Dust to Dust - Thesis Booklet

DUST TO DUST NATURAL TRANSFORMATION OF SPACE THROUGH DECAY

M.ARCH THESIS BRYAN LIM WEI GUO

ABSTRACT We are afraid of death. In the biomedical field, cures and preventions are rigorously researched to prolong our human life span, however our bodies are subject to the vagaries of time causing its deterioration and eventual death, just as our buildings are.

Our buildings are traditionally designed to be immortal, despite the changes which revolve around our society and the forces of nature which causes its deterioration. Instead of designing to resist against natural forces and societal change, perhaps another method of architectural design could be one which embraces the process of decay and death, to shape and morph its spaces, programs and circulations to remain relevant to its current context.

This thesis aims to explore a form of architecture which decays with the continuity of time to transform its architectural compositions to eventually meet its designed death.

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CHAPTER 1

CHAPTER 2

Page 8 Decay in design

Page 24 Material research overview

Page 12 Death in buildings

Page 26 Modern material innovations

Page 14 Our design approach to decay

Page 28 Fabrication process

CONTENT PAGE

LIFE DECAY DEATH LIFE

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MATERIAL STUDIESSAND

Page 18 Page 30 Memory association through Material findings - varying decay compositions Page 20 Adapting to change

Page 32 Physical and Digital analysis

Page 21 Reducing building energies

Page 34 Material studies experiment

CHAPTER 3

SITE STUDIES LALIBELA ETHIOPIA

CHAPTER 4

DESIGN DUST TO DUST

Page 44 History of Lalibela and its churches

Page 56 Governing design principles and intentions

Page 46 Church construction and preservation methods

Page 58 Massing formation

Page 48 Communities of Lalibela

Page 60 Plan series

Page 50 Site studies

Page 64 Section series

APPENDIX Page 74 Bibiliography

Page 68 Building transformation

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CHAPTER 1

LIFE DECAY DEATH LIFE

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DECAY IN DESIGN

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The Cambridge dictionary defines decay as a substance which “become gradually damaged, worse, or less”. It is commonly understood to be an unchangeable natural factor which supremely governs the conditions of all things, and our constant response to this is to prevent decay from occurring.

For example, in organic life, we often find ways to heal and counteract this natural process which inevitably leads to the organism’s death. In its translation to architecture, the same thought process is observed. The decay of a building – its slow continuous deterioration of materials, systems and functions – are often undesired. Though decay is widely considered a negative factor, there exists this intrigue to objects which are in the process or have fallen into decay.

ART Art and photography are 2 areas which have used decay as its main form of inspiration. Artists such as Dieter Roth and Valerie Hegarty, highlights the process of decay in many of their artworks. Placed into a stillness of time at a singular point of decay, it simultaneously embodies the continuous flow of decay which determines what the art piece could potentially have been, and what it could become. Instead of purely relying on the observable characteristics of the art piece, it aims to stimulate the mind of the observers to derive the past, present and

future of the works, forming an association of memory towards the object.

PHOTOGRAPHY Photographers such as Yves Marchand and Romain Meffre, captures images of buildings which have fallen into decay. In all their photos, he refuses to write a description of the image, but rather encourages his observers to piece together the story of the building. Through decay, the building embodies the past glories and its ruined state.

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ARCHITECTURE In architecture, our interests with decay is not a new fascination either. Joseph Gandy, an artist, architect and architectural theorist, depicted the Bank of England as a desolate ruin. The painting aims to create a stimulus for imagining the future of London in relation to empires such as Rome, Athens and Babylon.

sequently manifested into varied architectural theories which welcomes decay.

Age-Value, as defined by Alois Reigl, ‘…measures the importance of monuments according to the fact that they carry the materiality’ (Riegl’s Concept of Age Value, 2011), while Ruin-Value by Albert Speer, explores how architecture should degrade beautifully over time. In the ruins of Angkor Wat, we see how The power of decay has sub- the building under decay has

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“...[Age-Value] measures the importance of monuments according to the fact that they carry materiality.�

-Alois Reigl

drawn significant intrigue from its visitors.

Over time, circulation systems, program spaces have shifted through its interaction with natural decay.

However, much of the intentions of these buildings were designed to push decay aside.

Instead, the thesis aims to explore and embody the natural process of decay as powerfully as the art pieces by Valerie Hegarty. Its objective is to interactive with the continuous flow of time to express decay to evolve its functions and spaces.

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DEATH IN BUILDINGS

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The continuous process of decay will eventually lead to a state in which the building becomes unusable, culminating in its death. The reason for its gradual degradation towards unusability can be succintly divided into 2 categories, through redundancy and structural instability.

plicable nor useful to its current context. Obsolescence as defined by Stephen Cairns and Jane M. Jacobs refers to a building which is ‘in place but out of place’ (Cairns & Jacobs, 2015). This could be due to various reasons which continuously evolve over time.

It comes about as a ‘…result of changing technology, economi cs, and land use, in which the new REDUNDANCY would inevitable outperform and Buildings which become devalue the old.’ (Abramson, obsolete are no longer ap- 2016).

These changing factors therefore affects a building’s perceived value over time, which is determined by the economy. Buildings or estates were regarded as obsolete when they are no longer socially and economically viable, and thus results in its demolition or gentrification.

architecture which ‘remain tenaciously present in the place they began, and because of that it is very hard to exercise the kind of amnesia, or “economy of ignorance,” with respect to them as we do with more transient objects in our lives.’ (Scanlan, 2005). The death of a building is a resultant effect of the interplay between the above-mentioned INSTABILITY factors on the building itself, The deteriorating condi- causing it to become dead to tions a building experiences its surroundings and changfrom its interaction with ing societal demands. nature and people results the building losing its struc- In light of the death and decay tural integrity. As architec- of buildings, how has these ture remains continuously understandings translate into present, its communication the design of our building? with its users and the elements of nature is inevitable. This leads to a buildings gradual death as it becomes increasingly unusable due to its compromised structural stability.

The combination of all these factors then leads to

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OUR DESIGN APPROACH TO DECAY

Many architecture ideologies revolve around designing for permanence thereby creating a sense of monumentality. Architecture of permanence stands fixed in time, ignoring all the changes which evolves architecture and society over the years. It battles against all its factors, resisting its effects and withstands conformity to current societal needs. However, the illusion of architectural permanence has been deeply ingrained into our minds that we dismiss the natural decay of buildings.

In many such cases, the buildings eventually succumb to the vagaries of time, either through nature’s elements or socio-economic and political changes, resulting in the unintended decay and premature death of a building. The building remains resilient yet irrelevant.

“All architect the buildings designed will their genius, dare to hop building will unaltered.�

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ts hope that s they have l memorialize and so they pe that their last forever,

YEAR

PRESERVING In architecture’s obsession with remaining new and resilient, constant maintenance is required to retain the building’s original intention and image to remain relevant to society. In Shearings Layer of Change, Steward Brand breaks down the different components of a building and its different rates of change over time (Brand, 1994). The diagram highlights the needs for a continuous upkeep of a building and how each layer will eventually require an update.

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Fluorescent Tube

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Computers and Copiers

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Furnitures and Fixtures

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Dishwasher and microwave ovens

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Freezer and refridgerators

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Carpet

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Kitchen Units

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Vinyl Floor Coverings

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Air Conditioning/ Fan

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Exhaust Fans, Counter tops, HVACs

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Khrushchevka disposable (25 years)

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Suspended Ceilings

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Radiators

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Hydraulic Passenger Elevator

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Dismountable Steel/ Aluminum partitioning

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Steel Profile Sheet cladding (external)

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Plaster board walls

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PVC sanitary fittings and soil vent pipes

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PVC windows

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Plattenbau buildings (45 Years)

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Aluminum windows

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Toilets

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Cast Iron sanitary fittings and soil vent pipes

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Panellak (60 years)

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Khruschevka Permanent (60 years)

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Cable

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Profiled steel and reinforced concrete floor

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Precast concrete floor slab

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Platten bau Panels

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Concrete frame buildings

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Steel frame buildings

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Fairfaced brickwork

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Timber pitched roof

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Timber frame buildings

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Chimney

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Brick and stone buildings

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Brick and stone walls

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Stucco

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Concrete block

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Foundations

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Concrete buildings

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Poured footings

an analysis of the lifespans of different elements which compose Nakagin Capsule Tower (Kim, 2010). In both studies, it aims to highlight the temporality and changes which are necessary in order to maintain a buildings image.

In the case of more traditional buildings like the Great Mosque of Djenne or Ise Shrine in Japan, constant upkeep is essential to sustain the buildings life and counter its decay. A building material which imposes a natural death is synthetically kept alive by repeated maintenance of the Rem Koolhaas has detailed building.

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The Great Mosque of Djenne located in Mali is constructed with mud. Naturally, its exposure to rain and sun will erode the building. Every year, a festival is held within the community of Djenne to recob the surface of the mosque, preventing its erosion towards the buildings death.

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The Ise Shrine is repeatedly demolished and rebuilt by the Japanese community every 20 years. Before the shrine becomes unusable, it is voluntarily demolished before being rebuild again.

RESPONSE If we could design with death and decay as its focus, the obsession with the new will no longer exist. Instead the rawness of the building will not be hidden but rather shown outwardly. This could then affect some of the factors of maintenance, deeming them unnecessary to present itself as a continuously new and fresh building.

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MEMORY ASSOCIATION THROUGH DECAY

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In the methods explained above, it attempts to prolong the life of a building, avoiding the topic of its eventual death.

However this thesis aims to use decay and death as its main inspiration for design, going against our customary practice of fighting against deterioration. The emphasis on designing for decay will chiefly impact its geometries and forms, its materiality and composition, to influence a gradual transformation of spaces, systems, and functions of the building.

It aims to cultivate an association of architectural memory with the building, offer a proposition to adaptability, and reduce the energies required for construction of a building.

Memory and imagination are both closely intertwined with one another, where one relates to the past and the other towards the future.

Edward Casey details how memory and imagination functions through 4 different points: Rootedness in Perception, Link to the Past, Familiarity and Retentiveness (Casey, 1976).

phasize its temporality, it allows for an understanding of the building in its current position, with relation to its past form and its potential future appearance and function.

Memory and imagination are stimulated through this explicit aesthetic relationship of the buildings transitions at separate time intervals. It creates a link to the past while instigating perception, creatBy harnessing decay to em- ing a sense of familiarity and

“But when we would express the decay, and signifie that the Sense is fading, old, and past, it is called Memory.�

intimacy with the building. It imbues the building with its own storyline, explicitly expressing its decay and how it traverses towards its eventual death.

ation of the buildings own storyline, accompanied with its intimate link with its past, present and future, allows visitors to be present in layers of spaces spread across different periods through The existence of the archi- the activation of memory tecture is no longer defined and imagination. simply by its location within space and its relation to other buildings, but can be determined by its experential qualities carried within the building. This strong associ-

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ADAPTING TO CHANGE

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From the 19th century, there was an increased awareness for architecture to be relevant to the future as rapid advancements has rendered buildings obsolete at a rapid rate. This lead to architecture which maximises flexibility such that it can remain adaptable to any given circumstance or program. The Reliance Control Factory in England proposed mobile partitions which can allow for flexible organisation of spaces (Obsolescence, 2016).

At a larger scale, Nakagin Capsule Tower was designed to hold individual habitable capsules, which can freely detach and attach to the structural skeleton as societal needs change.

Unfortunately, both these examples did not meet its intended purpose. The Control Factory had such great ambiguity in its design that it eventually leads to its users abandoning the building altogether, rendering it obsolete. The Nakagin Tower progressively became more economically unfeasible and irrelevant to the evolved lifestyle of city dwellers. “Today the Nakagin Capsule Tower stands forlorn among later

urban additions, no longer heroic, just out- of- time�

(Obsolescence, 2016).

By harnessing the natural conditions of decay to create a gradual transformation of its spaces and systems, it could offer guidance to determining its future programmatic usages. Similarly, a strong connection can be drawn and used as a reference to its potential future uses as it continuously morphs. Collaborating with the memories intertwined with the fabric of the building, the traces of decay in the building holds the potential in informing its subsequent and previous function.

REDUCE BUILDING ENERGY

Much of the energies expended in the construction of buildings stems from its inherent quality of wrestling against nature. However, with decay, architecture collaborates with nature to adapt its spaces, systems and form.

The life cycle assessment (LCA) is a form of analysis used to ‘evaluating the environmental impacts of a product, process, or activity holistically, by looking at the entire life cycle of the product or process from raw materials extraction through disposal.’ (Ragheb, 2011) This analysis can be succinctly divided into 5 stages: (1) Resource Extraction; (2) Manufacturing Phase; (3) On-Site Construction;

(4) Operation/ Maintenance; (5) Demolition/ Recycling.

Architecture which decays could substantially reduce the energies required for the Operation and Demolition phase of the building life cycle. It feeds on the process of its deterioration to transform the spaces for future adaptability and to cultivate a strong association to architecture memories. Similarly, through the production of materials which aims to collaborate with nature, energies expended which are required to resist nature are no longer a necessity, resulting in a general reduction in energies needed for building construction.

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CHAPTER 2

MATERIAL STUDIES SAND

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Sand as a material is made up of small aggregates which are joined and strengthened together with a binder. Sand has long been used as a material for architecture application. Its application for architecture is apparent as it exhibits good mechanical properties for construction purposes. Sand decays mainly through its interaction with nature via erosion and weathering. In erosion, the sand is removed from its surface gradually and transported from one location to another through elements of nature.

The interest of using sand as a building material for this thesis originates from its degradation behaviour with natural climatic conditions. The erosion of the material allows for a gradual change as the small aggregates erode layer by layer. The geometry of the material can also facilitate and control this behaviour of erosion.

Additionally, it can evoke a sense of architecture memory. There can be a close association with what the building originally was and what it will potentially be, as it shows distinct, tracable patterns and fragments.

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MATERIAL RESEARCH OVERVIEW

clay is used as the binder which holds the salt crystals and sand together, creating the strength of the material (Rovero et al., 2009). The research paper analyses how the buildings have eroded in time and have documented the different processes of deterioration which the material undergoes. This includes fracturing, embrittlement, movements of the bedrock and disintegration of the building blocks.

In the Great Mosque of Djenne, mud is cobbed onto the surface of the building as an annual festival of the community which resides there (Dainese, n.d.). The resulting form of the mosque comes because of the continuous cobbing and the erosion which causes the building to deteriorate. The mud gradually erodes from the surface of the building and gets washed away through rain and wind. This slow transformation allows for the form to eventually transform to its curSand has been used as a rent state. main ingredient for building construction since ancient In both cases, the material decays slowly and gradually offertimes to our present age. ing an opportunity for decay to transform the spaces, systems Different compositions of and forms. gravel, sand and silt in combination with clay results in different forms of building material. This permeates to even soil-based building materials as sand consists a high proportion of the material.

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For this thesis, the objective is to understand how the material will behave under erosion. In Siwa Oasis, buildings are constructed using Karshif, a material which is made up of salt crystals with clay and sand as its main ingredients. The

with waves and changing sea levels. When the upstream current transports less sediment than its downstream counterpart, erosion on the seafronts is observed.

TYPES OF EROSION

(4) Wind – Its eroding behavior on materials happens when the particles carried from the wind strikes the material’s surface.

(5) Human - erosion by nature can be accelerated due to Sand based materials degra- human interventions such as dation behaviour is primar- deforestation. ily through its interaction with nature in the form of Each of these systems of physerosion. Erosion can be clas- ical erosion interacts with the sified into various catego- material in different methods, which results in varying ries: physical expressions of the (1) Rainfall - the materials materials form and structure. disintegration occurs in 4 This natural phenomenons phases, it begins with splash, will be studied to understand to sheet, rill and finally gully the potentials of using erosion as a form of architectural erosion. decay to transform its systems (2) Stream - a continuous and space. river flow will continuously interact with sand to shift it from its original position to a different location.

(3) Coastal - Coastal erosion arises due to its interaction

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MODERN MATERIAL INNOVATIONS

Recent innovations have explored different material compositions to strengthen sands mechanical properties. Experiments have been done through using unique forms of adhesives to enhance its binding force to adding an external organic material into the composition. Furthermore, new fabrication processes have likewise allowed for a different approach towards the formalistic approaches to sand.

FINITE The sand dunes in Egypt are traditionally understood to be too fine to be used as a construction material. In Finite, researches have discovered of a method of using this sand for construction purposes (Block, 2018). By using a composition of resin, it binds the sand together to create a material com-

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position which boasts the same strength as concrete and housing bricks. It can be an environmentally friendly alternative to building construction as opposed to the carbon footprint of concrete.

SANDPRINT In Bartlett, a studio in 2013/14 called SanDPrint has explored 3D printing with sand by hand (Cao, 2014).

Through using PVA Tubes, a combination of rocks as a mold and modifiable frame, the students and professors were able to generate unique geometries and artifacts built from sand. Through

using digital technologies and simulations, the studio was able to envision an upscaled version of their artifacts, adapting it to architectural structures.

STONE SPRAY ROBOT A group of researchers from Institute for Advanced Architecture of Catalonia developed a robotic arm which ‘prints’ a mixture of sand to create artifacts, which could possibly evolve to architecture (Kulik et al., 2012). The material composition of sand and its binder is fed into the robotic arm which can be programmed to spray print objects.

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FABRICATION PROCESS

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The first test in understanding sand’s behavior under erosion is through experimenting with various material composition.

Each component of the composition will affect its fabrication process and method, curing duration, degradation behavior and overall mechanical performance. In this series of experiments, the geometries were fixed, and its composition is adjusted by introducing control variables. The 3 main components which were used were plaster, sand, polyvinyl acetate and water. The durability and behavior of the materials are tested with relative to one another. Similar to the traditional building practice as observed in Siwa Oasis, the material compositions can be layered one over another to control its overall degradation behavior and rate of erosion.

The first series of experiments include fixing the amount of plaster and water while varying the proportion of sand. This is then followed by varying the amount of plaster and finally the quantity of water. The subsequent experiment includes adding varying amounts of polyvinyl acetate to the material composition.

MOLDING GEOMETRY Different proportions of the materials are placed into a container and mixed until a homogeneous solution is reached. The resulting material is then placed into the base of the mold of a prede-

signed geometry. The material is then spread evenly in the mold’s base. Finally, the top cover of the mold is pressed onto the material, causing it to conform to the geometry of the mold. The material is then left to cure for the next 3 days before being removed, in which the mold can then be reused to experiment with different material compositions.

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MATERIAL FINDINGS VARYING COMPOSITION

High sand composition

There is a threshold of the limit of sand, water, plaster and polyvinyl acetate which can be added into the overall composition which results in the overall failure of the material in its strength and structural integrity. When the sand proportion was high, it was easier to cob the material onto the mold rather than pouring into a cast. When the material has low viscosity, it is much easier to cast the material or press mold it. Also, as the plaster content increases, the overall material became increasingly more brittle.

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To further understand the material better, each composition is placed under the weathering station to analyse its degradation behaviour from exposure to simulated rainfall.

Low sand composition

Differing ratios of water, sand, plaster and PVA were experimented in the material composition to explore its strength and subsequently its degrading behaviour under weathering.

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The next series of experiments involve understanding how water will flow along the surface and geometry of the models. We are then able to extract the resultant erosional behaviour due to water erosion.

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The models were first placed in a weathering station as seen in the image above. The weathering station uses water pumps to recycle the water for simulating the rainfall and can hold 3 simultaneous weathering experiments.

The models are then placed under 2 hours of continuous simulated rainfall before being removed for the day. This process is repeated over several days until the model collapses. The findings are then

PHYSICAL AND DIGITAL ANALYSIS

recorded and contrasted to identify the strengths of each material composition.

To better understand the behavior of water and how it affects erosion, the weathered models are removed everyday and 3D scanned into digital space for further analysis. Within this digital space, water flow behaviors can be extracted over the surface and geometry and its velocity and angle of impact can then be determined. The models at different days, or intervals of erosion are overlaid upon one another

to contrast how the material natural decay behaviour as a has behaved due to weather- method of spatial transforing. Through oscillating be- mation and adaptation. tween physically weathering the models and analyzing it in digital space, information regarding how fluid behavior and the materials erosion can be better understood and recorded.

The knowledge drawn from these series of studies will inform the limitations and potentials of the possible geometries which the material could adopt. Additionally, it can allow me to predict its erosion behaviour, thereby simultaneously using its

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POINT EROSION ANALYSIS

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A variety of plates made of the same material composition was placed under point erosion for 4 hours to observe how the angle of impact could affect the erosional behaviour of the material. When the angle of impact is at 45 degrees, the damage is concentrated and quickly carves a cavity. Whereas in the 75 degree point erosion plate, the water’s impact is reduced and flows down the surface, therefore causing a different erosional behaviour, valleying.

ERODING DIFFERENT MATERIAL COMPOSITIONS

Domes of varying material compositions were placed under erosion to compare and contrast its strength and material behaviour. The water runoff is extracted in digital space and through this, we are able to document how water behaves as the material deforms and erodes over time. At 1 hour intervals, the dome models are removed and 3D scanned before placing it under simulated erosion. With the digital models of the domes, we are able to observe how erosion has affected the material at different time steps. Furthermore, changes in the models form and primary mode of erosion were recorded to better contrast the materials.

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SURFACE TEXTURE TREATMENT

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In a series of studies, the surface textures of the domes were manipulated to observe how it could affect water runoff, subsequently the erosion behaviour of the material. The surface texture weres modified through creating artificial crevices, dimples, holes of different compositions and dimensions. The images below are simulations of textures before physically manipulating the model. In the model above, the artificial crevices quickly smoothened and deepened as water channelled through it, before cavities began forming on the top surface.

CHANGING MODEL GEOMETRY

In addition to manipulating the texture and material composition of the models, experiments were made with different overall geometries of the models while fixing the composition. Pyramids of different steepness, domes of varying heights and a combination of other compressive based forms were tested. In the pyramid examples, the corners of the pyramids are able to withstand weathering for a longer period of time as water immediately gets redistributed upon hitting the surface. This results in the hastening of erosion along the planes, causing the model to collapse while the corners are still able to stand.

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INFORMED STUDY #1

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After studying and achieving a better understanding of the materials behaviour through erosion, informed models which aim to manipulate erosion through water flow was tested. The model is first created in digital space, followed by placing it under digital water runoff simulation. From there, the model is continually modified to achieve the desired erosional outcome. Once optimised, the physical model is fabricated and then placed under the weathering station to observe its actual behaviour. In the model above, an artificial valley was created to allow for caving to occur. However, the study shows though valleying occured, dimples began to form and eventually creating cavities. Subsequently the cavities merged and caused the valleyed area to collapse, forming the desired caving attribute.

Rather than creating an cave through valleying, it was done through cavity forming instead.

INFORMED STUDY #2

The subsequent model which was created carved a narrower channel as opposed to the prior model. Furthermore, the edges beside the channel are strengthen by creating a more convex surface. This therefore resulted in a more concentrated channel for water to flow, causing the erosion through valleying to occur faster. In the model above, each face of the model aims to manipulate erosion in different ways. For example, one of the faces attempts to create 2 shallow channels, sandwiching a convex surface in between. As the 2 channels begin to erode, it will cause the sandwiched convex surface to collapse and fall.

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Curing Duration Erosion Duration

Sand:Plaster:Water 4:1:1 Sand:Plaster:Water 3:1:1 Sand:Plaster:Water 2:2:1 Sand:Plaster:Water 2:1:1

Sand:Plaster:PVA 4:2:1 Sand:Plaster:PVA 4:2:2 Surface Shaving Sand:Plaster:Water 2:1:1 Day 4

Design Factors

Day 2

Water Behaviour

Crater Day 0

Erosion Behaviour

Secondary Bounces Material Thickness

Water Collection

Splash Erosion

Overall Geometry

Angle of Impact

Sheet Erosion

Surface Texture

Water Channelling

Rill Erosion

Angle between walls

Water Velocity

Gully Erosion

Material Composition

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Crater creation Surface shaving

Crevices

C

Fabrication Process

Cob Cob Cob/ Cast Cob/Cast

Cast

Caving

Valleying

Cavity

Cavity merge 12 hours

Cavity formation

24 hours

Cavities merging

Valleying

Fracturing

Collapse

Collapse

Caving

The conclusion of all the experiments can be summarised in these 2 diagrams. The diagram above illustrates how the different rates of curing and erosion occurs with different material compositions.

On the left, the diagram documents the possible design factors which affects water behaviour, resulting in different erosion behaviours, as well as the steps of erosion.

MATERIAL STUDIES CONCLUSION

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CHAPTER 3

SITE STUDIES LALIBELA, ETHIOPIA

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Lalibela, a town located in the northern regions of Ethiopia, is home to 11 rock-hewn churches. Lalibela is reknown amongst the African community to be the second most holy place in the continent.

Constructed in the 1200s, the rock-hewn churches are made as a representation of Jerusalem, allowing the local communities to use Lalibela as a substitute for its spiritual pilgrimage.

“Whoever comes in pilgrimage to your sanctuary will acquire the same merits as those who have made the pilgrimage to Jerusalem.�

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The history of Lalibela remains shrouded in mystery.

The locals believed that the manifestation of the churches was orchestrated under the rule of Saint Gebre Mesqel Lalibela, the emperor of Ethiopia during the 12th century. The oral tradition follows that God spoke to emperor Lalibela, saying that “Whoever comes in pilgrimage to your sanctuary will acquire the same merits as those who have made the pilgrimage to Jerusalem.�

The collection of these 11 churches were also thought to have been constructed

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by men during the day, and angels by night. This resulted in the ascribed divinity of the churches as a holy place for pilgrims to travel to, as it is not made simply by human hands, but also through the collaboration with beings of the spiritual realm. The spirituality of the churches continues to remain integral in the daily lives of its community till this day and impacts the overall economic and spiritual condition of the town.

HISTORY OF LALIBELA AND ITS CHURCHES

The churches in Lalibela are split into 3 different clusters. The northern cluster is home to 5 churches: Biete Medhani Alem, Golgotha Mikael, Biete Mariam, Biete Denagel and Biete Maskal. Biete Medhani Alem is the church which houses the Lalibela Cross, one of the holiest artifacts which in Lalibela, where only select individuals can have access to. Biete Lehem, Biete Gabriel Rafael, Biete Abba Libanos, Biete Amanuel, and Biete Qeddus Mercoreus are located in the Eastern cluster. Many of the Eastern churches were used for different functions during its time, however it has since been transformed into religious churches over the centuries. Finally, the Western cluster has only one church, the Biete Giyorgis, which is also the most famous church in Lalibela. A wooden box which was carved by King Lalibela himself is within this church and has been rarely opened by the community.

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CHURCH CONSTRUCTION METHOD

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The oral tradition follows that the churches were constructed within a 23-year span during emperor Lalibela’s reign. However, archaeological evidence seems to indicate that the construction of the churches spanned a far longer period of time.

Located on the base of Mount Abuna Yosef, 2650 metres above sea level, the design of the churches was influenced by the landscape and geology of the hill. The churches were constructed through chiselling and cutting out directly from the top of the hill to its designed form. The rocks (spoils) are then removed and displaced towards the surroundings of the church. After the basic geometry is established, the interior spaces are carved inside out. The integration of the church with its surrounding forms a cohesive language through this construction method, where the architecture is physically embedded within the landscape.

PRESERVATION METHODS

During the late 20th and 21st century, there has been concerted effort to preserve the church monuments as churches which were exposed to natural elements were experiencing weathering. Many within the Lalibelan community has already joined in the efforts of preserving the physical condition of the churches, either through financial aid, or by committing laborious efforts in reversing the effects of decay. The constant annual rainfall has affected the integrity of the churches and the growing concern on its continual damage resulted in shelters being constructed over the churches. However,

this external intervention has been met with criticism as it strongly dilutes the spirituality of the churches. The local community are instead weary of the shelters damaging the churches rather than protecting them as it has also become poorly maintained. Rather, conservation is viewed as a better alternative to protecting the church rather than erecting external elements to protect it from weathering.

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COMMUNITIES OF LALIBELA

The communities which are present in Lalibela are unique to many other parts of Africa and the rest of the world. Being home to one of the holiest cluster of churches in Africa, many of the local community has jobs which are closely associated to church activities, serving as priests, deacons, security guards etc. The entire community is highly spiritual, often visiting the churches many times a week and participate in fasting in preparation for festivals. As Lalibela continues to increase in popularity amongst other countries, the locals have begun to open hotels, restaurants and other commercial services to capitalize on the constant in flux of tourists. This leads to the second group of people who visit the town. Tourists from overseas often come to Lalibela to observe the festivals and architecture of the 3 church clusters, and the number of overseas tourists who visit this place has continuously been growing over the past few years. The final group of people are the pilgrims whose sole reason for visiting Lalibela is for spiritual purposes. The pilgrims pour into the town during significant religious events and can outnumber the entire local community of Lalibela. The pilgrims often walk over several days, even weeks, to visit the churches, and sleep on the floors which surround the churches.

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TOURISTS

LOCAL COMMUNITY

PILGRIMS

Tourists who visit the Lalibela churches include international tourists and local Ethiopians. Only 25% of the surveyed tourists had visited the location before, with the rest visiting for the first time.

The local community tends to visit the churches more than once per week as it plays an integral part in many of their lives. Many also use the church as a shortcut to other parts of the town.

Pilgrims make the journey from the country to this holy site at least once in their lifetime. Some travel barefoot and may even walk for months to visit the churches.

The pilgrims mainly gather during festivals.

How do you engage with the site?

Tourism Religious Education

How do you How do you benefit from engage with the church? the site?

Spiritual Economic Social

Church worker Religious Work/ Business

How do you How do you benefit from engage with the church? the site?

Spiritual Economic Social

Religious

How do you benefit from the church?

Spiritual

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SITE STUDIES

The 11 churches are located at the heart of the town, stitching together the fabric of the village. The clusters of churches are located in close proximity to one another, and is easily accessible from the main road. The local community often use the road which cuts through the church clusters as a shortcut to travel from the north to the southern part of the town.

Main Road Church Clusters

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Educational Spaces Hotels Market Commercial Residential

In the site plan above, the main hub of the villages commercial activities are located next to the churches as they function not only as a spiritual hub for the locals, but also as a magnet to attract tourist to the town. As reflected in the distribution of programs, the economic function of the village radiates outward from the church clusters, with the churches serving as the primary function of economic income.

The market, which operates on Wednesdays and Fridays, is located slightly northwest of the churches. It is an open outdoor space which spontaneously transforms into a

market, where traders from all over the town gather to buy and sell items, or to meet friends and families.

Finally, the residential areas are located slightly further away from the churches due to the need for commercial programs. Despite that, residential regions often spill into and penetrate close to the churches, which is reflective of the lifestyle of the local communities.

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SITE STUDIES

Local circulation Tourist & Pilgrims circulation Church Clusters Entry points Security check points

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Main road Trenches Church Clusters

Many informal pathways are created by the locals as they frequently commute between their places of stay and work to the churches.

However, the tourists and pilgrims generally follow and abide by the traditional roads. Due to the disorganised nature of the circulation pathways, the entry points are scattered across the site, making governance and organisation of the tourists difficult.

Much like the existing underground churches, the pathways are created by digging through the earth, forming trenches which simultaneously connects the churches and functions as a water drainage system during seasons of high rainfall.

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CHAPTER 4

DESIGN PHASE: DUST TO DUST The design intervention aims to serve as a supplementary addition to the town of Lalibela. The nature of the building and its erosion behaviour differentiates itself from being a destination, to a transitionary space which complements the surrounding churches, and assists in negotiating between the communities which exists in the town.

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GOVERNING DESIGN PRINCIPLES AND INTENTIONS

During the 70 year lifespan of the building, the transformation of its spaces and circulation systems will gradually change and impact the program. At its inception, it aims to consolidate the entry points to the churches into a single location, and acts as a learning center for tourists to better understand the spiritual significance and culture of the churches. As the building grows to accomodate more spaces, the division between the passive and active participation between the tourists and locals begins to breakdown due to the erosion of the pre-existing massing. Finally, the building transitions to a preparatory chapel, ready to push off its visitors to the clusters of churches surrounding the building.

Through the life of the building, the center point gradually becomes de-emphasized through erosion, and instead the focus shifts towards the periphery of the massing, where the arms ripple outward towards the existing churches.

Focal Point

Focal Point

Focal Point

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In the site plan above, the massing (final stage) is located at the center of the churches, with a strong emphasis on the massing growing out and reaching towards the churches.

The central core gradually erodes away, allowing the building to ripple outward towards the surrounding churches.

The chapels are subsequently built facing towards the direction of the existing churches.

The central core of the massing continues to erode, de-emphasizing its centrality, The roof is added to create a sheltered central courtyard while slowing down the erosion of the core.

Additional volumes are attached onto the periphery of the building, while the central core continues to erode.

The massing begins with a core being wrapped around by a continuous volume.

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1

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2

3

MASSING FORMATION

4 The massing is placed under digital rainfall to identify the water flow. From this study, the geometry of the massing can be manipulated to achieve the intended erosional behaviour. This constant back and forth between analysis and design allows the massing to be generated with greater precision.

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3 4 1

2

3 3 4

Worshippers use

Visitors use To be built

Year 0

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PLAN SERIES

1. Preparatory room 2. Ritual Hall 3. Gallery of artifacts 4. Reception

In the first few years of the building, it acts as a museum of education for tourists, while distinctively segregating the locals from them.

Instead, the tourists are able to passively participate in the activities of the locals through apertures punctured around the interior wall of the museum, allowing for visual and audio connectivity with the ritualistic practices of the local community.

4 3 4 6 1

7

2

4

3

6 7

5

Worshippers use

Visitors use To be built

Year 25

1. Preparatory room 2. Ritual Hall 3. Prayer Room 4. Gallery of Artifacts 5. Meeting Room 6. Reception 7. Sensory Room

As time passes, the building begins to grow outwards while the division between the communities become increasingly blurred due to the erosion of the core. The spiritual centre of the building instead spills outwards towards the periphery spaces. The erosion characteristic of the building facilitates the negotiation and dynamics between the tourist and local worshippers.

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5

4 3 2

3 1 2 4 5

2

3

Worshippers use

4 5

Visitors use To be built

Year 55

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1. Worship Hall 2. Communion Room 3. Reception 4. Courtyard 5. Preparatory Chapel

As the central core continues to erode, its function progressively becomes more informal. The focal points now shifts from the core to the preparatory chapel arms, where visitors become spiritually sensitive and prepared to visit the rock-hewn churches. The courtyards functions as an intermediary outdoor space, which creates a break, or pause, before entering the preparatory chapels.

2

1

3

2

Worshippers use

Visitors use To be built

Year 65

1. Market, Festival Space 2. Eatery 3. Community Hall

In its final state, the central core completely breaks down and can be reprogrammed.

Furthermore, the courtyards which segregated the spaces of the chapels and the main building now serves as a connector which fuses the 2 spaces together into one continuous indoor space. The loosely programmed spaces can be readapted to any function which suits the communities current needs.

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The section series on the right visualises and anticipates how the erosion will transform the building, as well as the simultaneous expansion of the massing towards the existing churches. The core begins to erode, changing the spatial and lighting quality of the space. By year 20, a gradual construction of the roof provides shelter for the intermediary space while controlling the rate of erosion of the core.

SECTION SERIES YEAR 0 TO YEAR 30

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In year 30, the erosion causes the focus of the center to shift towards the periphery spaces, and also to facilitate increased interaction between the local community and tourists. Once separated, the spaces are now weaved with one another through erosion.

Year 10

Year 20

Year 30

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Year 45

By year 45, the preparatory chapels are constructed while a total de-emphasis of the central core begins to occur.

The central core naturally transforms into an outdoor courtyard which serves as the central spine which connects the separate arms together.

SECTION SERIES YEAR 0 TO YEAR 70

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Eventually, the gallery spaces and preparatory chapels begin to erode causing the spaces to merge with one another, creating large communal spaces which can be spontaneously reprogrammed by the community as according to their needs.

Year 55

Year 65

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BUILDING TRANSFORMATION

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At the beginning, apertures are pre-designed and articulated across the form, allowing it to facilitate the lighting quality of the interior spaces and to concurrently manipulate the rates of erosion at the specific regions of the massing.

As the building is constantly subject to weathering, the apertures begin to join with the erosion cavities, thereby forming holes and modifying the quality of spaces. Furthermore, the designed valleys allow water to channel through to create opening which connects different spaces with one another.

In its final state, the preparatory chapel stretches and reaches towards the existing churches. Exit points are carved at the edge of the arms in the direction of the churches to allow a smooth transition for the visitors to the rock-hewn churches. Through the erosion of the core and constant outward expansion of the massing, the language and intention of the building transforms from being a destination to a supplementary space used to emphasize the significance and permanence of the surrounding churches.

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Year 0

Year 20

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Taken from the perspective of the preparatory room to the ritual hall from the inception of the building to year 70. At the beginning, the hall serves as a dramatic, solemn space which is intended only for the local worshippers. As time passes, the walls which seperate the hall and its surrounding spaces begin to erode away, facilitating a gradual connection and interaction between the foreign and local communities. Furthermore, the core progressively becomes de-emphasized as the spiritual core, and instead transforms into an informal gathering space.

Year 30

Year 70

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Year 45

Year 55

Year 65

Year 70

The view of the preparatory chapel from the gallery of artifacts from year 45 onwards.

Initially, to reach the chapels visitors have to navigate through the sensory rooms.

Instead, their connection of the chapel through the gallery is only through visual connectivity. However, as erosion occurs, the walls break down to allow for more direct circulation to the chapels. Additionally, erosion facilitates the transitional use of the chapel, transforming it to accomodate more informal programs.

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