SPHERE
#41
2016
15
Philanthropy
Tsz Shan Monastery combines traditional design with
modern architecture to embody a self-cultivating
philosophy that manifests itself through engagement
with the local and global community.
bell rings and a hush
falls over the faithful.
Nestled in the calm greenery
of Hong Kong, the Tsz Shan
Monastery provides a serene
reminder to visitors to calm themselves
and contemplate the ineffable.
A
BEYOND
ZEN
CONCEPTION
“Twelve years ago, before the design
process started, Mr Li Ka-shing already
had in mind what he wanted the monastery
to be. He wanted it to be more for the
suffering people of Hong Kong. He felt
that there is no refuge for us, and if given
a place to calm down, relax ... at least, we
can be at peace with ourselves,” explains
Professor Ho Puay-peng of the Chinese
University of Hong Kong, overseer of the
design of the monastery.
“Society is ... topsy-turvy in a way,
everything is upside down. That vision is
increasingly applicable to society. In that
regard, that is the primary aim of Mr Li
with the monastery – to create a ‘pure
land’ in Hong Kong,” he says, alluding to
the beautiful spiritual realm conducive
to achieving enlightenment.
“The second motive of Mr Li is that he
wanted a monastery that can become
a centre of learning for Buddhism.
So the emphasis on education is another
particular aspect of this monastery,”
explains Professor Ho.
THE PREMISES
The project occupies an impressive 46,764
square metres on a hillside overlooking an
idyllic village and the waters of Plover Cove.
The premises encompass several buildings
housing a variety of halls, facilities and
residences for the monks. The Guan Yin
(Avalokites’ vara) statue, casting her gaze
over the monastery, is the second tallest
bronze Guan Yin statue in the world. It is
covered with white fluorocarbon paint,
a material also used to coat rockets, which
incorporates technology that enables the
statue to wash itself with falling rain.
“The choice of location and the whole
design have to help create a sense of
empathy within everybody so that we can
relate to the site, the building and Buddhist
teachings,” explains Professor Ho. “We
wanted to use the best techniques and
materials available today as a mark of
respect for the Buddha and for propagating
the teachings. The materials used are of
the highest quality to honour Buddhism
and ensure durability, a form of offering
to the Buddha.”
Regarding the materials used, Tsz Shan
Monastery builders focused on details
rather than worldliness. The padauk wood
for the halls, now rarely found in Asia,
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