named Ma Renu. And so she allowed him to live in part of the house.
And she lived in the other part. So they would come up and go back and come up and go back. She
sponsored him to come to California.
M: I've just answered the next question for you, my apologies. Was it rural or urban?
T: Yeah, it was really secluded.
M: Because it's so large, this may be kind of tricky to answer, but was the materiality of the building of
rustic or new and if there's multiple buildings what was the overall feel?
T: So they've been there for 40 years. So I would say that the conference building is relatively new. It
had newer architecture, but the community building and some of the other buildings I would say are a
little more, I wouldn't say rustic, but not modern. So as an example, one of the cabins would have one
room and then one room and then they would have a jack and jill bathroom. So you'd be able to share
the bathroom from two different rooms, but very modest rooms, like a bed, maybe a mirror, maybe
not, you know, a chair and maybe a desk. And then looking out onto, not all of them, but looking out
onto looking out onto the land. So because, you know, that was a real place of coming to go inward,
there wouldn't be a lot of bells and whistles.
M: Was it mostly wood construction, wood cladding, or?
T: I would say wood construction and wood and cement in the newer building. Yeah.
M: Um, were there any apparent efforts at sustainability that you saw, like solar, rainwater harvesting or
low energy consumption?
T: I would say they're probably looking at that now, but I don't think that when they built the building it
was a thing. There maybe solar panels there now, but I'm just, not that I can remember. I'm trying to
think of the heat, I think it's electric heat. Pretty basic.
M: So we'll move on to the Niyamas. Thinking about amenities, we'll go through kind of each zone, but
what was successful or not about the accommodations, the practice spaces and the common
spaces?
T: So the accommodations are very modest. They don't have a lot of amenities besides a bathroom and
a shower and a sink. Yeah, just really the basics. I mean, I think that's and actually, you know, if I
could just kind of back up, all of the places that I've gone to are all like that. They're very basic
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because the main underpinnings are going there to do a practice. So I tend to stick to places that are
very kind of classical in nature where it is about going inward with the teachings and also with the
space so that you don't get caught up in the trappings of beauty. Like the beauty of it is being in
nature. So the accommodations are basic. Yeah. The beds aren't even that comfortable, honestly. You
know, like salt spring beds aren't super comfortable. No, they're not.
M: So functional washrooms so you're sharing?
T: Yeah, usually in between two rooms and you can get a private room if you like, usually not with a
bathroom. So you can get a private room with no bathroom. Shared bathroom. You have to walk down
the hall and then if you want to pay more, of course there are a couple of rooms that have a private
washroom. So you might have a shared room, private bathroom; single room, private bathroom, but
that increases the cost.
M: So thinking about the practice spaces, are there many or is there one main space?
T: There are probably about three different spaces, three or four different spaces. So the common room
can be used as a practice space, which is a really large, large room. This is the room that we
practiced in, as a group when Babaji left his body, we would all have a group practice in that room.
Very powerful. And then there's a redwood room, which is more, it's beautiful. Like it's all wood. So
hardwood floors, kind of cabin-ish. Pretty large room, but no toilet. So you have to leave the room to
go to an outhouse. And then there's another couple of spaces. So, in the conference space, there's a
very large room where they hold YTT and then there's another smaller space. But they're not anything
special to be really honest with you. I mean the redwood room is probably the most beautiful. Yeah.
Like aesthetically pleasing just because of the wood floors.
T: So now Kripalu is a different story. Their practice spaces are, you know, they have a lot of money.
They used to be nonprofit, but I think they're private now. Anyways, they are bigger and they have
beautiful spaces. So I think part of it is first of all the money that comes in, you know, and where they
choose to, how many programs they offer.
M: Does the grandness of the place work better for you or worse for you when you're at Kripalu
practicing?
T: Well interesting. So I did my yoga therapy training at Mount Madonna and I was there for two weeks.
It was very beautiful, very quiet. They have, because they also have a community of people who live
there, right? So it's their home and so it's treated like home and it was very quiet, very rural. And then
I went from there to Kripalu, the second half of my training and it was like a hotel. People come in
from New York and all over the world and very loud and people complaining about their rooms and
people with money. And it was just, I was shocked because it was so, the contrast was so different.
Now I love Kripalu, but in that moment I could really see the difference between these two places. You
know where this is just a little bit more folksy. Mount Madonna is a little more down to earth and
Kripalu was just a little bit more shi-shi. A little bit more modern.
M: Because people's expectations going in are higher?
T: I think so. And I think that people, when people are spending more money to go there and when they
spend more money, they also want different amenities. You know, they want to get a bang for their
buck. So they run it like a hotel. They have two rows of people helping you, like receptionists. So four
on this side and four on that side. And they offer a lot of services. You know, they have tons of classes
going on, workshops going on all the time. So people can come up for a couple of days for a retreat
and then go back to Boston or whatever. So it's just a little bit different in that regard.
T: I think the one thing I'll add though for Mount Madonna and salt spring is that they've both been,
because the teacher has been really, his whole MO was just about bringing people into sadhana,
passing teachings along to people that I think the intent was a little different. You know, the
underpinnings of the organization was different.
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M: I have found that when I'm looking at a place that kind of started because of the founder it usually
results in a very different feel than something that doesn't have a foundation of teachings.
M: So common spaces at Mount Madonna, what are those like?
T: The common spaces are used for, all the food is served in the common spaces and the food is all
usually buffet style. So there's a tea bar and then very similar to salt spring. And then everybody eats
in the common room. So some people eat on tables and some people go into the larger common
room and sit on the floor. And so it's a nice opportunity for people to connect. And just basically
connect to eat a meal together. So all meals are like that. And the common rooms are used for that.
T: You know, they're used for meetings. Usually if people are there doing Karma Yoga, we'll all get
around in a circle and talk about what needs to be done for the day and who's doing what, especially
on big retreats and that kind of thing.
M: So staying as a guest, what kind of common spaces would you have access to other than your room
and the dining area?
T: Probably not. No, no. I mean outside, outside, yeah, there wouldn't be any need for it unless of
course, you know, so as an example, if I was staying in the conference center, I would have access to
my room, access to the teaching room, access to the common room for meals. And then I would also
might have access to, if I was going to get a body treatment, I'd have access to that space. But there
just wouldn't be a need to go into any of the other spaces unless you had a reason to.
M: So that leads to something else... you can stay at the conference center? But then there's also
separate accommodation buildings?
T: The conference center has rooms, has accommodation.
M: So how many buildings with accommodation are there?
T: The conference center, the main house or the main community center, has rooms downstairs. Usually
for Karma yogis or for more kind of longterm residential kind of program people. And then they also
have, I think they call it the RAM buildings are, they're little cabins.
M: Have you ever stayed in one of the little cabins?
T: I have.
M: What are those like?
T: They're very rustic.
M: And is that the two rooms that are shared with a bathroom?
T: Yeah. They're very neat.
T: And then I also stayed in one where we had, it was a bigger building and so two of us stayed in one
room, two people stayed in another room and then we all had, and there was a little kitchen. This was
a long time ago. So I'm just trying to recall. There was a small kitchen where you could make tea and
stuff like that. And then shower. Like in a bathroom. And then there's camping spaces too.
M: Were there any unique amenities and how did that affect your experience?
T: Well, the uniqueness of course is the teachings and I don't know if that's an amenity, but it's certainly
for me it's a pull. I'm less concerned about the amenities than I am about the teachings. So, they have
Ayurveda body treatments for amenities that happens in Ayurveda Centre. Cause they're also a
college, right? So that would be some amenity. Hundreds of trails for hiking. Their amenities in terms
of food is pretty moderate but also good.
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M: Does the food come from the land?
T: Some of it does, so they have a farm there too. They have a bookstore. And they sell books, music,
incense. They sell some clothing. They sell, you know, when you forget your toothbrush or toothpaste
or deodorant, they have that kind of stuff there. And lots of pictures of Babaji. And they also have a
cafe. It's relatively new, which is why I didn't twig to it. You can go get Chai and in addition to the tea
bar, that's usually that's free.
M: Are these all located in separate buildings?
T: The bookstore and the cafe are kind of back to back. So the opening to the bookstore would be here
and the opening to the cafe would be here. So it's kind of attached to the same building. What else?
They have a temple there that hundreds of people come from Santa Cruz or San Francisco. Outdoor
temple.
M: So, asana, the variety of classes and types of classes, what sort of sessions and classes did you
participate in?
T: Well, it depends on why I'm going. So I've been there for yoga therapy training and that's a very
structured training, with non- Mt Madonna teachers. And then the asana classes at Mt Madonna, are
very classical, so very different than the classes that I teach, in that they really teach from that
perspective of the primer. So very modest asana classes. Beautiful, but not a lot of bells and whistles.
M: Any variety to that or is it repeated? Like if you're there for several days?
T: I've taught there and so they get variety and a different kind of class when I teach is quite different,
which they've told me, Oh, this is quite different than what we usually get here. So it might not be the
same thing over and over and over again. But it also might not go in a very similar direction that I do.
Like in terms of really, although I will say that they're still about trying to get their students to go
inwards, which is very similar to what I do.
M: And I think you just answered the next one too. Is there one instructor or multiple instructors?
T: So there's multiple. Both. There's both sometimes. Sometimes they would break it up into a gentle
class or intermediate class. Very similar to what we do at salt spring so that everybody can get their
needs met.
M: I'm assuming that it's similar to salt spring with some restorative classes and there's some just
meditation pranayama classes?
T: Yes.
M: And does all of that usually happen in the same space?
T: Different spaces. So sometimes they will offer a beginner meditation class and sometimes they offer
an intermediate. So these are not the same, same. Often we're being split depending on where we
are at in our sadhana. And of course that would mean that we would need to have a different teacher,
someone who can teach intermediate practices compared to someone who is teaching beginning
practices.
T: Of course, you know, Babaji always said that, that we're really not meditating anyways. We're trying to
really, what we're doing is concentrating. Until you get to that point, that place, that just happens, that
place that you can't really talk about.
M: So in between sessions and were the connections that you experienced in between your practice
sessions lively or subdued, and how did that, as a participant, affect you?
T: So this can be tricky because usually when you're going to retreat, there's often times where you're
encouraged to practice silence. So I've been to silent retreats at Mount Madonna with different
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teachers with Aryashanti as an example. And it was a five day silent retreat. And so you're
encouraged not to talk, so you practice multiple times together. It's not asana. It's like a Buddhist
meditation. And so there's a group of people in a large room, where we'd all practice meditation
together and then that happens five times a day. So you're encouraged to come to all the five times a
day. This is just one example. Everyone's encouraged to come to the five meditations a day. And then
in between those meditations, you're encouraged to not fill your mind with a lot of stuff. So like, don't
use your social media, don't use your computer. Even reading books, don't read books necessarily.
Practice Yoga if you like, or Asana if you like, just to kind of move your body. Don't write notes to each
other. So it's not just about not speaking. So there's a lot of space to be in your own business.
M: So on a retreat like that does everyone come and go their separate ways and sit in a room and be
silent together?
T: Everyone goes their separate ways. So there's, and there's also no eye contact. Well, you're not
purposefully looking to people to make eye contact. You know, to kind of get that validation that we're
always seeking most of the time in our life, you know, hey, do you see me I'm here? And so we're
encouraged not to do that. Just to kind of watch what happens when the normal social habits or social
norms are set aside. Watch what your mind does, get to know yourself. So you know, initially your
mind is just freaking out. You're just like, what did I do? Why did I come here? And then you get to a
point where everything kind of subsides, the mind relaxes, knows you're not in danger. You start to
look at your habitual ways of thinking and a retreat like that is set up so that there's not a lot of
stimulation coming in.
T: And so, and it's not for everyone. So no, we're not all sitting around. We'd go for a walk on our own or
maybe someone comes with us, but we're not talking, we're just simply walking, but we're spending a
lot of time alone. Because of course, at the end of the day, it's a path of aloneness, you know, it's not
a road built for two.
M: So very different kind of interactions depending?
T: So very different kind of feel compared to going to a retreat when I've been there practicing Yoga
Asana, where we're going in but there's a lot of interaction, a lot of question asking, well what about
this? A lot of note taking, a lot of mind stuff, you know, where we're learning something in a different
way. I'd say we're both, we're learning things both ways, but this way is more of an academic
intellectual learning and the other one is a reduction of intellectual learning.
T: Because that's our waking state, right. Is to get as much information as I can in order to know as
much as possible so that ultimately I can be better than you. And so the practice, the whole practice
itself would say that that's BS and stop it. And here's some ways that you can stop doing that so that
we can really realize that we're same, same, and I'm going to do what I can to help you out because
in that assistance of you being well and happy, I'm also well and happy.
M: So thinking about Pranayama and circulating through a retreat, how do you navigate around it?
There's a lot of separate buildings, so?
T: Walk, walking outside.
M: Was there anything that wasn't successful about journeying outside?
T: Well, weather. So if it's raining, which doesn't usually happen, but you know, in a place like Kripalu,
everything is indoors. So you'd never actually ever have to go outside, in someplace like The
Bahamas, you'd always have to go outside because basically the retreat is outside and at Mt
Madonna, you could be doing both, you know, so if you were in the conference centre, and they
brought food into the conference room, you could essentially never have to go outside. You'd just be
going from your room to the thing.
T: But if that wasn't the case, you would have to walk to the common building and have dinner. So that's
not really a problem. But that's how you would navigate it. And then if you're walking, going to different
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yoga studios, you'd have to walk to the redwood room, up a path, you know, so they give you a map
and they show you the lay of the land so that you know, where everything is.
M: Was there far to walk between them?
T: I mean sometimes yeah, some are further than, so if you were in the ram cabins as an example, there
are quite a distance to both buildings. So you'd have to walk up, a 5, 10 minute walk depending on
how fast or slow you walk.
M: And other buildings are quite close?
T: Yeah, relatively.
M: I guess the difference between Kripalu that you mentioned everything's inside and at Mount Madonna
everything mostly is separate. Does one of those work better for you when you're at a retreat?
T: Not necessarily, I like them both. I mean the interesting thing about Kripalu is that the building is huge.
And so, you know, depending on where your room is, you're walking in the building, but you're still
walking distances on different floors, because it was an old Jesuit monastery at one point. So, I guess
I like walking outside, you know, I like it. Being at Mount Madonna actually gives you an opportunity to
get outside and walk from place to place so that you can get some fresh air. And, Kripalu, I mean you
could literally stay indoors the whole time. You'd never have to leave.
M: The journey, pratyahara, going to retreat. Can you describe your journey there and how it affected
your first impression?
T: I think the first time I went there, it's interesting because I've been there multiple times for different
teachers and not necessarily my teacher. So every time I go there for something different, it's
different. The very first time I went there I was very excited to go there because I was like, oh, I'm
going to Mt Madonna. It's kind of like the mother ship that we all kind of want to get to, because of
course Babaji was there and so we wanted to be there. And so I was excited to go there. You step on
the land and the land is charged, you can feel the energy change, you can feel that there's a settling
of your internal workings just because he's such a peaceful guy. And everything he stood for was
about peace and so that translates to the land.
T: So intention is I think really important when it comes to that. So I think when I got there, I think that
there was an instant settling because I was like, oh, here I am. And I could feel the shift here. Even
with all the nervous butterflies. I mean I think that the nervous butterflies in the anticipation is more
about the other people that are coming to the retreat and how am I going to interact with them rather
than actually being in the place itself. You know, cause sort of that subtext of the land and then there's
the more superficial stuff of the human condition stuff. And so I feel I could resonate with the peace of
the land and certainly now, I don't know if I had this insight back then, but then having that translate
into, I don't actually have to be anything special here.
M: Did you go alone or with somebody or ?
T: I can't even remember all the times, honestly. I've usually gone with someone. So I went with
someone, I went by myself and met someone there for a silent retreat. I went with someone to my
yoga therapy training. I've gone with someone for another retreat, to a Mt Madonna event. I've gone
with my teachers to Mt Madonna too. I've gone to a new year's retreats with people and also by
myself. So yeah. All kinds of different.
M: Did you journey by plane?
T: I take a plane and then I drive or get picked up.
M: How long is that journey from the airport?
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T: It's about an hour from the airport to gradually, if you arrive into a big city airport, you're kind of
gradually getting more and more secluded as you go. You know, it's interesting, what you brought up
earlier about when is it that you start to withdraw the senses, you know, of going and I think that I, and
it's the same when we practice yoga. Like when is it that you start to practice, you know, is it all the
time? So I'd say now for me, it's all the time. Back then it might be when I like, book, my ticket, I'm
like, Oh, I'm going there and start preparing somehow mentally for the journey, you know? And so it
means getting all your stuff in order, which is kind of a corralling of things that you need to take with
you. So your mind is occupied with this journey, you know, at least for me.
T: So all of the rest of the stuff of the day, it sort of falls away a little bit in preparation for this beautiful
thing, you know? So I would say now for me it's just everything all the time and even gets a little bit
deeper when I know I'm going to go up there and I'm so excited to go up there and see the place. And
there's a constant current running through in relation to that. And then there's the physical, the formal
practice of Pratyahara where you actually start to withdraw your senses, on purpose.
M: So arriving to the property... you then journey to check in at your accommodation and then?
T: So you step onto the land, you go register, you get your room number and you get set up and then
you're given a schedule of events. And so, you make sure that, you know where all the places are that
you, you know, there's events being held on different parts of the land, you know, where they're held,
what time they're held. You got to give yourself enough time, then you get yourself set up and get
comfortable in your room and then you begin.
M: Very technical question... do you park, close to where you stay or do you park far away and?
T: If I am being picked up then I don't have a car and a lot of people come without a vehicle. There has
been times where I've driven up though. And so, they have some parking spaces. If a lot of people are
coming up then they will tell you where you have to park or where you can't park or that you should be
making arrangements to carpool just because parking's limited.
M: So scale, length of retreat typically and size of group, which may be always different?
T: Yeah, different, different, different, different, different. So, you know, I've been to five day retreats
there. I've been to two weeks of training there for Yoga therapy. People come for Karma yoga up
there, yoga service and study for three months. So it's not been my experience but, for me probably
two weeks there and then another two weeks at Kripalu. So for me that was a month retreat.
M: Was there a difference to how you felt like the property or the space worked for you for a short
amount of time versus a long amount of time?
T: Yeah, sure. Because when you're there for longer, you just feel more comfortable. You know, you just
feel like you live there.
M: So it still worked for you for longer? You didn't feel like, this is too long to stay somewhere?
T: Well, here's the thing. So I didn't also put India there, right. Because I've also been on retreat in India
at two different locations. And so depending on where I am, if it was really more rural, then two weeks
can feel like a long time because it's just tiring after two weeks to have a bucket bath every day. You
know, and it's tiring to not be able to use water to brush your teeth. But it's not the case with these
places because there's no hardship.
M: And the size of the groups normally?
T: My yoga therapy training was 40 people and maybe even more than that, maybe even 50 people. And
the five day of the retreat was maybe 300 people. So it depends on...
M: How does that affect your experience?
T: Well you're not talking to each other. So that's one good thing. The 300 was silent.
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M: So that definitely makes sense why you're splitting the groups. With the 40 people did they split it as
much?
T: No because it's just a YTT. So we're all in the same room. We're all practicing they don't split the
groups up in terms of asana practice, everyone practices the same thing.
M: Was there a size of group that you preferred?
T: Well, I prefer smaller group. It's more personal. And certainly if you're on a teacher training you're
really interacting a lot with people and you're sharing a lot. And there's a different kind of camaraderie
that is created because we're really kind of going through a fire in that way. You know, we're also
learning a lot about ourselves through this process of learning how to teach.
M: Just skipping to Kripalu, what's the typical retreat, size of group there?
T: They do multiple groups. So I've been to one with 30 people, I've been to one with 70 people. All over
the place. I've been to one where there's in one room, asana room, where there's a hundred people.
So yeah, there's something powerful about that too. But I also, I like a moderate size of people.
M: So the 70 acres or whatever we're estimating at Mount Madonna, did that seem manageable or
overwhelming?
T: It's not overwhelming, it's quite beautiful because there's all different kinds of trails that you can take,
different lengths of times.
M: And you mentioned Kripalu was a huge building, did that seem manageable still or overwhelming?
T: It's manageable once you get the lay of the land. Plus they have beautiful grounds also and they have
trails and if you walk across the road you can get to a lake. So there's that too, it seems mostly
manageable. I mean, when you're on a training and things happen pretty back to back. You know,
you're moving, we're doing this theory class, now we're doing this, we're having this asana, now we're
doing this. And then we have lunch and we have an hour for lunch. And so it's like, how do I get
outside and eat my lunch and get outside and then back into class, right. It's a training, which isn't a
retreat, but at the same time it is a retreat because you're not in your, you know, if you look at the
word, you know really what the word retreating means, pulling yourself out of your regular routines.
It's definitely doing that in all cases, but it's not necessarily a retreat where, you know, you're kicking
back and stay in bed. No, you have to be there.
M: So spirit of place. This might be hard to really pinpoint. What did you feel were the sacred magic or
special elements of the retreat or the property?
T: Well, Mount Madonna is just easy because the property is just infused with the energy of the teacher.
So for me, that's the magic of that place. And I mean he's, you know, all his imprint is all over the land.
You know, he'd build rock walls, the same rock walls you see at salt spring, very similar at Mount
Madonna. And so he's all over the place there. And so the integrity of the teacher has a lot to do with
how I feel the sacredness or the magic of the place. I don't feel the same way when I go to Kripalu, it's
beautiful, but I don't feel the same connection, or the sacredness of the land itself that I do at salt
spring or that I would at Mount Madonna.
T: The Bahamas, you know, they're very classical and it's at the beach. And so, the magic of that place
is just, you're in nature the whole time, you know, when you're practicing in the morning and you hear
the morning doves, and so there's something, so beautiful about that.
T: There's something different about Kripalu because they are also in the middle of nature, but because
it's not as rich a history maybe. I mean Swami Kripalu was their teacher and he was there for a time
and then when he left his body then Amrit Desai came in and then there was a whole scandal with
Amrit Desai. And so, I think that shapes the land, you know, and now there's a bunch of his students
who have got it up and running as a very viable retreat center. So, they're all practicing for sure. But
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they're all western. And I think a large part of what they do is also to make money. And that creates a
different energetic quality about it.
T: And I'm not saying that Mount Madonna or salt spring also isn't concerned with revenue because they
are, because they have to be, that thing doesn't run by itself. But the quality of how it's done and the
size of the centres don't allow for that. Plus they are community people who've been living together
since the 70s, right. For 40 years. So I mean, it doesn't come without its problems.
M: Is Sivananda like that as well? There's a community there or ?
T: Yeah. They do have a community of people who live there and they're very serious. So, you know,
when I go onto their land, it's beautiful because it's tropical and I feel, oh, Yay, I'm here again. But I
don't feel warm and fuzzy when I go there from the people who live there and run the center. Some of
them, you know, the young kids who are doing the reception, they're all very lovely, but some of the
Brahmacharias, they're hard. They're there to practice and it's not warm and fuzzy.
T: So it's different than Mount Madonna. It's different than salt spring center. Sure. And even different
than Kripalu, you know, to a large degree. So just in terms of when I think sacred or special elements,
actually the elements are what make it special, the elements of nature, make it special, make it
magical. And then the teachings make it, you know, make it rich and magical. I don't think that you
can have one without the other.
M: I am almost going to skip this one. How did you feel a part of a larger community at mount madonna
and yeah, we've already talked about that?
T: Well at Kripalu I didn't feel like a part of the community unless I was in the training. Then I feel a part
of that training community, but I don't feel a part of Kripalu community because I'm not. And at
Sivananda, I've been there five times, but I don't feel I've become part of their community, but I feel
like I'm a part of the group that I'm with.
M: And do you get a sense of something greater at both of those? Do you feel connected to the bigger
picture?
T: Yeah. In all cases I do. I mean, yes, I do. It's partly because of what I'm doing, partly because of the
teachings, partly because of the grace of the teacher. And I seek that out. You know, I seek out
connection.I want to know how we're connected. I hold a deep faith that somehow we're connected.
Like, we're all connected in this room and, I seek that out.
M: So last one of the spirit of place, or authenticity. This is something I've given a lot of thought to as I go
through this journey. I guess if we could think about each of the three main ones that we've talked
about, did each of them feel authentic or did some feel less authentic?
T: They all felt... Mount Madonna for sure feels authentic because that community is about finding
peace. That's it. So they are also regular people, you know, and so going through a regular human
experience. So, Kripalu, I'm not sure that I can speak to it as a whole organization, but certainly the
teachers that I've experienced there feels very authentic.
M: I'm more thinking about the space.
T: I would say. Yeah. They all authentic in what they were offering. I guess if, I'm just trying to
understand your question. If I were in a place where the space was really beautiful and very yoga-like,
looking very yoga-like, but they were actually drinking and having raves on the land that would feel
inauthentic to me. And so all of the places that I've been to feel authentic in the sense you're not
allowed to bring alcohol or drugs onto the property unless they're prescription. You get kicked off the
land in The Bahamas if you bring alcohol onto the land. I know situations where there have been high
teachers there who have been tippling and they kicked them off. Same thing I think with Kripalu.
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T: I think what makes it genuine is that the people who are going there are going there for something,
you know? So short answer is yes.
M: And that is exactly what I'm getting at. You can build a space, you know, token yoga stuff, shrines and
make it look yoga-ey but does it feel authentic? Because sometimes, it doesn't, it feels tacked on. It
feels trendy. So that is something that I have been thinking about.
T: Well, I mean, I think that's really important for you to look at. You know, you can put a statue of the
Buddha in, but it doesn't mean it's a spiritual place. So I'd say for sure Mount Madonna and that has a
lot to do with the teacher, you know, and the students that have been following the teacher.
T: Absolutely for The Bahamas because, you know, again, it's based on very classical teachings of
Swami Sivananda and they don't mess around. It feels very authentic. Kripalu, same thing, even
though they've had scandal. I think that Swami Kripalu himself was a very classical teacher in his
offerings and had the fullness of the teachings behind him. And that's still there, although it's being
offered more in a modern context. Like it's bigger and it's more like a retreat center, not like an
ashram, you know. So there's a little bit of a difference. Like the Bahamas is an ashram, Mount
Madonna I would say is pretty close to an ashram. And then I guess the other one that I went to in
Vancouver, I would say that was authentic in her offering, but it also that's probably the place I felt the
least connected. But again, some people felt very connected there. I just didn't.
M: With the next question, what I'd like you to do is place the previously discussed elements, so location,
setting, amenities, types of classes, in order of importance to your experience. So what impact they
had on your experience.
M: I'm thinking about something that you went to more as a student retreat, what worked for you about
the retreat?
T: Well the place worked definitely where it was located, I would probably, because it was at Mount
Madonna. So the location was probably a big draw. I think the way that it was organized was a big
draw so that it was very well organized just in terms of the scheduling, the accommodation, the
expectations of students. So, you know, lots of preparation. In order to get us prepared for the retreat
so that once we were there, then we had another kind of orientation about what the retreat would look
like and what was expected of us, how much practice there was going to be, it was a silent retreat
after this time... You know, what that silence meant. So organization I think was really valuable to the
retreat. And the fact it was silent and the fact it was with a specific teacher. You know, a very
respected, highly skilled zen Buddhist teacher or teacher on awakening. I mean, I think that's a lot -
location organization, teacher.
M: What challenged you about this retreat or could have been better?
T: Could have been better? My attitude. I am a feisty one. It was challenging, it was silent. So, it brings
up a lot of stuff. So I don't think anything could be better. I think my attitude could have been, you
know, and of course as you go through the retreat, your attitude changes. It gets a little bit softer.
M: Was there anything that challenged you about the retreat itself or the functionality of things?
T: So nothing particular about the space, but you know what was challenging actually. So in the silent
retreat, going into the common room and having a meal with a bunch of people who are talking.
Because it was also the regular community there, plus our group. So that was a challenge actually.
And I knew a lot of the people so hard not to interact with the people and how to have them respect
that we were actually doing this other thing. So I guess integrating a silent retreat with the regular
community at meals was challenged.
M: I'm thinking about the design of the retreat setting. Was the building repurposed or was it built
specifically to function as this place?
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T: We were in the conference center, which was purposely built for rentals. So basically, they have all of
the rooms there, they have all the washroom facilities, they have a big space to teach in and then they
have a tea bar. I mean you could essentially have everything in that so you wouldn't have to go into
another room for food. You could essentially have food catered into that building.
M: The community center that you mentioned, was that built purposefully?
T: Yeah. Purpose built. The cabins obviously. And it was purpose built because they actually had a fire.
So the original building was burnt down and so they had to rebuild. Might not have chosen to do that.
They may not have.
M: And does it always function as a retreat center or other types of events are hosted there?
T: They have had weddings there, but they're more like weddings for the community, you know, Indian,
sort of traditional Indian based weddings. So I think that they're rented out for all kinds of reasons, but
any kind of spiritually sort of, I can't think of anything else that I know that they've been rented out for
other than practice mindfulness. Honestly, I can't answer that question with a lot of knowledge. They
may, I know it to be rented out though mostly for spiritually based trainings and retreats.
M: Is there anything you would like to add about your experiences in terms of the spaces, the buildings,
the functionality that we didn't cover already that you think is important.
T: I don't think so. I love retreats and I think all of the places I have been, even if they haven't been
designed for the purpose, I think they all fulfill the purpose really well. And creating a context where
people can really start to observe themselves in a way that they're supported in doing that. They're
not so uncomfortable that that can't happen. And when it is uncomfortable, it's usually just
uncomfortable, not because of the space. Individual mental discomfort rather than space discomfort.
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APPENDIX C - Water & Solar Calculations

Rainwater:
Requirements for rainwater collection and water usage are based on the
following collected data and extrapolated for use at this retreat:
Average non rainwater collecting household:

- household water consumption (based on 2.4 people per household)
- 840 litres / day
- 350 litres / person / day (CMHC, 2014)
Average rainwater collecting household:

- household water consumption (based on 2.4 people per household)
- 275 - 480 litres / day (depending on efficient appliances & conserving
habits)
- 115 - 200 litres / person / day (RDN, 2012)
Note - households monitoring rainwater usage are typically more
conscious of how much water they consume.
Average Hotel - Standard:

- 375-750 litres per room / day
x 10 rooms (20 guests) = 1.35 - 2.7 million L / year (at 100% occupancy)
Average Hotel - Eco (35% reduction):

- 250-500 litres per room / day (Ahn & Pearce, 2013)
x 10 rooms (20 guests) = 0.9 - 1.8 million L / year (at 100% occupancy)
Note - hotels using eco-friendly water reduction methods may only
address the issue at fixture usage, not consumption awareness.
Occupancy Calculations:
- Mainly 4-day retreats (1 per week) and day use during non-retreats
- 48 weeks x 4 days = 192 days
- 4 week-long retreats / year
- 4 x 7 = 28 days
- 192 + 28 = 220 / 365 = 60% occupancy
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Water use - Galiano Island Retreat:

Grey water is re-used for toilet flushing and irrigation, so harvested rain
water is used only for:
- Showers
- Sinks
- Laundry
- Kitchen use (food prep and dishwasher)
Water consumption - Galiano Island Retreat:

Assume 200L / person / day x 20 ppl = 4000L / day
= 1,460,000L / year x 60% occupancy = 876,000 L / year
Note - 200 litres per day is a safe overestimate based on ultra low-flow
fixtures and consumption awareness signage throughout property.
Water collection:
1,000,000 litres = 1000 m3 of water (RDN, 2012)
- Requires 1000m2 roof catchment area
1m2 of catchment area x 1mm of rain will produce 1 litre of water
therefore
Roof Catchment Area (in m2) multiplied by Annual Precipitation (in
millimetres) equals potential water collection (in litres)  
Roof Catchment Areas - Galiano Island Retreat:

- Communal Roof = 745 m2
- Accommodation Roof = 285 m2
- Practice Roof = 200 m2
- Total Roof Area = 1230 m2
Water collection - Galiano Island Retreat:

1230 (roof area in sq.m.) x 1100 (annual precipitation in mm)
= 1,353,000 litres potential water collection
x 77% efficiency based on site conditions
= 1,041,810 litres actual rain water collection
Note - actual number may vary due to monthly efficiency variability, see
table below for forecasted rainfall collected.
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Water storage - Galiano Island Retreat:

Water is stored in below grade cisterns for use during dry months of April
to September. More water can be collected than is needed during the wet
months, so overflow rain water is redirected via a journey through the
landscape and retention ponds, before gradually being absorbed into the
ground.
Note - wet months shown in italics below indicate a purposeful 75%

retention of available rain water collection. The remaining 25% would be
used as per above.
Month Indoor Precipitation Assumed Rainfall Month-End

Usage (mm) Collection Collected Storage
(litre) Efficiency (litre) Volume
(litre)
October 64,000 118 80% 87,084 23,084
November 64,000 181 85% 141,926 101,010
December 64,000 165 85% 129,380 166,391
January 64,000 178 85% 139,574 241,965
February 64,000 112 85% 87,822 265,787
March 64,000 102 85% 106,641 308,428
April 64,000 62 65% 49,569 293,997
May 64,000 46 65% 36,777 266,774
June 91,000 44 75% 40,590 216,364
July 91,000 22 70% 18,942 144,306
August 91,000 36 70% 30,996 84,302
September 91,000 36 75% 33,210 26,512
TOTAL 876,000 1,100 77% 902,512
Appendix C
166
Solar:
Requirements for solar collection and energy usage are based on the
following collected data and extrapolated for use at this retreat:
Energy Use - Average BC household:

- household energy consumption (based on 2.4 people per household)
- 900 kWh per month (BC Hydro, 2020)
- 375 kWh / person / month OR 12.5 kWh / person / day
Energy Use - Median Canada hotel:

- 1.37 GJ / m2 / year (NRCAN, 2018)
- 380 kWh / m2 / year
Note: assuming a similar reduction in energy use to the eco-hotels
referenced for water consumption, eco friendly hotel would use an
average of 35% less energy, or approximately 250 kWh / m2 / year.
Energy Use - Galiano Island Retreat:

- assuming similar energy usage to a large dwelling, rather than hotel
operation (due to no commercial kitchen, swimming pool, elevator):
- 12.5 kWh / person / day x 20 guests
- x 365 days / year = 91,250 kWh / year
- / 1200 sq.m = 76 kWh / m2 / year
This is further refined in the energy use table below to provide a more
accurate depiction (NRCAN 2018).
Appliance Quantity Watts Hours per Watts Hours per

Day day
Fridge - 20cu.ft. 4 60 24 5,760
Freezer - upright 2 52 24 2,496
Oven / Stove - electric 1 1200 4 4,800
Dishwasher 2 1200 4 9,600
Coffee Machine 1 1000 8 8,000
Clothes washer 2 800 1 1,600
Appendix C
167
Clothes dryer 2 3000 1 6,000
Tankless water heater (hand 6 1500 3 27,000

sinks)
Water Heater (showers/ 10 4500 4 180,000

laundry/kitchen)
Desktop computer 2 200 8 3,200
LED bulb 75watt equivalent 300 15 6 27,000
TOTAL watt hours / day 275,456
TOTAL kWh / year 100,541
TOTAL kWh / m2 / year 84
Note - the daily energy values listed here are for the most efficient units in
their class and the information was obtained from the NRCAN website.
Solar panel requirements:

- Galiano Island location - 1,050 kWh generated annually / 4 sun hours
per day, annual average (source: https://www.energyhub.org/solar-
energy-maps-canada/)
- 100,541 kWh annual use / 1,050 kWh generated annually
- = 95.75 kW system
- / .3 (300 watts per panel) = 320 panels
Note - the above calculations are based on 100% occupancy, worst case
scenario. Using the assumed 60% occupancy (see page 159), annual
energy use would be approximately 60,000 kWh/year or 50 kWh/m2/year,
significantly lower than traditional hotel use.
Solar panel sizing:

- 300 watt panel is 1.95m x .99m or 1.93m2 (source: https://
www.energyhub.org)
- Rounding to 2m2 for ease of calculations, 2 x 320 panels = 640m2
- Combined south oriented roof areas of communal and
accommodation = 750m2
Appendix C
168
Solar panel design:

- Combination of transparent glazed panels for all skylight and
clerestory locations
- Integrated flat panels on flat communal roofs
- Integrated sloped panels on sloped south facing accommodation roof
Energy Reduction Measures:

- Motion sensors in guest rooms, hallways and washrooms to turn
lights off when no motion detected
- Air conditioning not required due to climate and passive ventilation
strategies
- Solar hot water collectors supply in-floor radiant heating; no electric
heat required
Appendix C
169
APPENDIX D - Final Evaluation Letters
Appendix D
170
July 24th, 2020
Final Evaluation: RAIC Syllabus Diploma Project

Student: Morgan Lesov
ID#: BC090023
Course: RAIC 690 A & B
Studio Location: Victoria BC
Final Mark: Pass
Thesis Mentors: Peter Johannknecht Architect AIBC, MRAIC & Rance Mok, Architect AIBC
Coordinator: Erica Sangster Architect AIBC, MRAIC
During the past 2 years in my role as thesis mentor for Morgan Lesov, I have observed that
she has consistently demonstrated a high level of proficiency in her academic writing,
including in-depth research, spelling, grammar, and correct referencing of sources.
Morgan utilized a wide range of media, incorporating charcoal or pencil sketches, clay
models or 3D renderings to communicate complex design problems while exploring and
developing appropriate architectural solutions.
During bi-weekly design review meetings, she skillfully expressed her various ideas and
always engaged in discussions with an open mind. She remained passionate and focused
both in her research and in her ideas while maintaining her positive attitude and work ethic.
These qualities allowed her to successfully propel her work forward throughout the duration
of the project.
For both her mid-term and final presentations, Morgan made appropriate use of her
supporting material such as graphics and scripts. She fielded questions, responding
truthfully and with confidence. Her arguments were concise and cohesive as well as
comprehensive while remaining true to the original solution of her philosophical and artistic
theme.
In her Thesis ‘Retreat - Supporting Yoga through Architectural Expression’, Morgan has, in
my opinion, successfully synthesized foundational concepts and principles of the discipline
of architectural design into complex problem solutions, such as stewardship of the natural environment and ethical
responsibilities of the architect. I firmly believe she has gained the knowledge and skills over the past years to act as an
architect, representing the best interests of the public by considering sustainability of the built environment and the
application of professional judgment.
Sincerely,
CASCADIA ARCHITECTS INC.
Peter Johannknecht, Architect AIBC, MRAIC

LEED AP, certified Passive House Designer
Architekt AKNW Germany
Principal
July 24, 2020

ID#: BC090023
Thesis Mentors: Peter Johannknecht & Rance Mok
Coordinator: Erica Sangster
RE:: Final Evaluation – RAIC Syllabus Diploma Project
Final Mark: Pass
Having been part of Morgan’s journey in her completion of the RAIC Syllabus Diploma Project, I am pleased to
recommend a passing grade for her work in this course. In my assessment, she has met all the learning outcomes as
outlined in the Course Guidelines. Her success was dependent upon high levels of proficiency in written, verbal, and
graphic communication, and this was clearly demonstrated in the thoughtfulness of her research and writing, along with
her use of different media, both digital and analog, to explore the various design questions that arose. Her presentations
were always of high quality, well prepared, and professional, and she has demonstrated the ability to guide people along
her lines of thinking in a comprehensive manner that allows for fruitful dialogue about her project.
Morgan tackled a thesis subject that allowed for a lot of complexity and avenues of exploration, and I believe that she has
put in a lot of effort to leave no stone unturned in the exciting possibilities for linking yogic theory and practice with
architectural expression. She was able to move seamlessly from theory to testing out her ideas on the design of an
architectural project that fully explored the full range of aspects integral to architecture including appropriate relationships
to context, sustainability, ethical practice, building technologies, materials, structure, and delight in spatial experiences.
Overall, Morgan’s passion and diligence in completing this course is reflected in the high quality of the finished outcome
of the thesis project. Her thesis topic was also one that was personal to her, which made it a joy to witness her project
development.
Sincerely,
Rance Mok
ARCHITECT AIBC
Associate, HCMA
HCMA Architecture + Design
Victoria BC V8W 1H9 Canada

205-26 Bastion Square
250.382.6650
hcma.ca
D' A M B R O S I O P A C E R
a r c h i t e c t u r e u r b a n i s m S A C E R
2960 Jutland Road
Victoria.BC.Canada.V8T5K2
tel 250.384.2400
eml [email protected]
web w w w . fdarc.ca
Final Evaluation: RAIC Syllabus Diploma Project
16 July, 2020

ID#: BC090023
Final Mark (recommended): Pass
Thesis Mentors: Peter Johannknecht & Rance Mok

Coordinator: Erica Sangster
In my role as coordinator, I’ve had the privilege of observing Morgan’s development of her diploma project
‘Retreat - Supporting Yoga through Architectural Expression’. The subject of this project is deeply personal
to Morgan; the work to develop her passion for yoga into a cogent architectural thesis showed maturity,
discipline and integrity. The final product demonstrates Morgan’s ability to infuse rigorous research and
technical analysis with a holistic understanding of how we experience space. Grounding the entire process
was the framework of yogic principles, the application of which to design is, in my opinion, an original
contribution to architectural theory.
Morgan’s disciplined research and thoughtful design exploration has demonstrated the full range of learning
outcomes expected in a successful Annotated Visual Argument. She effectively self-managed a design
process that was consistently based on her research findings and a thorough analysis of site, program and
architectural expression. Morgan used a wide range of media to explore the design in depth and with
consistent attention to the balance of technical resolution and spatial/sensory qualities. This balance was
also achieved in her formal presentations, which drew upon these rich materials to effectively communicate
the breadth and nuance of her design intent. The final design proposal is evidence of Morgan’s maturity as a
designer and contributes an original design approach that has broad relevance to architectural practice.
Sincerely,
Erica H. Sangster, Architect AIBC MRAIC

Principal
D’AMBROSIO architecture + urbanism
owned and operated by

FM D' A M B R O S I O a r c h i t e c t I n c .

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Retreat

Supporting Yoga Through

RAIC 690 Syllabus Diploma Project

A thesis submitted in partial fulfilment of the requirements for

the RAIC Professional Diploma in Architecture (Dipl. Arch)

The Royal Architecture Institute of Canada (RAIC) Syllabus Program

© Morgan Lesov, 2020

Reproduction in whole or any part requires written permission of the author.

committee - Peter Johannknecht, Rance Mok and Erica Sangster;

for your constant encouragement, guidance and insight throughout

the development of my thesis. Thank you for pushing me to

explore the limits of this project.

Many thanks to my ever supportive colleagues, both academic and

professional, your understanding is everything.

My deepest thanks to my family, for your unwavering enthusiasm

throughout my time on this project and in the syllabus program.

Finally, my love and gratitude to my husband Boyan for your

on an idea without being able to defend it.

Heartfelt gratitude to you all.

yoga and architecture in order to study two key questions. First,

how do the guiding principles of yoga inform architectural design?

Second, how do the architectural qualities of form, materiality and

physical-spatial synergy support a space of retreat for yoga

LIST OF ILLUSTRATIONS & TABLES vi

YOGA AND ARCHITECTURE 15

Shambhala Meditation Retreat 68

REFERENCE LIST 117

FURTHER RESOURCES 123

APPENDIX A - Interview Questions 124

APPENDIX B - Interview Transcripts 126

APPENDIX C - Water & Solar Calculations 164

APPENDIX D - Final Evaluation Letters 170

LIST OF ILLUSTRATIONS & TABLES

Figure 21 Galiano Island Context ....................................83

List of Illustrations & Tables

Figs 25-30 Site Context ................................................85-86

List of Illustrations & Tables

Figure 56 Handrail Detail ...............................................108

Table 1 Yogic Limb Framework ...................................23

Note - all other graphics and sketches produced by Author.

List of Illustrations & Tables

- Paul Goldberger (2010)

I believe yoga is an important practice - one capable of bringing

moments of stillness and peace to its followers. I have practiced

yoga for longer than I have practiced architecture and, in my

experience, the one has increasingly informed the other. Although I

initially came to yoga primarily as a physical practice and means

of stress relief, it has had a larger impact than I could have

imagined, on all aspects of my life. I think there are many

connections between architecture and yoga; many sparks of

This paper aims to further explore these connections and sparks.

The practice of yoga can be a crucial element of personal

wellbeing and connection to the wider community, and further

universal connection. I believe it is important to have a place of

to disconnect and recharge outside of one’s normal daily routine

brings a different focus to individual practice. Personally, I have

found an increased need for, and benefit from, longer moments of

stillness and reflection; an essential break from the constant noise

and movement of my life. I carry a sense of peace with me into my

Heartfelt gratitude to you all.  

Note - all other graphics and sketches produced by Author. 