Interrogating the Elicited Tangibles

Chapter Two

Interrogating the Elicited Tangibles.

Image of author observing a test within DOME at the HIVE Immersive Research Laboratory. Taken by the author.

Preface to Interrogations: expanding my position on astonishment.

Many buildings were studied and referenced in my books on architecture, however, only two were truly astonishing; the Pantheon and Aten Reign. I have studied the architects and practitioners of the Ineffable because their work and their philosophy resonate within the realm of astonishment. Great presence, emotionally moving space, and extraordinary experience is what they aim for. They have achieved ineffable presence in some of their work; but what is it then that moves architecture like the Pantheon and Aten Reign beyond the Ineffable and toward astonishment? This dissertation proposes that it is the point where the Ineffable and the Sublime meet, that astonishment in architecture occurs, therefore, interrogating the territory in which these fields cross will bring me closer to understanding astonishment.

Achieving astonishment is not the aim of this dissertation. Though the research argues a philosophical logic behind astonishment in architecture, it is not expected that this will become a ruling formula, nor is it expected that an astonishing design will result from this dissertation. A method will be designed that interrogates the elicited tangibles, while slowly composing an architecture that approaches extraordinary experience, and through that process, shall deepen my understanding of architectural astonishment.

The philosophy of beauty was also studied in depth, however, reflection on my books of experience exposes that beauty lacks the strength of impact that the Pantheon and Aten Reign left in my memory. Beauty, therefore, will not be included in this interrogation of astonishment.

Design Research Brief.

The design of this dissertation shall interrogate the elicited tangibles Light, Order, Material, Infinity and Obscurity, by iteratively testing spatial compositions that identify the nature of the tangibles both separate, and when mixed together. The testing shall begin broadly with simple designs testing the basic parameters of the tangibles, then gain specificity by interrogating the way tangibles can be combined to create a desired atmosphere. As the tangible parameters arise from the collected philosophical and built work in the discourse, their interrogations shall make continued reference back to the studied practitioners to ground the design research in its theoretical beginnings. For example; when studying Order, which is heavily referred to by Louis Kahn, the architectural tests may make reference to the typologies that he constructs, such as; unbroken circles, deep triangular apertures, and vaulted arches.

The design process, while interrogating the elicited tangibles, shall slowly compose a mixed use tower in New York, chosen for its extraordinary constructed landscape, and its personal connection as the original location of astonishment in Aten Reign at the Guggenheim. The site at East 56 Street and Park Avenue, replacing the existing “432 Park Avenue Tower,” is geographically central to Manhattan, can be seen from all of the boroughs, and positions itself between Central Park to the north, and the Empire State Building and One World Trade Centre to the south. This optimises the Looking Out experience at the peak of the tower, as each vantage offers a different and dynamic view. The tower design will prioritise the three modes of experience, Looking Up; as a foyer at the ground, Looking In; as a pool at the centre, and Looking Out; as a meeting place at the peak.

Design Constraints.

The tower shall be sited at E 56th Street and Park Avenue, replacing the ‘432 Park Avenue’ tower.

The tower shall be 100 storeys, 421m, to maximise Looking Out Horizon. This is taller than the Empire State, 381m, but not taller than One World Trade Centre, 541m (Emporis 2014).

The tower shall have a slim floor plate of 30 x 30 metres, to minimise over shadowing.

The core of the building will be designed. The composition of the spaces Looking Up, a sacred foyer at ground; Looking In, a meditative pool and ritualistic oasis at the centre; and Looking Out, a Grand Meeting Place in the sky for visitors and tenants atop the tower, shall be prioritised in the design process. Facades and residential/offices shall be mass studies only.

The connection between the tower and Central Park shall form part of the design process

Existing “Luxury Residential 432 Park Avenue Tower” on the selected site, view to Central Park. and beyond. http://en.wikipedia. org/wiki/432_Park_Avenue (accessed 14.11.14)

Methodology.

The method for the design research is broken into five parts:

1. Identify the sensation or atmosphere that is desired within one of the three modes of experience (i.e. Looking In > Pool > Sacred bathing ritual, closed in world, reflective and silent oasis).

2. Interrogate the elicited tangibles of astonishment by constructing a spatial composition that combines a quality, or qualities, that the tangibles represent, and is grounded in the body of research. (i.e. Looking In Pool > Material > Ancient Turkish bathing mosaics).

3. Experience this composition immersively in the Dome at the HIVE, observe what was tested, and reflect on what outcomes were found in both the combination of tangibles, and in the tangibles individually, in the pursuit of the desired outcome.

4. Record compositions, observations and reflections in the digital Manuscript App. Every space that I build and experience, and my resultant observations, shall be available at all times, however, not every composition is to be recorded; only key moments of change.

4a. Iteratively build the composition, repeating steps 2-4 until the space reaches a level of refinement and begins to carry the desired atmosphere (maximum 40 tests per space).

5. Compose the final design of the New York tower in a film that shows the experience of the space, and also further dissects the elicited tangibles by including images of key tests in the scenes.

[Top]: Curtin University’s HIVE Immersive Research Laboratory, using DOME to stand in spherical projections. [Bottom]: Using the digital Manuscript App to record all tests, observations and reflections, and also re-experience sphericals at any time.

Interrogations | ‘Ring of Sky’

[Tests 001-037]

‘Ring of Sky’ dissects the elicited tangibles through the guise of Looking Up, where the observer arrives at an open air foyer at the tower base. The immense weight of the tower above is felt as it strikes the ground through a dense lift core. Looking Up is captured through an unbroken opening between the foyer walls and the ceiling above that draws in the ever changing New York sky, sun and seasons.

Order is the predominant focus of this study, beginning with simple questions; how high should a wall rise above the foyer, and how should the ceiling meet the lift core to conjure a weighty and isolating sky experience? Considering Louis Kahn (Ngo 1998) and Le Corbusier’s (Goodman 2008) references to geometry - arches, pyramids, circles, vaults, and so forth - compositions of wall heights, ceiling geometries, openings, structures, and thicknesses were tested. The least successful tests were the most complicated architecturally, while great presence came from simple moves and pure geometries. Infinity tested the proportion of viewer to walls, ceiling and sky. The most successful compositions brought the sky and the tower’s weight down to the observer through the ceiling. Extreme vastness, however, muted the experience for the viewer, detaching the tower above, rather than causing the sensation of its immense weight. Obscurity and Material were used to exaggerate the ring of sky by forcing other elements out of focus through shadow or blurred boundaries. Where the limits of the space become difficult to grasp (Obscurity), the sky becomes the point of orientation, and we are drawn up to its aura. Limiting the material palette further enhanced this. Light was also tested to find how the viewer’s eye can be seduced upward, including the impact of sunlight at varying times through the changing structures, and artificial lighting to the ceiling.

This interrogation of the elicited tangible parameters has demonstrated the power of simplicity, subtlety and harmony to create a composed experience. Pushing any tangible too far destroys the atmosphere. Unity across the tangibles, combined with simple yet grand spatial moves, will give the greatest presence.

See “Manuscript” App on the iPad for full interactive sphericals, observations, and reflections (Appendix ix).

10 21

29 36

[Test numbers correlate to Manuscript App]

10: ceiling too high, detached experience. 21: Simplicity, seducing the eye up, brings the sky down. 29: sunlight gives time to the space. 36: black tiles prioritise the ring. [Bottom] Louis Kahn’s Bangladesh National Capital showing power in simple geometry (McCarter 2009).

Interrogations | ‘Oculus’

[Tests 038-059]

‘Oculus’ dissects the elicited tangibles of a Looking Up space, centred around a grand oculus. Arriving in this space, the viewer should be immediately caught by the extreme and uninterrupted presence of the oculus. Many of these tests make reference to James Turrell’s Aten Reign, and the experience that was filmed for this dissertation at his Within Without in Canberra; particularly the use of bold colour and obscure boundaries.

Order is explored to find the best ceiling geometry to experience the oculus, including the dome, pyramid, cone, and cylinder. While more complex geometries felt arbitrary and though they would lose sensation over time, the cylinder, a simple 10 metre deep, 20 metre wide extrusion, filled the space with a God-like presence. Order was further tested through the oculus; dividing it into rings, extruding downward and upward, and changing the material to light ratio to create shadow or amplify light. The strongest outcomes were the extruded rings and the black centre; giving the illusion of the oculus falling to the observer below, and of a great eye above. Light and Infinity are combined to create a great white light emanating from beyond. While this has great presence in the space, the ‘slice of sunlight’ (Louis Kahn in McCarter 2009), and the sense of time that arises from this, is missing from the experience. Material and Obscurity are combined to prioritise and amplify the presence of the oculus.

Light and Infinity are the ultimate conjurers of presence in this space as the great looming oculus begins to form a powerful sensation of god-like scale and otherness. Order, Material and Obscurity, are utilised to bring attention to this power, rather than bring their own presence to the space. While the spiritual sensation is beginning to show in the oculus; this is not felt in the surrounding space as it lacks the weighty connection that comes from strong architectural Order, and raw sensual Material. Stronger utilisation of the tangibles, in harmony with one another, shall provide a grander sacred experience.

42 39

46

57

[Test numbers correlate to Manuscript App]

42: complex 90 degree extrusion. 39: lack of presence in domes. 46: power starting to emerge from the grand oculus. 57: dissecting the oculus. For further analysis of these tests, see the corresponding test numbers in the Manuscript App. [Below] Turrell’s “Within Without” dynamic oculus studied in Canberra. (by the author).

Interrogations | ‘Ring of Sky’ and ‘Oculus’

[Tests 060-093]

Ring of Sky and Oculus attempts to combine the ever changing environment and connection to New York sky, with the God-like presence of the oculus. Looking Up changes depending on the observer’s position in the space. From the edge, Infinity is sky; at the centre, Infinity is the grand oculus.

Order and Infinity begin to define the ratio between sky and oculus through differing ceiling geometries, and the connection between foyer wall and ceiling. Too much sky is overbearing and detracts from the oculus, while too little sky appears meaningless. Balance between the sky and oculus gave the space its greatest presence. The addition of sunlight brings a ritualistic connection to time, however, without the dense mass of Order and Material, the space lacks the depth of shadow and texture required in sacred experience. Furthermore, sunlight enters from above; competing with the zenithal light of the oculus. Sunlight should enter from the side to build upon the presence of the space, rather than detract from Looking Up. Material and Obscurity were explored in experimentation with colour. The colour of the space reflects the atmosphere, and the fewer colours (or materials) in the scene, the more intense the experience. Stronger colours – deep blues, purples, and reds – are the most extreme to the senses and give greater presence to the space. The colours, however, do not connect the viewer to the cosmos or spirituality, nor do they add to the experience of Looking Up. Colour, without inherent connection to raw material, does not connect me to sacred presence, and, therefore, only detracts from the tangibles of architectural astonishment. Perhaps the power of Aten Reign comes from the colour of the light suffusing the space, not the colour of the walls. This shall be explored further in “Interrogations, Bathing Ritual.”

The sensation of the sacred comes from the harmonious workings of the tangibles to conjure a singular and wholly consuming experience. This interrogation identifies the need to focus less on the purity of Turrelllike space, and more on the deep shadow, weighty mass and architectural order of Kahn, Zumthor and Le Corbusier. There needs to be a return to spiritually driven experience and ritual, and to greater human presence.

60 73

68 81

90

[Test numbers correlate to Manuscript App] 60: overbearing sky. 73: meaningless sky. 68: unnecessarily complex geometry detracts from presence. 81: space starting to become balanced, then testing colours. 90: absence of colour to preserve the purity of the experience. [Bottom Right] Coloured Light rather than coloured material in Turrell’s Aten Reign (Mewburn 2013).

Interrogations | ‘Sacred Ritual’

[Tests 094-122]

Learning from the previous interrogations of the tangibles of astonishment, Sacred Ritual is the beginning of the final design for the New York tower; the foyer Looking Up. This space further dissects the elicited tangibles in a deeply spiritual place of mass, shadow, and a halo of light, reminiscent of the Pantheon and Stonehenge. Also following a comment by Assistant Professor Rene Van Meeuwen at a lecture given by Dr. Annette Condello at the University of Western Australia (October 2014), regarding the current explorations in “Visual Spoliation,” the remaining interrogations of this dissertaion attempt to use dirt, cracks, erosion and so forth, to create a deeper sense of reality in the augmented spaces. This further expands on the power of Material to bring the sensation of sacred presence to the space through the sensation of time.

Order is explored to create a layered space with dense thresholds, and a focal centre of the great dome and oculus; while Light is largely limited to the oculus to cast deep shadows throughout. Softly lit bulbs hang from the ceiling, like candles in a spiritual place, and give depth to the scene. Carving long, thin openings over the door threshold also allows warm side-raking light to lace over the walls and columns of the space, bringing the essence of time. This space is most powerful at night, when the surroundings fade to black, and the oculus beams its white light across the dome and everything beneath it. Infinity is explored through the proportions of Order; the depth of the column threshold, the diameter of the dome, and proportion of the area for Looking Up, against the human scale. Dark shadows in the space exaggerate the sense of Infinity as the boundaries become obscure. Elements that were more vast did not necessarily have greater presence; deep shadow lines over smaller columns gave greater effect than no shadows over full depth columns. The shadow brings great depth and weight to the space, like a Caravaggio painting. Light, Obscurity, and Infinity, therefore, work together to give the sense of a scale beyond us, while heavily textured concrete gives great spiritual aura by exaggerating the effects of shadow and mass.

The simple and strong geometry, combined with dense mass, obscure darkness, beaming oculus, and the sense of time, work together to form a silent and powerful experience. This, combined with implicit connections to ritual and sacred place, is an exploration that begins to move the tangibles into the realm of the sacred.

104 113

116 121

122

[Test numbers correlate to Manuscript App] 104: Ritual experience, light only from oculus in dome. 113: long thin openings bring slice of sunlight. 116: vastness; full depth columns with no shadowline, less successful than smaller columns with shadow. 121: soft lit bulbs bring cathedral air. 122: heavily textured concrete adds to ritual and power of oculus (“Visual Spolitation”). [Bottom Right] Immense depth and weight in the black shadow of Caravaggio’s “The Incredulity of Saint Thomas” http://en.wikipe-

dia.org/wiki/The_Incredulity_of_Saint_Thomas_%28Caravaggio%29 (accessed 16.11.14).

Interrogations | ‘Bathing Ritual’

[Tests 123-139]

Bathing Ritual is the physical, spiritual, and functional centre point of the New York tower. It is the medium between levels of office and residential, and a closed-off oasis of silent reflection. This space further dissects the elicited tangibles in a bathing experience that resonates with ancient and ritualistic Turkish and Roman Baths. Archway colonnades extending from the outer walls to the central core divide the space into four rooms of experience, each with a pool of different depth and temperature.

Looking In does not focus on a point of infinity, like an oculus or horizon; rather it finds its power in the sensual relationship between architecture and human experience. Order and Infinity are explored simply in the size and composition of the archway colonnades, how they create moments of threshold, passage, and intrigue, and how their physical presence alters the atmosphere. The most successful compositions were those which created a divide between the pool spaces, but maintained enough transparency to other pools to generate intrigue. The more vast archways were not more powerful, rather smaller archways with taller external walls gave a greater sensation of mass and infinity. Materials connected to bathing ritual were explored in their effect on the presence in the space, and each change altered the experience of all other tangibles. While mosaics carried connotations of bathing, the Travertine and stained concrete gave a greater connection to ancient ritual. Light in the pools act to define the differing experiences, and at night they combine at the archway threshold to create a third light and exaggerate the moment of transition. The geometric ceiling allows sunlight to pour over the space and give a sense of time, while obscurity in the high walls disconnects the viewer from New York, and the stone and water transcend them to a foreign place of solitude.

While the architecture here is not directly linked to spiritual form, there is a reflective silence found in the isolation of this space, and an intrinsic ancient connection of stone, water, and archway. These tangibles explore a different realm of sacred experience, found in the silent interaction of human and architecture.

123 128

[Test numbers correlate to Manuscript App]

123: Archway colonnade, too much obscurity to next space. 128: intrigue between bathing rooms (material further explored in film). 137: exploring arch types, and light combined at threshold (light explored in film). 139: ‘T’ columns have weight and depth, and also visual transition (spolitation further explored in film). [Bottom Right] Turkish Ritual Bathing

Experience http://starholidayhotel.com/turkish-bath. html (accessed 16.11.14).

139 137

Interrogations | ‘Horizon Ritual’

[Tests 140-162]

Horizon Ritual is the capital of the New York tower; 100 storeys up, a cathedral of the sky. It draws in the infinite horizon and is seen from Central Park, and surrounding Boroughs. This Looking Out space is a room to place the individual in the presence of the silent enormity of Manhattan, and the world beyond, in a deeply sacred connection to the cosmos that can be likened to the Sublime view from a summited mountain peak.

Looking Out is architecture that adapts a grand view into a composed experience. Order and Infinity are explored in a brise soleil to mediate the boundary between horizon and observer, investigating combinations of curves and arches to frame the view with a sense of wonder and delight. An arch within an arch; referring to Louis Kahn and his Gothic Architecture influences (McCarter 2009), is expanded through a series of iterations creating frames for view, sky, light, and person. Obscurity is then added, forming a barrier between the view and the viewer, where various penetrations are tested. Creating more frames of view, and adding barriers through obscurity, enhances the intensity of the view when it opens up to the grand arch. The sun is the giver of light, and as its rays dance across the floor, and the curves combine with the jaded stone tiles, a cathedral-like space of great volume and presence arises.

Astonishment is impacted by the sensation of a connection to the cosmos. This appears true as the space pulls horizon, sky, sun, and earth into the fore; resulting in a strong presence. While this space is no larger in floor plate than any of the other interrogations, there is a grander sense of volume. I cannot explain how this sensation occurs, however, I hypothesise that the harmony that is starting to arise between the tangibles has an impact in this. Infinity and Obscurity give an extraordinary sense of place, bringing the sensation of something beyond our measure, whilst Light and Material generate mood and atmosphere, and Order brings the ancient power of simplicity and geometry to the physical space we inhabit. This interrogation of tangibles is beginning to command an experience beyond the ordinary, and their increasing harmony is continuing to strengthen the connection to the sacred and the cosmos.

148 151

154 159

162

[Test numbers correlate to Manuscript App] 148: testing composition of Brise Soleil to create obscurity and frame view. 151: framing views to infinity (New York added in film). 154: fragmenting view with references from east and west. 159: experimenting with doors to the Grand Arch, framing infinite horizon. 162: layering of arches to create space for view, experience, and light. [Bottom Right] Louis Kahn, arch within an arch thresholds at Indian Institute of Management (McCarter 2009).

Interrogations | Final Design + Film

The final film conveys the design of the New York tower in a way that gives the viewer a glimpse into the iterative process of composing the foyer, pool, and meeting space for fifty people, while also forming an experience. In watching the film, the tower slowly builds itself by exploring some of the stronger tests of the Manuscript. Still images of key points in the interrogations are added to each scene to convey the tower’s slow composition as we experience the tower in its setting, the three rooms, and also the presence of people - how they might experience each space. The film also further interrogates the field of astonishment as it allows for additional theoretical references to underpin the experience, including the woman standing at the edge of the infinite horizon in Looking Out, aligning with the Casper David Friedrich painting; ‘Wanderer Above the Sea of Fog’ (1818). The significance of the film is both a view into the research process, and an experience of the research outcome; a highly composed architecture within the realm of architectural astonishment. It allows the viewer to immersively observe both the process, and the designed outcome of the research undertaken in a more honest presentation; space, light, material and presence are far more difficult to fake in this medium than opposed to traditional drawing or collage methods. The experience, therefore, has a greater depth of reality, and through that, allows deeper engagement that ultimately strengthens the sensation of the design. The final design, of the tower and the film, illustrates the learnings and reflections in the realm of astonishment, and achieves an experience in architecture that is beyond the ordinary.

See the final design film on the iPad: “Astonishment in Architecture” (Appendix x).

[Left]: Casper David Friedrich (1818) “Wander Above the Sea of Fog”http://en.wikipedia.org/wiki/Wanderer_above_the_Sea_of_Fog (accessed 16.11.14). [Right]: Further interrogating astonishment by adding theoretical reference to the architecture in the film composition. Looking Out space atop the mixed use New York Tower (by the author).