Clark Metzger - Profile of a Sacred Space

Clark Metzger
Rothko Chapel

Rothko Chapel was completed in 1971 and is located in Houston, Texas neighboring the University of St. Thomas. It was originally intended to be located on St. Thomas's campus but the protracted planning process led to the Basilian Order, which administrates St. Thomas, to become disillusioned with the project. The chapel was originally to be a Catholic structure designed jointly by Mark Rothko, the painter, and Philip Johnson, the architect. The waning interest of the Basilian Order led to the chapel becoming nondenominational and clashes between Rothko and Johnson would eventually lead the latter to leave the project. With Johnson gone the chapel became Rothko's last great work, not to be completed until a year after his suicide.



The chapel is roughly octagonal in shape with the walls corresponing to the cardinal directions set back from the diagonals creating a subdued cruciform. The exterior is plain and unpainted with a flat roof, the only significant exterior feature of the building being the central skylight, which is not readily visible from ground level. The spartan exterior gives the chapel a sense of purpose, it is not there for its own sake, but rather for its ability to house something. The interior is only marginally more ornate, designed to reflect the conditions of Rothko's studio where he created the paintings. The ceilings are relatively low, except for the angled section in the center for the skylight, giving the structure an intimate feel. There are two doors on each of the cardinal walls except for the northern. The doors flank the paintings and share one side each with the buildings corners. One painting resides on each of the diagonal walls, while the cardinals each have three except for the southern wall, having only one.

The paintings are all apparently monochrome except for the one on the southern wall. This painting is a simple black rectangle on a deep maroon background. While the paintings at first appear to be monochrome, this is simply an illusion created by their sharp contrast with the off white walls. Further inspection reveals that the painting are alive with variation of texture and shadow. The canvases have been stretched, cracking some of the paint and revealing the stained canvas beneath. On the North, East, and West walls the paintings form triptyches, reminiscent of Catholic alterpieces. These pieces and their subtle allusion to the trinity is one of the few Christian elements of the chapel.

Rothko stands apart from nature. The building contrasts sharply with most of its surroundings, excepting the fountain and Broken Obelisk monument. Rothko Chapel seems distinctly human until you enter the interior and see the inside. It is a place not of humanity, but a place for humans to contemplate the divine.

Rothko chapel sees a variety of uses. When there is not a particular event, it is almost a museum or monument. It sees use as a small concert hall and for a variety of speeches, generally of some religious concern. The chapel is seen as a place to promote peace, freedom, and social justice.

The Rothko Chapel -- www.rothkochapel.org. Web. 07 Apr. 2010. .

Nodelman, Sheldon. The Rothko Chapel Paintings: Origins, Structure, Meaning. Austin: University of Texas, 1997. Print.