Thesis Book

Atosphere Exploring the Spirituality of Place

Atmosphere Exploring the Spirituality of Place Daniel Willson ID 4755 & ID 4756 Spring 2016

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Atmosphere Exploring the Spirituality of Place By Daniel Willson

An Undergraduate Thesis Proposal submitted to the School of Interior Design in partial fulfillment of the requirements for the degree of Bachelor of Interior Design.

Faculty Advisor T.L. Ritchie, Associate Professor

Professional Mentor (insert name)

Content Expert (insert name)

Louisiana State University May, 2016 Graduating Class of May 2016

Cover image by Daniel Sierra Š 2016 Daniel Willson All Rights Reserved

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Bibiliographical Note

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Daniel Willson is a graduating senior in the School of Interior Design at Louisiana State University. He obtained a Bachelor of Fine Art degree from LSU in 2012 where he was the Vice President of the Sculpture Student Organization and participated in the first Art in Ireland study abroad program. Starting in 2010 Daniel helped start local art/music group Spontaneous Combustion, was a curator of 10+ shows for Aaron’s Beard Gallery, and recorded an EP with band Beardless William. Currently he is the President of the Interior Design Student Organization, coordinating a variety of events and workshops for the students as well as outreach programs with local firms and organizations. Daniel is recently married to his best friend and sweetheart, Leanne.

ACKNOWLEDGEMENTS

First and foremost I have to thank my beautiful wife, Leanne.

This project would not have happened without your love and support, and your expertise in landscape architecture has been invaluable. My sister Hannah has been an inspiration going through the interior design program at LSU, and I am grateful that we had the chance to spend our last semester together. My parents and family are the reason I have such a passion for art and design and have been a huge support going through this crazy school career. Lastly I have to thank New Life Church for allowing me to use their facilities for this project and giving me access to everything I needed throughout this process.

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Abstract

This research capstone examines atmosphere, as it relates to the spirituality of place and carries it from the programming phase through design development. The question “what elements in a place contribute to an atmosphere of spirituality?� was chosen as the vein of research. This question was asked in response to the problem of Protestant churches placing little value on the embodiment of spirituality, leading to utilitarian aesthetics which hinder spiritual connectivity.

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Questions about atmosphere led to quite a bit of research, which informed the thesis statement and problem to be solved. This problem was given extensive context surrounding an appropriate building, theme, and project type. Abbreviated literature reviews and precedent studies were used to inform design decisions moving forward. The site and building were thoroughly explored and then emptied of all non-essential walls and equipment. At this point the project goals were established, and a profile for the end users and activities vetted extensively. The project called for a program to be created based on code requirements and the aforementioned profiles and research. The focus for this project was chosen in response to the design criteria and the need for organic forms to inform the sanctuary and site. Research ensued concerning digital fabrication and Louis Kahn, who many consider a master of atmospheric design, and who proved incredibly influential on the rest of the project. Design criteria was developed for the focus as the schematic design phase was underway. Multiple concepts were approached and discarded or folded in during the ideation process. Louis Kahn’s Silence and Light along with water were chosen as the primary conceptual carriers in the design development phase. This concept was used as the filter for all decisions during this final phase, but especially during focus integration. The focus area digital fabrications were used as a main artery, successfully connecting the site as it formed a new cloister. The sanctuary accepted the rest of the focus area attention as a series of ribbed screens wrap around the newly stripped building.

TABLE OF CONTENTS

i Bibliographical Note ii Acknowledgements iii Abstract

PAGE 1

CHAPTER ONE

CHAPTER TWO

INTRODUCTION Design Philosophy Purpose & Goals Thesis Statement Research Question Thesis Statement Concept Map

PAGE 17

CHAPTER THREE

PROJECT SITE & BUILDING

Site & Building Selection Existing Conditions Opportunities and Constraints

RESEARCH Context Definitions Problem Location Project Type & Title Theme

Abbreviated Literature Review Purpose Literature Review Summary Precedent Studies Purpose Precedents Findings

PAGE 59

CHAPTER FOUR

PAGE 73

CHAPTER FIVE

PROJECT PROGRAM

FOCUS

Goals Functional Goals Form & Aesthetic Goals End User Profile Activity Requirements Programmatic Requirements Program Summary Program Codes & Building Occupancy

Description & Purpose Research Design Criteria Application Potential

PAGE 77

PAGE 167

CHAPTER SEVEN

CHAPTER SIX

CONCLUSION

DESIGN SOLUTION Design Criteria Pre-Schematic Design Introduction Pre-Schematic Drawings & Diagrams Schematic Design Introduction Schematic Design Solution

PAGE 5

Design Development Introduction Concept Statement Design Development Solution Specifications Focus Integration

Reference List Annotated Bibliography

CHAPTER ONE

INTRODUCTION

“I’m not strange, weird, off, nor crazy, my reality is just different from yours.”

- Lewis Carroll, Alice’s Adventures in Wonderland

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Design Philosophy “Why, sometimes I’ve believed as many as six impossible things before breakfast.”

- Lewis Carroll, Alice’s Adventures in Wonderland I believe great design is dreived from an unquenchable curiosity and the desire to see how far down the rabbit hole goes. My approach to every problem comes from a place of poetry, and the desire to chase ideas around my head until art comes out.

Purpose & Goals The undergraduate senior thesis is a self-directed yearlong investigation. It begins with identifying a problem and proposed solution in the fall semester, and concludes with testing the solution through a design project in the spring (Robinson and Parman 2010).

The thesis combines skills from the classroom and studio, which I have acquired over the past 4 years and it is structured to encourage critical thinking, develop deeper knowledge, solve challenging problems, and advance my design skills.

The purpose of this investigation into the atmosphere of place is to satisfy an ongoing curiosity about spirituality as it relates to place. Atmosphere is decidedly the word to describe the environment surrounding sacred places. The goal in studying atmosphere is to create places that draw people in and transport them, if only for a moment, to an almost mystical state of being for the purpose of growth and greater understanding.

It may seem like a strange solution considering the goal is incorporeal in nature, but 2 the physical materials and

lighting play such a huge role in the atmosphere of a place.

Think about how an old Irish castle feels as opposed to a modern office building. The natural stone and daylighting being filtered through stained glass versus acoustic ceiling tiles, cubicles, and fluorescent lighting. Understanding the specific purpose of the space, whether it be for corporate worship or private meditation, drive the questions that will answer how the atmosphere of a place will be designed.

The goals I would like to see accomplished in this thesis include: - Expanding my knowledge of atmospheric design.

- Focusing on light and how it interacts with materials to create memorable spaces.

- Learning how to develop research-based design solutions to important issues.

- To attain a greater understanding of the programming phase of a design project.

Figure 1.1 Oscillate. Source: Daniel Sierra

Thesis Statement What elements in a place contribute to an atmosphere of spirituality?

Humans are inherently spiritual beings, and as such we place significance on certain places that help us connect to something outside ourselves, whether found in nature or a bustling, manmade metropolis. The elements in these special places, such as light, natural materials and even geography, can be harnessed to create an atmosphere for the purpose of making a spiritual connection.

Color, light, acoustics, materials, purpose, intentionality, are all elements necessary to a place of spiritual impact, as is the need to think about the physical representation to be used as a manifestation of atmosphere, like mist.

Intention to create something very specific is a

Figure 1.# Concept Map.

common thread that was unexpected in all of this. Creating harmony in using old (natural) and new (synthetic) materials opens a world of opportunities in generating atmospheric conditions. Places with such impact are like a good novel or film: the audience has to willingly suspend their disbelief just long enough to allow themselves to be affected. (Ferri 2007, 12) Renovating sacred spaces is like creating art; the senses must be engaged by designing an experience to match the function of the place. Providing moments that seep into their subconscious and overwhelm them is the goal. Places of spiritual significance deserve an atmosphere that will bring people to a place of faith, hope, and connection.

Context

Problem

Definitions

There exist many places of worship, predominantly Protestant, that take on a pragmatic approach to architecture more so than a theological one. According to Aaron Renn, there is a fundamental difference between how Protestants and Catholics view the church as a place: Protestants do not appreciate sacred aesthetics, whereas Catholics actively emphasize them. There are quite a few reasons why this may be, such as a view of the church building as ephemeral instead of permanent, cultural adaptation on several different fronts, a lack of understanding transcendency, or even a heavy theological focus on the return of Christ. It is hard to say with one hundred percent certainty what the reasons are for the decline in sacred architecture within the Protestant community, or even the United States in general. However one thing is certain, and Mr. Renn says it quite well: (Renn 2014)

Spirituality itself is a term deserving of explanation, but especially as this project is concerned. Atmosphere is an ecclesiastic design project, and the church in question teaches a practical Christianity that focuses less on demoninationalism and more on biblical accuracy and understanding, including spiritual matters. For this exercise the dictionary is the starting point.

The dictionary can be a rabbit hole, but the following definition of the word spirituality leads to some level of understanding.

Spirituality: 1. the quality or fact of being spiritual.

2. incorporeal or immaterial nature.

3. predominantly spiritual character as shown in thought, life, etc.; spiritual tendency or tone.

4. the state or quality of being dedicated to God, religion, or spiritual things or values, esp as contrasted with material or temporal ones.

Spiritual: 1. of, relating to, or consisting of spirit; incorporeal.

2. of or relating to the spirit or soul, as distinguished from the physical nature: a spiritual approach to life.

3. of or relating to the spirit as the seat of the moral or religious nature.

4. of or relating to sacred things or matters; religious; devotional; sacred.

5. having a mind or emotions of a high and delicately refined quality.

Spirit: 1. the principle of conscious life; the vital principle in humans, animating the body or mediating between body and soul.

2. the incorporeal part of humans: present in spirit though absent in body.

3. the soul regarded as separating from the body at death.

4. concious, incorporeal being, as opposed to matter.

The word spirit comes from the Latin word spiritus which means breath. Spiritual is from the Latin spiritualis, which means “of breathing, of the spirit.” This idea of breath being associated with spirituality and life goes all the way back to creation, according to the English Standard Version Bible, “... God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature.”

Knowing where these words come from and what their original meanings were aid in understanding this concept of spirituality.

Spirituality is ethereal, it is the immaterial life of living beings, and it is considered by many to be more easily accessed in sacred places. Spirituality is from God for the purpose of communing with Him.

“If spirituality is not seen as embodied, but instead the physical is separate from and inferior to the spiritual, then sacred architecture becomes unimportant, and an excessive focus on it can be seen as outright worldly, much like the pursuit of riches.” (Renn 2014) There must be a new paradigm in which people view church architecture as an extension of the congregation’s worship to God, and the creation of such places in themselves an act of worship. There is a term usually associated with film called the willing suspension of disbelief, and it has to do with the viewer putting aside his or her knowledge that what they are watching is a work of fiction in order to be drawn in to the film. (Ferri 2007, 12) This idea can be applied to sacred places meant to evoke a visceral response from those that inhabit them, if only as an ephemeral reaction to visual stimuli. Being so moved as to be overwhelmed in a place or from viewing a particular thing is a powerful experience. When the place being used to create that experience is distracting, or actively not aiding in the experience, it becomes quite difficult to enter that state, whether that be some level of enlightenment, ecclesiastic ecstasy, or a oneness with nature, it fails as a sacred place.

Location New Life Church is located in Baton Rouge, Louisiana. As they stand now, these four buildings fall into the afore mentioned category of pragmatic architecture. Certainly when they were designed in the mid 1950s they were attempting a modern look with the blond brick and flat roofs, but even so they lack the qualities deserving of a place of worship. The interiors are clad in materials that suggest cost effectiveness and the trends of a bygone age. This is not to cast blame on anyone, or to suggest that the site is unfit for corporate gathering, however it is simply pointing out a lack of theology of place inherent in Protestantism for a long time.

Around 50% of the population of Baton Rouge has no religious affiliations despite the large number of churches of various denominations. (Advameg, Inc. 2015) The great commission, as outlined in the English Standard Version Bible in the Gospel of Matthew 28:16-20, Christians are to evangelize all peoples on 3

every corner of the globe. The fact that 50% of the city New Life is in claims to have no affiliation with a religion makes it prime territory for such evangelism. Whether people want to be reached is another question entirely, but that the church is situated in the southern portion of a city that is growing in that direction means that they are perfectly positioned to make the most impact on the area.

Project Type and Title Atmosphere is the renovation of New Life Church, a church more concerned with teaching the Bible than what denomination they may be affiliated with. The church has a deep affinity for the arts, and places great value in music and worship, along with the simple pursuit of God and Christ-likeness.

More information about the church specifically can be found on their web page: www.nlcbr.com The project is ecclesiastic, however because of the variety of ministries and opportunities there will also be a gallery, art studios, a café and library, commercial kitchen, design shop, and garden design. The name Atmosphere is perhaps an obvious choice, given the project is about that very thing, but it seemed also to be the most fitting. Atmosphere is elusive, but at the same time it is felt and observed by everyone regardless of location. It is built into the DNA of every place.

Theme Imagine particles floating in beams of light, overtaking a place like mist in the early morning at sunrise, the sound of bubbling water and birds singing their morning song, the smell of annual blooms greeting the cool breeze, and a sculpture lifting its abstract form in worship to an unknown God through the mist. This is not the type of scene experienced in an interior space normally, however it is one that would be associated with an atmosphere of spirituality in a sacred place.

Ethereal as it sounds, creating this atmosphere is like grasping

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at the wind. It is difficult to say certainly that a moment of impact can be provided to someone because the circumstances interwoven are so relative. But Atmosphere is an attempt at creating a place that brings people to that moment of clarity, that ecstasy or enlightenment.

Weaving the interior and exterior spaces together with light, water and an abundance of planted material, the ephemeral, spiritual connection is sustained during the everyday use of this complex. By increasing the amount of light and enhancing the method of its transmission through digital fabrication, the materials used in renovating the church will come to life.

“Although interior design is determined to make life practicable at the scale of the body, it is the additive and subtractive phenomena of color, sound, physical sensation, and light that are carriers of interior’s atmospheric character and authenticity.” (Cantwell 2013, 558)

Art is as much a spiritual act as it is a creative one, and both the act of creation and the act of contemplating such creations can be forms of drawing closer to a spiritual place. Placing art in both the interior and exterior spaces is a deliberate act of support for the arts as a whole and a specific use of art in creating a unique atmosphere.

Figure #.# Graphic Expression of thesis statement.

Great Clifton Methodist Church, Interior. (2007). http://www.geograph.org.uk/photo/563500

Expansion, New York City. (2015). http://paigebradley.com/sculpture/metamorphosis/expansion/

CHAPTER TWO

RESEARCH

“The Value of myth is that it takes all the things you know and restores to them the rich significance which has been hidden by the veil of familiarity.�

- C. S. Lewis, Review of Lord of the Rings

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Abbreviated Literature Review Purpose The purpose of an abbreviated literature review is to become aware of the existing literature on a topic, and select 3 sources to read, summarize and identify significant contributions to the topic in question.

Literature Review Review One Cantwell, Christine. (2013). Phenomenology and the Senses in Interiors. In Graeme Brooker & Lois Weinthal (Eds.), The Handbook of Interior Architecture and Design (pp. 544-558). New York, NY: Bloomsbury Academic.

Phenomenology and the Senses in Interiors (Christine Cantwell, date, 2013) starts addressing the issue of atmosphere, conjuring images of vapor, or mist, as the physical characteristic of space. In this first section the article speaks to how colors, acoustics and light are some of the most powerful elements in a space because of the emotional weight they carry. Gaston Bachelard is introduced as describing interiors as both interior spaces but also a microcosm of the psyche of the inhabitant(s). Keeping this in mind, the author describes how important it is to be able to communicate ideas visually, using the study sketch model (physical or digital) as a way of exploring these important elements in space and having the ability to imagine what it would be like to be in that space.

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The next section of text talks about Josef Albers and his involvement in the Bauhaus and how creation is a primary source of creativity for artists and designers alike. It then goes on to describe his work with color theory and how it was likely his most influential course.

Understanding color is essential to creating spaces with emotion and cognitive impact, and is more than just painting walls, it has to do with giving a space meaning and communicates on a deep level with the end users.

In this section of the article Isamu Noguchi is discussed, and his involvement with light. The majority of text describes the Noguchi Garden Museum as an example of how the sculptor treated all of his work. “Form and space are on three-dimensional reality.” This is at the core of his philosophy; how both of these things interact with light and sound, the balance of interior/exterior spaces, and how the human body interacts in the midst of these things are critical to interior design practice.

This last area of the article discusses a marriage between phenomenology and sensual perception using materials, architecture, pace and purpose equally. The example used in this section is Peter Zumthor’s Therme Vals, a primarily underground stone building attached to the side of a mountain; it is a spa and bath house. This place perfectly sums up atmospheric design.

The most impactful moment in this article is a direct quote from the text, “Although interior design is determined to make life practicable at the scale of the body, it is the additive and subtractive phenomena of color, sound, physical sensation, and light that are carriers of interior’s atmospheric character and authenticity.”

Review Two Preston, Julieanna. (2008). In the Mi(d)st Of. Architectural Design, 78(3), pp. 6-11.

The purpose of this issue is to ferret out where, and how atmosphere resides. Atmosphere is an elusive topic because it is all at once everywhere and nowhere as an intangible experience. The metaphorical embodiment of atmosphere, for this issue, is mist. According to Peter Zumthor atmosphere consists of materiality and the senses of the inhabitant. Mark Wigley points out that atmosphere is dependent on the built environment and the context we give it.

The remaining text begins to outline different types of atmospheres found in the journal.

Everything from the electric subtlety of Philippe Starck’s Le Lan Restaurant to the calming effects of Foster + Partner’s Kamakura House with its material craft calling atmosphere out of thin air.

Other studies and precedents are brought to

bear as well, from Malte Wagenfield’s study of air as a physical entity to Charles Rice’s locating a new type of atmosphere altogether, the urban interior. This is another kind of atmosphere that is less immediate, it is one reliant on a more specific site or place.

The statement that stuck the most was said by Foster + Partner’s design team leader David Nelson, talking about Kamakura House, “You have to absorb it and let it slip into your subconscious.” This is difficult to design for because it relies completely on the person interacting with the place. However, this does not mean it is impossible. Give people a place worthy of losing themselves in and they will surprise you.

Review Three Young, Lisa Jaye. (1996). Spiritual Minimalism. Performing Arts Journal, 53(2), pp. 44-52.

Spiritual Minimalism is a commentary on the 1995 Carnegie International Exhibition in Pittsburgh, Pennsylvania. The author states that for this particular exhibition it was “an überrealistic, sobering assembly of materials and concepts addressing, in my view, materiality itself.” The show presents the industrial in a romantic way, emphasizing humanity in the machine, working the machine. During this time artists were, and still are, using more and more unconventional materials to create, and in the case of much of the art represented at the exhibition, “The material and the idea were essentially fused.”

An idea for many of these artists was that the process was the end result; the cast, the antibody, the negative space was the final product.

Using the invisible to generate an image, using the negative space of the immediate environment to create form was the goal.

This kind of thinking is at the core of spiritual minimalism.

This article talks about the “seemingly forsaken cathedrals” of industry, and about the artifacts they produce as being used and forgotten,

replaced by something newer and better. But after a while it becomes nostalgic and “retro”.

This is a comment on the lack of importance placed on objects in this consumer age of self-gratification and immediacy. On this idea Duchamp’s Fountain is mentioned as the catalyst for the shift into the current stage of art making and the issues of mass produced objects and ownership and the act of creating.

An interesting note is made of the digital age, and how there is actually a nostalgia for “mass”. The author points out that there was an “accelerating trend away from materiality toward the hidden, the electronic, the dissolution of body.”

There exists a kind of minimalism that does not address mass specifically. This kind of minimalism exists in order to capture a “spiritual moment.” It speaks volumes about the space between the old and new and is a perspective that allows for the use of both in harmony.

Summary There are moments in time and space that connect each person to God, or nature, or whatever sort of existential reality they believe in. Perhaps there is something significant about the place before human interaction, but just maybe it is the significance people give them that makes them special. The most likely answer is a combination of both, and therein lies the difficulty.

How can a place have an atmosphere of spirituality if half of the equation lies in the hands of billions of different individuals? One possible answer is that for some that atmosphere will be spiritual, and for others it will be something else entirely.

For those that choose to lend significance to places and call them spiritual, there are elements both physical and metaphysical working in harmony to aid in that experience.

An atmosphere of spirituality requires engagement from the inhabitant, but it also requires elements to be in place that respond to that engagement. Color, sound, physical sensation, and light are the primary elements in atmosphere, and if used in the right way can have a powerful, positive impact on someones life.

Atmosphere is like an all encompassing entity, and it exists everywhere all the time, regardless of whether it is 7 noticed.

Precedent Studies Purpose The purpose of conducting a precedent study in interior design is to examine and analyze the attributes of an existing project that serve as an example for the concept, programming, and/or design of a proposed design project.

Precedent Study One Studio Tam associati. 2007. “Prayer & Meditation Pavilion.� Accessed October 19, 2015. http://www.archdaily.com/18901/prayer-meditation-pavillion-studio-tam-associati.

Introduction Name: Prayer & Meditation Pavilion Architects: Studio Tam associati Location: Embassy of the State of Qatar, Al-Doha St, Khartoum, Sudan Date: 2007 Client: EMERGENCY ngo Project Type: Chapel Total Area: 700 SQ FT Photography: Marcello Bonfanti

Description The Prayer and Meditation Pavilion is located close to a surgery center in Khartoum. There is no symbolism representated in this space, allowing any faith access without reservation to the pavilion. This is achieved by maintaining a complete minimalism in the design, with nothing but blank white walls and a small sapling in each room. A pool of water surrounds the pavilion, which helps cool the interior of this place but also represents an oasis in the sub-Saharan zone it is located in. The area is 70 percent Muslim,

and so the water spray from the pool offers an area to wash for them in an inconspicuous way.

The pavilion is made up of two identical cubes, offset from one another to create a private entry for each one in the center. To enter the cubes visitors must walk across the water on a walkway. It is possible to change rooms via an opening in the wall. The bamboo roof provides a speckled light in the spaces, as well as a single slit located on one wall of each room. (Studio Tam associati 2007)

Quantitative Analysis Table 2.1 Prayer & Meditation Pavilion Quantitative Program Data.

Program Spaces

Area

Meditation Room 01

350 Square Feet

Meditation Room 02

350 Square Feet

Users Centered on people at the surgery center: patients, visitors, employees.

Centered on people at the surgery center: patients, visitors, employees.

Source: Data from Studio Tam associati 2007.

Design Features

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Design Features include the sound of water, a sapling tree in each room, a bamboo canopy as the roof structure that brings in lots of natural light and creates a visual texture on the walls and ground, and a lack of windows.

Adjacencies There are two rooms and they are each immediately adjacent to one another.

Special Requirements 1. Religion neutral space

Qualitative Analysis 1. Daylighting through the bamboo canopy to create a slowly moving visual texture with a glowing appeal.

2. Nature being part of the interior space through a lack of finished flooring and the saplings connect the user to the earth in a significant way.

Figure 2.1 Prayer & Meditation Pavilion Plan.

Source: Studio Tam associati 2007.

Figure 2.2 Prayer & Meditation Pavilion Section A.

Source: Studio Tam associati 2007.

Figure 2.3 Prayer & Meditation Pavilion Section B.

Source: Studio Tam associati 2007.

Figure 2.4 Prayer & Meditation Pavilion Elevation.

Source: Studio Tam associati 2007.

3. The quiet, still sound of water from outside and the wind blowing through the bamboo roof create a serene ambiance.

4. Private/semi-private space creates a sense of calm and aids in the ability to focus.

Summary of Findings This is an incredibly simple space, but it is powerful nonetheless. The filtered light and sound of water help to create an atmosphere conducive to concentration, and the simple little sapling buried in the ground is a reminder of the closeness of nature and the earth all around.

Each of these will play a role in Atmosphere, the intricate play of filtered light, connecting the people to nature with planted elements, and using water for its cooling, acoustic, and visual characteristics.

Figure 2.5 Prayer & Meditation Pavilion Site Plan.

Source: Studio Tam associati 2007.

1. Surgery Centre 2. Technical Building 3. Relatives House 4. Solar Panels 5. Prayer and Meditation Pavilion. 9

Figure 2.6 Prayer & Meditation Pavilion Photo.

Source: Marcello Bonfanti.

Figure 2.7 Prayer & Meditation Pavilion Photo.

Figure 2.8 Prayer & Meditation Pavilion Photo.

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Source: Marcello Bonfanti.

Source: Marcello Bonfanti.

Precedent Study Two Reiach and Hall. 2007. “The Pier Arts Centre.” Accessed October 20, 2015. http://www.archdaily.com/118010/the-pier-arts-centre-reiach-and-hall-architects.

Quantitative Analysis

Introduction

Table 2.2 Pier Arts Centre Quantitative Program Data.

Name: The Pier Arts Centre Architects: Reiach and Hall Architects Location: Stromness, Orkney Islands, UK Date: 2007 Client: The Pier Arts Centre Project Type: Leisure/Exhibition Total Area: 11,011.5 SQ FT Photographs: Ioana Marinescu

Description The Pier Arts Centre (PAC) is situated along the northern shore of the Hamnayoe. The Center is home to a permanent collection of art, and houses galleries for it and for temporary work as well. This project is the renovation of old stone pier buildings and the new construction of a gallery building. The facilities take on a U shape with one running along the road and two going back toward the ocean. The original pier building houses the collection, which is fitting, while the other two are home to the galleries and other spaces like an artist’s studio and administration areas.

The new mimics traditional waterfront warehouses and is clad in black for both cultural reasons and for its melancholic quality. The facade consists of

black zinc ribs and translucent glass infills, undermining any level of familiarity. The idea is that the facade shifts as the viewer moves. There is a grand gesture in the visual play of the new building, appearing solid from front on but practically disappearing as the view moves leaving the original pier the most prominent feature. The street building is again different in that it is white, a stark contrast to the surrounding town of stone.

This is another familiarity thrown off a little by the feeling of something being just off enough, almost spiritual. Inside all is muted, bringing the art to the forefront, but also allowing the landscape beyond some level of prominence. (Reiach and Hall 2007)

Program Spaces

Area

Users

Entry/Meeting/ Shop

450 SF

Employees, Visitors, Administrators, Artists, Janitorial Staff

Administration

100 SF

Employees, Administrators, Janitorial Staff

Long Gallery

200 SF

Employees, Visitors, Administrators, Janitorial Staff

Workshop

110 SF

Employees, Administrators, Artists, Janitorial Staff

Ground Floor

Gallery – Double 250 SF Height

Employees, Administrators, Visitors, Janitorial Staff

Gallery

200 SF

Employees, Administrators, Visitors, Janitorial Staff

Pond Link

50 SF

Connection Space, everyone uses it.

Collection

500 SF

Employees, Administrators, Visitors, Janitorial Staff

Gallery

260 SF

Employees, Administrators, Visitors, Janitorial Staff

Meeting Room

130 SF

Employees, Administrators, Artists, Janitorial Staff

Admin/Education/Design Workshop

160 SF

Employees, Visitors, Administrators, Janitorial Staff

Long Gallery

270 SF

Employees, Visitors, Administrators, Janitorial Staff

Switch Gear Room

110 SF

Employees, Administrators, Artists, Janitorial Staff

First Floor

Gallery – Double 120 SF Height

Employees, Administrators, Visitors, Janitorial Staff

Pond Link

50 SF

Connection Space, everyone uses it.

Collection

500 SF

Employees, Administrators, Visitors, Janitorial Staff

Collection Store

130 SF

Employees, Visitors, Administrators, Janitorial Staff

Handling Gallery

100 SF

Employees, Select Visitors, Administrators, Janitorial Staff

Second Floor

Artist Accommo100 SF dation

Artists, Janitorial Staff

Director

130 SF

Administrators, Janitorial Staff, Employees

Storage

20 SF

Employees, Janitorial Staff

Library/Study/ Meeting

200 SF

Employees, Visitors, Administrators, Artists, Janitorial Staff

Source: Data from Reiach and Hall 2007.

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Design Features Design Features include lots of natural light, double height gallery spaces, narrow galleries, located on water, and the ribbed walls located along the sides of the building.

Special Requirements 1. The art must be the focus of the gallery spaces.

2. The buildings must blend in and compliment the existing town.

Figure 2.10 Pier Arts Centre Ground Floor and Site

Source: Data from Reiach and Hall 2007.

Figure 2.11 Pier Arts Centre First Floor

Source: Data from Reiach and Hall 2007.

Figure 2.12 Pier Arts Centre Second Floor.

Source: Data from Reiach and Hall 2007.

Adjacencies

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Figure 2.9 Pier Arts Centre Adjacency Matrix.

Source: Data from Reiach and Hall 2007.

Figure 2.13 Pier Arts Centre Adjacency Elevation.

Source: Data from Reiach and Hall 2007.

Figure 2.14 Pier Arts Centre Building Model.

Source: Data from Reiach and Hall 2007.

Qualitative Analysis 1. The Pier Arts Centre successfully integrates natural lighting with the display of artwork.

2. The Dynamic lighting through the use of ribbed walls creates an enticing atmosphere from without during day lit hours, and from within during the night by projecting light as though a beacon to draw people in.

3. The narrow spaces found here provide programmatic solutions to the issue of creating dynamic, functional environments in such a long building.

4. Water is a dominant force for generating a sensory experience, and in this case it includes a powerful scent, acoustic and visual in the ocean.

Figure 2.16 Pier Arts Centre Photo.

Source: Ioana Marinescu

Figure 2.15 Pier Arts Centre Photo.

Source: Ioana Marinescu

5. Keeping the spaces simple allows the art, and people, to make the biggest impact on the gallery spaces.

Summary of Findings The focus of The Pier Art Centre is the art. Maintaining clean lines, fantastic light quality, and sightlines to the ocean make this place spectacular. Stone is a primary building block for this facility, from the piers it is built on to the walls that house the art.

There is something about large stone block construction that seems old, and because of that it appears to have a story to tell. The history of a place, even if it is just the seemingly old, is a factor that plays a large role in the atmosphere developed there over many, or few, years.

The PAC also pays homage to the surrounding town in a special way, by complimenting the stone with transparency and contrast.

Figure 2.18 Pier Arts Centre Photo.

Source: Ioana Marinescu

Figure 2.17 Pier Arts Centre Photo.

Source: Ioana Marinescu Figure 2.19 Pier Arts Centre Photo.

Source: Ioana Marinescu

Figure 2.20 Pier Arts Centre Photo.

Source: Ioana Marinescu

Figure 2.21 Pier Arts Centre Photo.

Source: Ioana Marinescu

The idea of water as a powerful focal point is again showing up, and will certainly find its way into Atmosphere as a design element. Using white as a contrasting element to provide moments of clarity and to even represent transcendence are fascinating, and would be used well in a religious setting.

13

Precedent Study Two Takeshi Hosaka. 2014. “Shonan Christ Church.” Accessed October 20, 2015. http://www.archdaily.com/560836/shonan-christ-church-takeshi-hosaka.

Quantitative Analysis

Introduction

Table 2.3 Shonan Christ Church Quantitative Program Data.

Name: Shonan Christ Church Architects: Takeshi Hosaka Location: Kanagawa, Japan Date: 2014 Client: Shonan Christ Church Project Type: Ecclesiastic Total Area: 1,883.7 SQ FT Photographs: Koji Fujii / Nacasa&Partners Inc. Acoustics: Ayako Hakozaki, Nagata Acoustics

Program

Area

Users

Main Seating Area

745 SF

Members, Guests, Pastor

Stage and Baptism Pool

120 SF

Members, Guests, Pastor, Musicians

Prep Room Left Side

30 SF

Members, Guests

Prep Room Right Side

30 SF

Members, Guests

Lobby

160 SF

Members, Guests, Pastor

Baby Room

30 SF

Babies, Parents

Men’s Restroom

35 SF

Members, Guests

Women’s Restroom

45 SF

Members, Guests

Office

27 SF

Admin, Pastor, Members, Guests

Storage

23 SF

Admin

General Purpose Room 01

200 SF

Admin, Pastor, Members, Guests

General Purpose Room 02

150 SF

Admin, Pastor, Members, Guests

Pastor Room

100 SF

Pastor, Admin, Members, Guests

Kitchen

110 SF

Members

Chapel

Lobby

Description Shonan Christ Church is a protestant church located in a residential area about 10 minutes from Shonan beach. The six roofs were created based on the six days of creation, and on the seventh day worship manifests. The skylights are manipulated according to sun cycles so that during service there would be a soft light, and at the end of service a beam of light would materialize as if signaling the end of the meeting. The direct sunlight changes from one line early in the afternoon to multiple at mid afternoon.

There was a great deal of acoustic research done for this church to make sure that Bible readings, preaching, and music would be balanced. They made use of carved concrete and acoustic boards to regulate sound. The dark gray concrete and acoustic boards in conjunction with the curved ceilings allow beams of light to be visible during non low light situations. During a full moon beams of light become visible during dark nights as well. Light wood materials are used inside to contrast the concrete and also help maintain a light, airy feel to the space. (Takeshi Hosaka 2014)

Back of Building

Source: Data from Takeshi Hosaka 2014.

Design Features Multi-purpose rooms that can potentially combine and even open into the main chapel area off ample space and flexibility for a variety of activities and ministries. The six curved ceilings let it filtered daylight, similar to the Kimbell Art Museum by Louis Kahn. The East/West orientation is pivotal in the light properly entering the space and playing on the walls. All concrete construction creates interesting opportunities for textures. Minimal material diversity is an interesting choice in that it allows the light to be the focal point of the space.

Adjacencies

Special Requirements 1. Because of the residential area the building height had to be low.

2. The acoustics had to be engineered to work with the concrete construction method and roof system.

3. The lighting had to be soft for services.

14

Figure 2.22 Shonan Christ Church Adjacency Matrix.

Source: Data from Takeshi Hosaka 2014.

Figure 2.22 Shonan Christ Church Plan and Site.

Source: Data from Takeshi Hosaka 2014.

Figure 2.22 Shonan Christ Church Section.

Source: Data from Takeshi Hosaka 2014.

Qualitative Analysis

Summary of Findings

1. Natural Lighting is filtered through the specially designed ceiling system to be in harmony with the cycles of the sun during certain times of the religious ceremony.

The lighting found in Shonan Christ Church is what really creates such a rich atmosphere in this place. The design of the ceiling to work in concert with the rhythms of the sun and to coincide with the weekly services is stunning. The texture and contrast of materials both bring a level of complexity to the light that reaches the space that you are left in a place of contemplation and searching.

2. Aside from the concrete used for the walls and ceiling, everything in this space is wooden, built simply and with specific purpose. The light color of the wood juxtaposed with the darker concrete creates a significant contrast that balances the spaces and makes up for the lack of larger windows and the textured walls.

The filtering of light and simplicity of materials are key takeaways from this project. The way the lighter wood interacts with concrete maintains the airy feel of the space and is a formula that can be emulated.

15

Findings Atmosphere is a difficult thing to manufacture. Each of these three precedents creates a different kind of atmosphere, but all have elements that can be used. The Prayer & Meditation pavilion uses a connection to nature and filtered light, with plain walls and the sound of water to create a contemplative atmosphere conducive to seeking out a higher power. The Pier Arts Centre is set in a stone town and seeks to be part of it, but different in such a way that it draws curious glances. Ribbed walls and white facades set it apart from the stone but in a subtle way. The ocean is a powerful force acoustically and visually, and it is another reminder that water plays a large role in the atmosphere of spirituality. Shonan Christ Church is another place close to water, but more removed from the others. This place looks more at light conditions and how powerful it can be when focused. Using curved surfaces to move light is a great way to maintain a bright space, especially from the ceiling.

16

The use of white as a representation of etherial substance is interesting, especially if used with organic forms to further the otherworldly effect. Fountains and pools are a great way to cool hot areas, and the ambient sound they create can mask a lot of unwanted noise. Controlling light quality is key, whether through the use of screens or carefully placed openings. The light in a place can make or break the atmosphere.

CHAPTER THREE

PROJECT SITE & BUILDING

“I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living, it’s a way of looking at life through the wrong end of a telescope. Which is what I do, and that enables you to laugh at life’s realities.”

- Dr. Seuss, Cat-In-The-Hat

17

Site & Building Selection New Life Church is located at 365 Staring Lane in Baton Rouge, Louisiana with a parsonage located next door to the sanctuary. The site is located on the corner of Staring Lane and Menlo Drive in the Laurel Lea subdivision. The surrounding area is primarily residential, with a number of parks and businesses located along Staring Lane and Highland Road. The church is within a 10 minute drive of major pedestrian hot spots like the Mall of Louisiana, Perkins Rowe, the Kenilworth Skate Park, and Louisiana State University.

The neighborhood lies approximately six miles southeast of downtown Baton Rouge, two blocks north of the Staring Lane and Highland Road intersection. The area is very convenient to the major traffic arteries. The neighborhood is bounded generally by Highland Road on the south, Perkins Road on the north, Bluebonnet on the east, and Lee Drive on the west.

Area zoning consists of “A-1” (single family residential), “B-1” (transition) and “C-1” and “C-2” (commercial); please refer to zoning map (Figure 4.5). (Snyder 1985, 10)) The site has been developed on a number of occasions since the late 1950’s, and continues to see improvements as recently as two years ago which included enclosing the covered walk adjacent to the sanctuary and office. Not only has the site seen improvement, but in 2014 Staring Lane was converted from a two lane road into a four lane boulevard, as well as having an extension connecting Highland Road to Burbank Drive in 2013, causing a higher level of vehicular traffic to pass in front of the church. Upon completing the road construction a bus stop was also placed immediately in front of the two story building. There are four buildings related directly to the church as well as a parsonage located adjacent to the sanctuary building. Lot 57, located on the corner of Kimbro Drive and Menlo Drive, is currently empty, save a lone gazebo in the middle of the lot and a community garden directly on the corner by the roads. There is a bridge connecting lots 57 and 75 that houses an arbor with pavement running between the two long buildings.

Baton Rouge was founded by the French in 1719 on the first high land found during the exploration of the Mississippi River.

A tall red cypress, stripped of its bark, once stood on the present site of the old Louisiana State Capitol and marked the boundary between the hunting grounds of the Houma and Bayou Goula Indians. The early French explorers gave the tree a name “Le Baton Rouge” (The Red Stick). The town of Baton Rouge was incorporated in 1817 and seven (7) governments have since held sway over Baton Rouge, including France, England, Spain, the West Florida Republic, the Confederate States, Louisiana, and the United States.

At the turn of the century, the town began to develop industrially because of its strategic location on the Mississippi River, some 230 miles north of the Gulf of Mexico. Today, Baton Rouge is the farthest inland deep water port on the Mississippi River to which ocean-going ships can travel. A forty five (45) foot channel is maintained from the Gulf of Mexico to Baton Rouge with connections to the Intracoastal Canal. (Snyder 1985, 1) Baton Rouge is currently the second largest port in Louisiana and ranked 8th in the 2013 Tonnage of Top 50 U.S. Water Ports, Ranked by Total Tons. (U.S. Army Corps of Engineers 2015)

18 Figure 3.1 Original Drawing of New Life Church by (Locate Name on Drawing)

Demographic Data Year 2000 To 2010 Change

Table 3.1 Baton Rouge population data.

Population in 2013

229,426 (100% urban, 0% rural)

Population change since 2000

+0.7%

Males

107,871 (47%)

Females

121,555 (53%)

Median Resident Age

31.8 years

Louisiana Median Age

36.0 years

Evan. Protestant Catholic Black Protestant Mainline Protestant Other Orthodox None

Estimated Median Household Income in 2013 Baton Rouge: Louisiana:

$38,321 (it was $30, 368 in 2000) $44,164

Figure 3.3 Year 2000 To 2010 Change. Source: Advameg, Inc. 2015.

Source: Advameg, Inc. 2015 White alone

Table 3.2 Religion Statistics for Baton Rouge city.

Religion

Adherents

Congregations

Evangelical Protestant

120,949

258

Black Protestant

35,272

64

Mainline Protestant

32,765

50

Other

9,604

36

Catholic

97,904

24

Orthodox

457

4

None

143,220

-

Source: Advameg, Inc. 2015

Asian alone

Other 2 or more races Hispanic

Black alone Figure 3.4 Year 2000 To 2010 Change. Source: Advameg, Inc. 2015.

Table 3.3 Year 2000 To 2010 Change.

Religions adherents in 2010

Evangelical Protestant: 27.5% None: 32.5%

Black alone

54.9% - 126,407

White alone

36.3% - 83,705

Asian alone

3.8% - 8,767

Hispanic

3.1% - 7,129

Two or more races

1.6% - 3,715

American Indian alone

0.3% - 589

Other race alone

0.2% - 346

Source: Advameg, Inc. 2015

Orthodox: 0.1% Other: 2.2% Mainline Protestant: 7.4%

Catholic: 22.2%

Black Protestant: 8.0% Figure 3.2 Religions adherents in 2010. Source: Advameg, Inc. 2015.

Site Selection New Life Church was selected for this project because it, like so many churches and other religious places, does not aid its inhabitants in suspending disbelief, or in connecting spiritually with a higher power or enlightened state. The amount of space is ideal for the programming that has been explored, and the opportunity to provide this research to a real place for potential improvements is a driving force. When people walk into this place they will feel like they are walking into a whole new world filled with light. Each area is distinct in its function, but a cohesiveness in material palette is needed to tie them all together between both rooms and buildings. Lighting each space for both tasks and natural light, while maintaining acoustic privacy is a primary concern. Churches in years past were civic centers, gathering places for the communities they served. New Life Church can be a destination for the community it serves, for the ministries it houses to bring healing, for the beautiful meditation spaces it offers both indoors and out, for the cafĂŠ that serves as a gathering place, and simply because it is a church that exists to aid in the spiritual growth of the people 19 it serves.

Existing Conditions Location and Address New Life Church is located at 365 Staring Ln. Baton Rouge, LA 70810 and is situated between Staring Lane, Menlo Drive and Kimbro Drive in the Laurel Lea subdivision.

Surrounding subdivisions are Magnolia Heights, Magnolia Woods, Staring Acres, Lynwood Village, Mayfair Park, South Highlands, The Myrtles, Highland Creek, Bayou Fountain, Highland Road Estates and Kenilworth.

(Advameg, Inc. 2015) The area is zoned majority A1 Residential, however there are a number of businesses along Staring Lane and Highland Road, at the corner of which there are restaurants and retail alike, as well as The Stockade (a bed & breakfast). The Church facilities sit on lots 73, 74, 75,

and 57 (see Figure 4.2), with the parsonage being situated on lot 72.

The lots can be broken down as follows: Lot 57 140’ on Kimbro Drive x 220’ on Menlo Drive x 220’ x 140’ across the rear. Contains 20,800 square feet of area.

Lot 72 100’ on Staring Lane x 217.18’ x 217.35’ x 100’ across the rear. Contains 21,726 square feet.

Lot 73 100’ on Staring Lane x 217.18’ x 217’ x 100’ across the rear. Contains 21,709 square feet.

Lot 74 100’ on Staring Lane x 217’ x 216.83’ x 100’ across the

rear. Contains 21,691 square feet.

Lot 75 140’ on Staring Lane x 200’ x 216.65’ on Menlo Drive x 140’ across the rear. Contains 30,344 square feet.

Total area is 126,270 square feet or 2.90 acres.

The sites are flat and level, graded and grassed. Staring Lane is a four lane concrete surfaced boulevard, while Menlo Drive and Kimbro Drive are two lane asphalt surfaced streets. Located within the city limits of Baton Rouge all utilities and municipal services serve the property. (Snyder 1985, 11)

Figure 3.5 Site Locater Map. Source: arcgis Online 2015.

Figure 3.7 Plot Map. Source: Snyder 1985.

20

Figure 3.6 Vicinity Map. Source: Google Earth Pro. Edited in Photoshop.

Outside of the little bit of mixed use commercial to the south of New Life, the church across Staring Ln., and Wildwood Elementary School, the entire surrounding area is residential. The vast majority of travel in Baton Rouge is automobile-centric, because of this there is available parking on site. There are busses than run through the city for those that do not drive and there are stops close to the site.

Exterior Building Conditions The original two buildings (02, 03) were built in the 1950s with a midcentury modern style in blonde brick with a simple hip roof, and the sanctuary was built a few years later in the same style but with a flat roof. The two story building (04) was built in the 1960s and was designed to match the other three, flat roofed as well, with some added cross shaped details on the back of the building facing Menlo Drive. All of these buildings have been painted or stuccoed and then painted. The Parsonage matches the rest of the neighborhood built in the ‘40s and ‘50s: one story with brick walls and a hip roof. The neighborhood is quite large and consists of primarily residential zoning with some businesses sprinkled in.

Highland Road and Staring Lane offer the most businesses with restaurants, a bed and breakfast, small retail and a gas station and convenience store all located at the intersection of the two roads. There is a bus stop located immediately next to the main drive for the church connecting to Staring Lane that services the greater Baton Rouge area. There are three other churches north of New Life on Staring Lane: Korean Central Church, South Baton Rouge Presbyterian Church,

and Faith Chapel Church of God. St. Jude Catholic Church is also around the corner to the south at the corner of Highland Road and Gardere Lane.

New Life Church is ideally positioned in the middle of a large residential area in South Baton Rouge, and with the expansion of Staring Lane into a boulevard it is poised for growth and greater community involvement.

Exterior Site Photo Key

Building Square Footage Table 3.4 Building Square Footage.

Buildings

Square Feet

Sanctuary

6,211 SF

Admin

3,400 SF

Ministry

3,400 SF

Public

6,263 SF

Total

19,274 SF 27

28 29

26

30 31 32

10

8

Public Building Second Floor

16

15

14 13 9 7

12

6

17 18

24 11

23 25

19

37

20 35

21

22

33 36

34

1

Figure 3.8 Exterior Site Photo Key.

2

3

4

5

21

Exterior Site Photos

1

3

5

7 22

2

4

6

8

Exterior Site Photos Continued

9

11

13

15

10

12

14

16

23

More Exterior Site Photos

17 19

21

18 20

24

25

26

27

22

24

23

Exterior Site Photos Continued

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29

30

32

33

34 35

36

31 37

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Me nlo

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Site Analysis

N

The area surrounding the site is almost entirely residential save the church across from Staring Lane. The back side of the lots contains a tree barrier on the other side of a drainage ditch that runs the length of all lots from Menlo Drive. There are plenty of trees on the site, as well as existing planting around the buildings and in the parking lot median. There is a city bus stop directly adjacent to the main site entrance off of Staring Lane. The back lot holds a gazebo and community garden on the corner of Menlo Drive and Kimbro Drive. There are regularly spaced power line poles placed around the parameter of the property.

The city purchased property from the church to expand Staring Lane into a four lane boulevard in 2014, therefore the property lines were moved closer to the buildings to accommodate the wider road and newly installed sidewalk.

Site Diagram Key

Site Entry Point

Figure 3.9 Site Diagram Close Up with Entry Points, Dumpster, and Bus Stop.

Local Bus Stop

Dumpster Location

26

Local Church

There are two access points to the main parking lot on site, one from Staring Lane and the other from Menlo Drive. There is another access point to the back lot from Menlo Drive. The parsonage has one access point from Staring Lane. The sidewalk on Staring Lane runs the length of the road from Perkins Road in the north to Burbank in the south. The sidewalk south leads to a mixed use commercial cluster with restaurants and retail.

The orange indicate paved walking area on site. The majority of this is covered by either the balcony of building 03, an overhand connected to the sanctuary and side room adjacent, or the long stretch of covering that runs the length of buildings 02 and 03 as well as between 02 and the childcare area and buildings 02 and 03. The line running between and behind the two long buildings leads to a small arbor that sits on a bridge running over the drainage ditch. This provides an access point for pedestrians to access the back lot without having to walk on grass. The gazebo sits midway on the back lot next to a tree.

The sanctuary building has its main access point in a pair of double doors at the northeast corner, entering into a foyer space. Access to the side room, just off the sanctuary can be gained on that same side through a pair of French doors, as well as on the other side of the small structure under the covered walk by building 02. There are three sets of sliding glass doors in the childcare area that lead to the back of the building where there is a play area for the children. There is also a door to an exterior storage space facing the parking lot just off the side room space.

Building 02 has an entrance to the office on the south end of the long building, an entrance to the library in the middle of the east wall, a conference room door north of the library, and a set of double doors on the north wall that are currently walled over.

Building 03 has an entrance into a corridor on the south wall, another door to the same corridor on the east wall and a set of double doors on the north wall that lead into what is currently a storage room.

Building 04 has three entrances on the west wall of the first floor, one of which enters the kitchen while the other two access the multipurpose room. There are two doors on the south wall between the stairs that also access the multi-purpose room. The door in the far southeast corner access a storage room. There are three doors on the north wall of the second floor that mimic the placement of their first floor counterparts, as do the two on the south wall, all of which open into two large rooms. There is a third door at the top of the east stair as well that accesses a small room off the main space.

Dri

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Ki m

bro

Sta ring

Dri

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Sta ring

Kim

bro

Dri

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Lan

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N

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Air conditioning units sit behind the childcare area and the long buildings facing Kimbro Drive, and the units for building 04 sit facing Menlo Drive.

Kin

Figure 3.10 Site Diagram with Entry Points.

e Lan Sta ring

Ki m

bro

Dri

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gcr est Par kw ay

27

Public, Semi-Private, Private, and Utility.

PUBLIC SEMI-PRIVATE PRIVATE UTILITY/STORAGE

Figure 3.11 Usage Diagram: Public, Semi-Private, Private, Utility/Storage Spaces.

Interior Circulation

28

Figure 3.12 Interior Circulation Diagram.

Exterior Circulation & Building Access Points

Figure 3.13 Site Exterior Circulation Diagram with Building Access Points.

Direct Sunlight VS Artificial Light

Figure 3.14 Lighting Diagram Showing Direct Sunlight and Artificial Light.

29

Figure 3.15 Site Diagram Showing Sun Path.

30

Surrounding Neighborhood Photos

31

More Exterior Site Photos

32

Interior Building Conditions The structural system on the two long buildings (02, 03) consists of brick walls with steel ceiling joists with a shingled hip roof.

The sanctuary building has brick walls with steel columns added to support a new pitched roof over the main sanctuary, added in the ‘80s, and maintains a flat roof over the rest of the building, except for the now enclosed covered walkway,

5' - 0"

which now has a hip roof. Building 04 has CMU walls with steel columns and a metal decking with concrete for the second level floor that extends out to the balcony; access to the second level is gained with two monolithic concrete stairs with metal railing that runs around the balcony. The parsonage is brick with a wood joist hip roof and covered carport.

10' - 0"

20' - 0"

---

---

-

5' - 0"

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20' - 0"

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Figure 3.16 Existing Site Plan with First Floor.

33

Exisiting Site Plan

5' - 0"

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-

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20' - 0"

---

34

---

10' - 0"

20' - 0"

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Figure 3.17 Modified Site Plan with First Floor.

35

Modified Site Plan

10' - 0"

20' - 0"

5' - 0"

10' - 0"

20' - 0"

5' - 0"

36

Santuary Building Plan

Figure 3.18 Existing Sanctuary Building Plan.

37

Santuary Building - Modified Plan

38

Figure 3.19 Modified Sanctuary Building Plan.

Sanctuary Longitudinal Section

5' - 0"

10' - 0"

20' - 0"

Figure 3.20 Existing Sanctuary Building Longitudinal Section.

Sanctuary Cross Section

5' - 0"

10' - 0"

20' - 0"

Figure 3.21 Existing Sanctuary Building Cross Section.

39

Administration Building Plan

40

Figure 3.22 Existing Administration Building Plan.

Administration Building - Modified Plan

Figure 3.23 Modified Administration Building Plan.

41

Administration Building Longitudinal Section

5' - 0"

10' - 0"

20' - 0"

Figure 3.24 Existing Administration Building Longitudinal Section.

Administration Building Cross Section

5' - 0"

42

10' - 0"

Figure 3.25 Existing Administration Building Cross Section.

20' - 0"

Ministry Building Plan

Figure 3.26 Existing Ministry Building Plan.

43

Ministry Building - Modified Plan

44

Figure 3.27 Modified Ministry Building Plan.

Ministry Building Longitudinal Section

5' - 0"

10' - 0"

20' - 0"

Figure 3.28 Existing Ministry Building Longitudinal Section.

Ministry Building Cross Section

5' - 0" Figure 3.29 Existing Ministry Building Cross Section.

10' - 0"

20' - 0"

45

Public Building First Floor Plan

46

Figure 3.30 Existing Public Building First Floor Plan.

Public Building First Floor - Modified Plan

Figure 3.31 Modified Public Building First Floor Plan.

47

Public Building Second Floor Plan

48

Figure 3.32 Existing Public Building Second Floor Plan.

Public Building Second Floor - Modified Plan

Figure 3.33 Modified Public Building Second Floor Plan.

49

Public Building Longitudinal Section

5' - 0"

10' - 0"

20' - 0"

Figure 3.34 Existing Public Building Longitudinal Section.

Public Building Cross Section

5' - 0" 50

10' - 0"

Figure 3.35 Existing Public Building Cross Section.

20' - 0"

Interior Site Photos

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Interior Site Photos Continued

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52 Even More Interior Site Photos

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58

Opportunities & Constraints The opportunities for creating a more focused gathering point for the community are great. Adding a cafĂŠ will draw a lot of people from the surrounding subdivisions; the next closest coffee shop is at Perkins Road and Bluebonnet, Bluebonnet and Burbank, or College Drive at Interstate 10.

Adding a meditation garden will draw many different types of people, opening up opportunities for discussion and debate. Creating an art space will again draw many different types of people and bring in a semi regular crowd to gather around local artists. And adding a commercial kitchen will create opportunities to help legitimize very small business in need of a commercial space to use to sell their food items, again bringing people to the church. New Life Church can be a focal point of this community and of South Baton Rouge.

The constraints hinge on the construction of the existing buildings. It will be challenging to add as much natural light as is needed to create the sought after atmosphere. The long narrow buildings create challenges in designing for the program. The primary challenge is maintaining the central parking between the four buildings and masking it from the windows. The parsonage is completely disconnected from the rest of the site and needs to be made a part of the movement between buildings. Lastly, maintaining acoustic privacy between spaces while maximizing visibility in both natural light and views to the exterior will be difficult given public spaces adjacencies to private spaces.

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Figure 3.36 Interior Site Photo Key.

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Exterior Site Photo Key

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4

CHAPTER FOUR

PROJECT PROGRAM

“Deep in the human unconscious is a pervasive need for a logical universe that makes sense. But the real universe is always one step beyond logic.”

- Frank Herbert, Dune

59

Goals Establishing goals determines the scope of the project, and they are really a rubric for judging the success or failure of a project based on how well these goals are met. (Robinson and Parman 2010)

End User Profile The purpose of the end user profile is to establish the identity of the people that will ultimately occupy these spaces. The end user profile has been broken up into fulltime vs part-time users to help simplify the information.

(Robinson and Parman 2010)

60

Table 4.1 Form and Function Goals.

Form

Function

For Building

Create storage solutions to keep each area from being overwhelmed with clutter.

For People

Organize programmed spaces so that multiple user types can navigate within and between different buildings with ease.

For Environment

Maximize the use of natural light to create a more dynamic environment.

For Activities

Create an atmosphere that connects the user with God.

For Building

Apply natural materials and textures to enhance the visual and tactile experience.

For People

Bridge the interior and exterior to create a connection to nature.

For Site

Revitalize exterior transition spaces with water features for both their calming acoustic properties and their ability to cool the air during the hot summer months.

For Activities

Create graphic wayfinding to identify each building and what ministries or activities it houses.

For Building

Create flexible spaces to house a diverse art community for both art making and exhibitions.

For Objects

Generate new parking solutions in order to support a growing community.

Table 4.2 Full-Time Users Profile.

Full-Time Users

Demographics

Special Wants/Needs

User Influence

Pastor

Married white male, mid 50’s, lower middle income, no health issues.

Ergonomic chair, quiet study space, easy access to facilities, easy for people to find.

Being the primary client he has a high level of influence over the project.

Administrator

Married white female, mid 60’s, upper middle income, some health issues.

Ergonomic chair, office space, access to files and church computer, easy for people to find.

Lower level of influence. She has her hands in just about everything going on, so she is taken into consideration.

Music Minister

Married half black half Chinese male, early 40s, no health issues.

Medium level of influence. The musicians play a prominent Instrument storage, ergorole in the Sunday morning nomic chair, office space, service, so he is moderately access to music database. influential in considerations for the sanctuary.

Café/Library Staff

To be determined.

N/A

Low-Moderate.

Table 4.3 Part-Time Users Profile.

Part-Time Users

Demographics

Special Wants/Needs

User Influence

Comfortable seating.

Low-Moderate.

Access to information.

Low-Moderate.

Instrument/case storage. Sound system.

Low-Mid.

Access to studios and gallery.

Moderate.

Storage, active learning spaces, rehearsal spaces.

Moderate.

Practice/Performance space.

Low.

Age: Varied Members

Ethnicity: Varied, Primarily White Religion: Christian (Southern Baptist) Age: Varied

Guests

Ethnicity: Varied Religion: Varied Age: 18-45

Musicians

Ethnicity: Varied, Primarily White Religion: Christian (Southern Baptist)

Artists Theater Groups Dancers

Age: Varied Religion: Varied Age: 5-20, 30-60 Religion: Primarily Christian Age: Varied Religion: Primarily Christian

Gallery Visitors

Varied

N/A

Low.

Kitchen Workers

Volunteers from among the Members

N/A

Low.

Random People In Need of Help

Varied. Typically low income, likely destitute individuals.

Wayfinding is important, making access to the office and staff easy.

Low.

Janitorial Staff

Varied. Either a volunteer Member or a hire from an outside source.

Easy access to cleaning supplies.

Low.

Grounds Staff

Varied. Either a volunteer Member or a hire from an outside source.

Easy access to equipment and tools.

Low.

Healing Rooms Staff

Volunteers from 5+ different churches in the area. Typically over 30 years of age. Trained at New Life.

Quiet spaces to pray and prepare.

Low.

Healing Rooms Visitors

Varied. Typically ailing in some capacity mentally, physically, spiritually, or standing in for a friend or family member.

Quiet, meditative space to wait.

Low.

SOZO Staff

Varied. Typically over 30 years of age. Trained Quiet, secluded space to pray and prepare. Low. at New Life.

SOZO Visitors

Varied. Typically coming in for inner healing; things not covered by healing rooms.

Quiet, meditative space to wait.

Low.

Wedding Party

Varied.

Spaces to use during the wedding.

Low.

CafĂŠ/Library Patrons

Varied. Likely from the surrounding community and area.

Seating, natural light, good acoustics.

Moderate.

Guest Speaker(s)

Varied.

A place to prepare and ephemerally dwell.

Low.

Childcare Staff

Varied. Volunteer members or outside hires.

Audio/Video of goings on while they are caring for children.

Low.

Children (ages 1-12)

Belonging to members or guests.

Sound proofing and activities to occupy them.

Low-Moderate.

Missionary on Leave

Varied. Missionaries supported by the church in need of a temporary home.

A place to dwell during temporary stays while on leave from the field.

Moderate.

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Activity Requirements Overall Function The primary function of the church is to be a gathering place for its members for corporate worship. New life has a mission to training people, not only its members, in practical Christianity. It houses the Healing Rooms and SOZO (inner healing) ministries as an offering to the community. This church is a firm supporter of the arts and houses a gallery and artist studios, and regularly holds concerts for classical and contemporary music. The Cafe Library functions as a hub in the community, a gathering place for people that would otherwise have to travel several miles to find a coffee shop.

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Table 4.4 Activities by Building.

Activities

Primary Activities

Secondary Activities

Sanctuary

Corporate gathering, worshipping, preaching, teaching, music, childcare.

Praying, meditating, fellowshipping, baptism, janitorial, playing, learning.

Admin Building

Studying, administration, cafĂŠ socializing, active learning.

Browsing, reading, checking out materials, preparing/ordering/serving cafĂŠ items, janitorial.

Ministry Building

Healing Rooms Ministry, SOZO Ministry.

Waiting, meditating, praying, janitorial.

Public Building

Art making, art showing, small gathering, cooking/preparing food and drink.

Physical visual arts, active learning, fellowshipping, janitorial.

Programmatic Requirements The program has been separated into the program summary and the program, or the short program and the long program. The program summary is looking primarily at the occupancy, while the long program is looking at everything from the users per space to the activities and furniture for those spaces, as well as potential issues that may arise.

Table 4.5 Short Program.

Occupancy Function

OLF

Maximum No. of Occupants

No. of Users

Unit SF

No. of Units

Sanctuary

Assembly: Concentrated

7 net/person

272

230

1910

1

Stage

Stage

15 net/person

37

8

567

1

Transition Room

Assembly: Unconcentrated

15 net/person

39

30

590

1

Flex Room

Assembly: Unconcentrated

15 net/person

66

40

1001

1

Classroom

Educational: Classroom Area

20 net/person

24

15

487

1

Pastor’s Office

Business

100 gross/person

3

1

327

1

Administration Area

Business

100 gross/person

5

2

514

1

Music Minister’s Office

Business

100 gross/person

1

1

196

1

Multi-Purpose Room

Assembly: Unconcentrated

15 net/person

109

60

1642

1

Ministry Room

Educational: Classroom

20 net/person

5

4

110

6

Waiting Room

Assembly: Unconcentrated

15 net/person

18

15

281

1

Shop

Educational: Shop

50 net/person

14

7

700

1

Assignable Space

Sanctuary

Admin Building

Ministry Building

63

Number of Restroom Fixtures Total Total Net Occupants Assignable SF

64

Men

Women

Other

Urinal

Watercloset

Lavatory

0

2

2

5

2

0

1 service sink

1

1

1

1

0

1 service sink

1

1

1

1

0

1 service sink

438

4555

272

1910

37

567

39

590

66

1001

24

487

Tare

19%

Total SF

5638

GSF

118

2679

0

3

327

5

514

1

196

109

1642

Tare

13%

Total SF

3097

GSF

37

1641

0

5

660

18

281

14

700

Tare

43%

Total SF

2885

GSF

Watercloset Lavatory

Drinking Fountain

Occupancy Assignable Space

Maximum No. of Occupants

No. of Users

Unit SF

No. of Units

Function

OLF

CafĂŠ Service Area

Business

100 gross/person

6

4

616

1

CafĂŠ/Library Seating Area

Assembly: Unconcentrated

15 net/person

95

50

1436

1

Commercial Kitchen

Kitchens: Commercial

200gross/person

3

5

416

1

Gallery

Assembly: Exhibit Gallery

30 net/person

1762

58

1762

1

Artist Studio

Business

100gross/person

1

1

100

4

Public Building First Floor

Second Floor

65

Number of Restroom Fixtures Total Total Net Occupants Assignable SF

66

Men

Women

Urinal

Watercloset

Lavatory

Watercloset Lavatory

Drinking Fountain

Other

221

4314

0

2

2

2

2

2 service sink

106

2152

0

1

1

1

1

1 service sink

6

300

95

1436

5

416

62

2162

0

1

1

1

1

1 service sink

58

1762

4

400

Tare

23%

Total SF

5653

GSF

Table 4.6 Long Program.

Space

SF

Sanctuary

4555

Sanctuary

1910

Users

Activities

Corporate Gathering, Preaching, Pastor, Admin., Music Min., Speaking, Teaching, Music, Members, Guests, Musicians, Jan., Worship, Praying, Meditating, Wedding, Guest Speaker Fellowshipping

Equipment

Computer, Projector, Screen, Speakers, Microphones, Etc…

Speakers, Monitors, Speaking, Preaching, Teaching, Microphones, Instruments, Music, Worship, Baptism (behind Sound Board, Recording stage), Screening Videos Equipment, Music Stands, Etc...

Stage

567

Pastor, Musicians, Guest Speaker

Transition Room

590

Pastor, Admin., Music Min., Small Gathering, Drinking, Members, Guests, Musicians, Jan., Fellowship, Circulating Wedding, Guest Speaker

Coffee Maker, Sink, Fridge, Drinking Fountain

Flex Room

1001

Corporate Gathering, Preaching, Pastor, Admin., Music Min., Speaking, Teaching, Music, Members, Guests, Musicians, Jan., Worship, Praying, Meditating, Guest Speaker Fellowshipping

Table and Chair Dollies, Partitions

Classroom

487

Childcare Staff, Children, Jan.

Teaching, Playing, Childcare, Learning, Music, Small Gathering

Fridge, Sink, Cabinets (kitchenette)

Administration Building

2679

Pastor’s Office

327

Pastor, Members, Guests

Studying, Meeting, Praying, Meditating, Reading, Preparing

Computer, Printer, TV

Administration Area

514

Admin., Pastor, Members (deacons), Jan.

Admin, Studying, Meeting, Preparing, Communicating, Planning, Coordinating

Computers, Copier, TV, Receiver Box

196

Music Min., Musicians, Jan.

Practicing, Preparing, Singing, Playing, Meeting, Communicating, Studying, Meditating

Computer, Upright Piano, Instruments, Printer, TV

Multi-Purpose Room

1642

Pastor, Admin., Music Min., Members, Guests, Musicians, Jan., Wedding, Guest Speaker, Dancers, Theater Groups, Artists

Active Learning, Dancing, Acting, Partitions, Table and Chair Gathering, Eating, Socializing, Dollies The List is Very Long…

Ministry Building

1641

Ministry Room 01

110

Healing Rooms Staff, SOZO Staff, Visitors, Jan.

SOZO or Healing Rooms Ministry

N/A

Ministry Room 02

110

Healing Rooms Staff, SOZO Staff, Visitors, Jan.

SOZO or Healing Rooms Ministry

N/A

Ministry Room 03

110

Healing Rooms Staff, SOZO Staff, Visitors, Jan.

SOZO or Healing Rooms Ministry

N/A

Ministry Room 04

110

Healing Rooms Staff, SOZO Staff, Visitors, Jan.

SOZO or Healing Rooms Ministry

N/A

Ministry Room 05

110

Healing Rooms Staff, SOZO Staff, Visitors, Jan.

SOZO or Healing Rooms Ministry

N/A

Ministry Room 06

110

Healing Rooms Staff, SOZO Staff, Visitors, Jan.

SOZO or Healing Rooms Ministry

N/A

Music Minister’s Office

67

Furniture

Lighting/Acoustics

Chairs

Storage

Adjacencies

Problems

Atmospheric natural and artificial lighting. Digitally Potential storage for fabricated Wall Screens. chairs needed in another Materials will help control location on site. sound levels along with the sound system.

Immediately Adjacent to Transition Room.

Conveniently Adjacent to Flex Room and Classroom.

Stage is located in this room.

Existing ceiling and walls will make creating atmospheric lighting a challenge. Long shape is acoustically challenging.

All stage equipment should have a place to be stored if the stage is to be cleared. Instrument case storage. Sheet music filing system.

Located in Sanctuary Immediately Adjacent to Transition Room Conveniently Adjacent to Flex Room and Classroom

Placement within the space determines the directional focus of the room. Creating a shape that works with a variety of functions will be a challenge.

Stools, Piano Bench, Drum Throne

See above ^

Chairs, Tables, Stools, Step Stool for Drinking Fountain

Should be soundproofed Coffee, dairy, from sanctuary with an condiments, bottled A/V feed in place. Task and water daylighting are primary.

Immediately Adjacent to Childcare Immediately Adjacent to Sanctuary/Stage

Acoustic privacy can be challenging, there has to be a way to maintain this with the doors open or closed.

Tables, Chairs

Acoustically Private.

Natural Lighting.

Overhead LEDs.

Tables and Chairs, Movable Walls

Immediately Adjacent to Classroom Conveniently Adjacent to Sanctuary and Transition

How to make the space feel larger with low ceilings. Finding storage solutions.

Tables, Chairs, Shelf Systems

Needs be soundproofed.

A/V feed from sanctuary.

Daylight from glass wall system. Overhead LEDs.

Needed for toys, crafts, projects, snacks, and bags/jackets

Immediately Adjacent to Flex Room Conveniently Adjacent to Transition and Sanctuary

Fitting all of the childcare needs in this space. The Flex room will be available during Sunday service, but otherwise it is small.

Book Cases and Filing.

Immediately Adjacent to Admin Area Conveniently Adjacent to Music Min. Office and MultiPurpose Room

Creating a quiet, secluded place to study while maintaining an openness for visitors.

Office supplies, Ministry Files

Immediately Adjacent to Pastor’s Office and Music Min. Office Conveniently Adjacent to Multi-Purpose Room

Creating atmospheric qualities in an office area.

Creating storage opportunities for instruments.

Shelving, Desk, Desk Chair, Lounge Chairs, Lounge Table

Acoustically Private.

Natural and Task Lighting

Desks, Desk Chairs, Chairs, Table, Work Table, Filing Cabinets

Acoustically Semi-Private.

Natural and Task Lighting.

Desk, Desk Chair, Chairs, Shelves, Cabinet

Acoustically Private.

Natural and Task Lighting.

Instruments, Sheet Music

Immediately Adjacent to Admin Area Conveniently Adjacent to Pastor’s Office

Tables, Chairs

Acoustically SemiPrivate. Natural Lighting.

Overhead LEDs.

Tables and Chairs, Movable Walls

Conveniently Adjacent to the Admin side of the building.

Creating an open feeling with such low ceilings.

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

Files and Office Supplies Stored in Admin Area.

Conveniently Adjacent to Waiting Room, Min. Rooms

Providing natural light while maintaining visual privacy.

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

Files and Office Supplies Stored in Admin Area.

Conveniently Adjacent to Waiting Room, Min. Rooms

Providing natural light while maintaining visual privacy.

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

Files and Office Supplies Stored in Admin Area.

Conveniently Adjacent to Waiting Room, Min. Rooms

Providing natural light while maintaining visual privacy.

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

Files and Office Supplies Stored in Admin Area.

Conveniently Adjacent to Waiting Room, Min. Rooms

Providing natural light while maintaining visual privacy.

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

Files and Office Supplies Stored in Admin Area.

Conveniently Adjacent to Waiting Room, Min. Rooms

Providing natural light while maintaining visual privacy.

68 Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

Files and Office Supplies Stored in Admin Area.

Conveniently Adjacent to Waiting Room, Min. Rooms

Providing natural light while maintaining visual privacy.

Space

SF

Users

Activities

Equipment

Waiting Room

281

HR Staff, HR Visitors, Jan., SOZO Staff, SOZO Visitors

Meditating, Preparing, Waiting, Listening

Sound System

Shop

700

Artists, Theater Groups, Grounds Set Building, Art Making, Staff, Jan. Repairing, Fabrication

Public Building

4314

First Floor

2152

Cafe Service Area

616

Wood Working Equipment, MIG and Flame Welding Machines, Dust Collection, Etc...

Cafe Staff

Socializing, Preparing Food/ Drink, Working, Serving, Cleaning

Coffee Makers, Espresso Machine, Ice Maker, Convection Oven, Cup Holders, Cash Register, Tablet, Syrup Wracks, Blenders, Dish Sanitizer, 3 Hole Sink, Pastry Case, Splash Shields, Cold Storage

Sound System, Microwave

Cafe/Library Seating Area

1436

CafĂŠ/Library Staff, Customers

Cleaning, Reading, Eating, Ordering, Drinking, Studying, Browsing, Reading, Socializing, Meeting

Commercial Kitchen

416

Renters, Members, Guests

Cooking, Preparing, Serving, Teaching, Cleaning, Eating, Drinking, Learning

Mixers, Ovens, Cooktops, Fridges, 3 Hole Sink, Etc...

Second Floor

2162

Gallery

1762

Artists, Dancers, Musicians, Jan., Guests, Members

Gathering, Viewing, Listening, Eating, Drinking, Socializing, Buying, Selling

TV’s, Projector, Screen, Hanging Line w/ Clips, Sound System, Pedestals

Artist Studio 01

100

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

Artist Studio 02

100

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

Artist Studio 03

100

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

Artist Studio 04

100

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

69

70

Furniture

Lighting/Acoustics

Storage

Adjacencies

Problems

Table, Benches

Acoustically SemiPrivate. Natural and Task Lighting.

N/A

Conveniently Adjacent to Ministry Rooms.

Creating a warm, inviting space in a small room with low ceilings.

Work Benches, Stools, Drafting Station, Storage Shelves

Acoustic Privacy from Rest of Building.

Natural, Task, and Overhead Lighting.

Tools, Materials, Adhesives, etc...

Large Set Pieces, Paper Rolls, many, many other things.

Not Adjacent to anything.

Creating an open enough space to work on large pieces.

Small Desk, Desk Chair, Stool

Attempt to contain loud noises. Natural and Task Lighting.

Cafe Staff Syrup, Coffee Beans, Powders, Cups and Condiments, Tea, Dairy, Pastries

Immediately Adjacent Cafe/ Library Seating

Keeping the noise from machines at a minimum should prove difficult.

Tables, Chairs, Lounge Chairs, Coffee Tables, Book Cases, Shelves, Condiment Counter

Acoustically Open. Natural and Task Lighting.

Overhead LED Lighting.

Condiments for Condiment Counter

Immediately Adjacent Cafe Service Area and Commercial Kitchen.

The greatest challenge of this space is the low ceilings.

The area has to seem larger than it is.

Stainless Steel Counters and Tables.

Mobile Chopping Blocks

Acoustically Private. Natural and Task Lighting.

Dry and Cold Food, Utensils, Bowls, Mixers, Cooking Tools, Etc...

Immediately Adjacent Cafe/ Library Seating

Fitting all of the equipment in a small space.

Benches, Tables, Chairs

Acoustically Private. Natural and Task Lighting.

Spare Parts, Art, Tables, Chairs, Pedestals, TV’s, Food and Drink.

Immediately Adjacent to Artist Studios

Getting as much natural light as possible with a flat roof.

Table, Chair, Shelves

Acoustically Private. Natural and Task Lighting.

N/A

Table, Chair, Shelves

Acoustically Private. Natural and Task Lighting.

N/A

Table, Chair, Shelves

Acoustically Private. Natural and Task Lighting.

N/A

Table, Chair, Shelves

Acoustically Private. Natural and Task Lighting.

N/A

Immediately Adjacent to Gallery

Conveniently Adjacent to Artist Studios

Maximizing natural light.

Immediately Adjacent to Gallery

Conveniently Adjacent to Artist Studios

Maximizing natural light.

Immediately Adjacent to Gallery

Conveniently Adjacent to Artist Studios

Maximizing natural light.

Immediately Adjacent to Gallery

Conveniently Adjacent to Artist Studios

Maximizing natural light.

Figure 4.1 Atmosphere Adjacency Matrix.

Codes & Building Occupancy Building/Dwelling Code: Structural Code: Plumbing Code: Mechanical Code: Electrical Code: Fire/Life Saftey Code: Accessibility Code: Energy Code: Gas Code: Boiler Code: East Baton Rouge Zoning Ordinance:

IBC 2009, excluding Ch’s 1, 11, 27, 29 IBC 2009, excluding Ch’s 1, 11, 27, 29 2012 International Plumbing Code IMC 2009 NEC 2008 NFPA 101, 2009 ADA/ABA 2010 edition ANSI/ASHRAEIESNA 90.1 – 2007 edition IFGC 2009 ASME Boiler & Pressure Vessel Code 1995 with 1998 addenda Unified Development Code – A1 Residential

71

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72

CHAPTER FIVE

FOCUS

“The artist ofers his work to his art in the sanctuary of all expression, which I like to call the Treasury of Shadow, lying in that ambiance: Light to Silence, Silence to Light. Light, the giver of presence, casts its shadow, which belongs to Light. What is made belongs to Light and to Desire.�

- Louis Kahn, Between Silence and Light

73

Description & Purpose The purpose of this focus is to enhance the spiritual climate of the site and, more specifically, the sanctuary with elements meant to inspire and evoke a sense of wonder. Digitally fabricated elements are the mode of this focus in order to (1) increase visual detail and texture, (2) shape spaces through the controlled casting of shadows, (3) create a more cohesive site through exterior transition areas, and (4) to “evoke silence, secret or drama with light and shadow – to create a ‘treasury of shadows,’ a ‘Sanctuary of Art.’ ” (Schielke 2013)

This is an attempt at using digital fabrication as a means of bringing people closer to God. First it creates that visual detail not seen in many Protestant churches for years, and in fact harkens back to a time of great cathedrals where master craftsmen plied their trade both in worship to God but also in service of those seeking to be inspired toward God through the use of those places.

The elements to be created here mimic water by taking an organic, wave-like form but also in more metaphorical

terms. Water interacts with light in interesting ways, simultaneously refracting it and holding it. These fabrications will filter daylight as it enters the sanctuary, but it will also hold it between itself and the structure.

The same idea can be applied to the exterior walkway, by creating a series of wave forms to hold the light before sending it on to those interacting with it underneath.

Louis Kahn had a way with words, and his words will be used as a springboard

Research Louis Kahn often spoke in metaphors, talking about made up words and of truly spiritual matters but applying them to Architecture. He spoke of things like Order, Silence, Light, The Treasury of Shadows, and of art. (Lobell 1979) This research began by examining the words of Louis Kahn himself in the book Between Silence and Light,

by John Lobell. In this book Kahn’s words are broken up into topics, and he goes on like he did about those topics for a paragraph or two.

There is much to be gleaned just by reading these words, about everything from Joy to Architecture or Materials.

The middle section of the book goes into some detail regarding Kahn’s philosophy, as examined by Mr. Lobell.

After a while he compares Kahn’s philosophy of Order to that of Lao Tzu’s concept of 74 Tao, or of Frank Lloyd Wright’s

organic space. In this area of the book the author goes into some detail about what Kahn meant when he spoke of Silence and Light.

Silence is that which is not yet, it represents potential and has a desire to be. Light, on the other hand is not yet material, but represents the idea, fully formed and pure.

Kahn describes Material as spent light, which is the next step in this process. What lies between Silence and Light is the most interesting bit. The way he explains it is that in the space between Silence and Light is a threshold, and that is called the Treasury of Shadows, and its language is art. There is an oscillation between Silence and Light, and between the two is where art happens. There is a human desire for self-expression, much like, according to Mr. Kahn, a building desires to be what it wants to be, or a material desires to be what it wants to be. That self-

expression is called art, and it exists in the Treasury of Shadows. “In serving desire, architecture contributes to the spiritual enrichment of the world.” (Lobell 1979) Beyond all of this is called Order, or Tao, or organic space, and what Christians call the Holy Spirit, or God. It is an all encompassing power that surrounds us and moves through us and is found in every living thing.

Mr. Lobell said it best when he closed this chapter of his book, “Louis Kahn taught us to understand the Order of the Shadow—what lies between idea and shadow, between Silence and Light.” (Lobell 1979)

to create a place of spiritual interaction and atmosphere.

Through reading his words, or indeed the words of many other poets and philosophers, there can be seen a link between the spiritual and the emotional. The powerful moments of spiritual clarity are connected to a state of emotional and mental impact, and it is possible that these fabrications would offer a level of inspiration to generate a sense of wonder.

There exists a kind of minimalism that does not address mass specifically. This kind of minimalism exists in order to capture a “spiritual moment.� It speaks volumes about the space between the old and new and is a perspective that allows for the use of both in harmony.

(Young 1996) There are moments in time and space that connect each person to God, or nature, or whatever sort of existential reality they believe in. Perhaps there is something significant about the place before human interaction, but just maybe it is the significance people give them that makes them special. The most likely answer is a combination of both, and therein lies the difficulty.

How can a place have an atmosphere of spirituality if half of the equation lies in the hands of billions of different individuals? One possible answer is that for some that atmosphere will be spiritual, and for others it will be something else entirely.

For those that choose to lend significance to places and call them spiritual, there are elements both physical and metaphysical working in harmony to aid in that experience.

An atmosphere of spirituality requires engagement from the inhabitant, but it also requires elements to be in place that respond to that engagement. Color, sound, physical sensation, and light are the primary elements in atmosphere, and if used in the right way can have a powerful, positive impact on someones life.

Atmosphere is like an all encompassing entity, and it exists everywhere all the time, regardless of whether it is noticed.

Design Criteria Table 3.1Focus Criteria.

Issue

Design Criteria

Increase visual detail and texture.

Create digitally fabricated elements These elements will take place on a micro and that hold intricate details to be macro scale. First the overall intricacies of the absorbed visually. fabrication will accomplish both visual detail and texture on the large scale. Second there will be specific details added on a smaller scale to the columns found throughout the site that will only be noticed upon closer inspection.

Application

Shape spaces through the controlled casting of shadows.

The fabricated elements will have many avenues for light to pass through to create shadows that will help shape each space.

Specifically there will be a sculpting of shadows in the sanctuary from light penetrating the wall cavities. The screen will have multiple layers, adding to the intricacy and further controlling the light entering the space.

Create a cohesive visual language for the site and its interiors.

Similar materials and visual cues function as a bonding agent holding the site together and bridging the gap to the interior.

Lightly colored cedar wood will be used to bring digital models to life. Patterns found in the artery will carry into the sanctuary on a larger scale to tie the two together visually.

Aid in generating spiritual moments.

Create objects that generate a sense of wonder and curiosity through clean, precise craft, and that draw attention to rather than distract from God.

The scale, amount of detail, drawing of the eye upward, and feeling of being enveloped in a sea of sculpted shadows and spent light.

Maintain accessibility behind elements where applicable to do so.

Where there is room to do so create an operable entryway to access behind the fabricated elements for maintenance and cleaning purposes.

The location of these hatches will be at points furthest from the wall. These hatches will be installed in such a way that the casual observer will not notice them.

Application Potential Innovate: verb: To make changes in something established, especially by introducing new methods, ideas, or products.

Digital fabrication affords the opportunity to create forms previously inaccessible through traditional means of construction. Almost any form can be digitally created and be made physically manifest

via computer machinery.

controlled

The same ideas of verticality and modular construction used to build soaring gothic cathedrals can be applied

Figure 5.1 Process Work from Agieieva and Zhuikov. Source: ZAArchitects

to go beyond conventional design and create truly spectacular structures.

Agieieva and Zhuikov have begun applying techniques of digital fabrication in architectural practice to generate theoretical models for building with digitally fabricated parts. (Agieieva, Zhuikov 2015) Figure 5.1 shows a little of the process involved in creating these structures, though it is only a snapshot of each part.

During their thesis there was a physical model developed, and much detail describing this entire process. For more information visit zaarchitects.

75 com.

Figure 5.2 Theoretical Fabrication Process Diagram. Source: ZAArchitects

The application potential of digital fabrication is nearly endless. The number of machines availalbe to create with speed and accuracy grows with a trending movement of Fab Labs around the world, according to Neil Gershenfeld of MIT’s Center for Bits and Atoms. “A new digital revolution is coming.”

(Gershenfeld 2012) The technology for these machines is nothing terribly new, as it dates back to the 1950s when mills were created to build aircraft parts not able to be made by hand. (Gershenfeld 2012) The opportunities to create ethereal spaces through the use of digital fabrication exist, plain and simple. Between the as yet imagined and the fully formed thought lies the act of creating art. (Lobell 1979) This art has the potential to connect people to something greater than themselves, to God.

Figure 5.3 Model of Smart Masonry 01. Source: ZAArchitects

Figure 5.4 Model of Smart Masonry 02. Source: ZAArchitects

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CHAPTER SIX

DESIGN SOLUTION

“The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science.”

- Albert Einstein, The World As I See It

77

Design Criteria The purpose behind creating design criteria is simply to have a set list of goals that need to be addressed during all phases of design. This is a ruberic for the success of the project. Seen here is the first draft of this ruberic.

Issue

Design Criteria

Application

Visual Openness

Minimize the number of walls used and declutter areas to create larger overall spaces.

Remove the baptistry area to extend the sanctuary, remove walls in the former childcare area to create a larger flex room, restructure the ministry building with a circular path of travel rather than a central corridor.

Create area separation using transparent Open up interior walls with glazing rather materials in order to maintain open than opaque materials. spaces.

Maintain open visuals using semitransparent materials within acoustically private areas so that those smaller spaces do not feel so closed off.

Use storefront systems with semitransparent glazing in the ministry building to allow light to pass through while maintaining visual privacy.

Change large portions of walls to a system that can open to allow the integration of exterior areas.

Install NanaWalls in place of windows to allow an open air experience into the garden.

Maximize views of the meditation garden to draw attention to the exterior spaces around the church.

Create larger window openings in all buildings as well as install NanaWalls where prudent.

Material Richness

Implement rich, natural materials to enhance the user’s perception of the facilities.

Hardwood flooring, stone pavers, exposed brick, cedar wood for all digital fabrication, and an abundance of planted material.

Visual Elevation

Create more actual height in the sanctuary.

Remove the drop down ceiling, and wrap existing beams in wood to mask the metal trusses.

Use light colors to maintain an open, airy feeling in each space.

Whites and light, white-washed materials will be used as well as low contrast colors between vertical and horizontal planes.

Using pools/fountains create transition areas between buildings that will stay cool during hot months and provide a calming ambient sound that will affect the meditation garden and the interior spaces.

Shallow pools with a 16 inch high edge will be placed between buildings and in the garden. There will also be waterfall features in various locations coming down from the artery roof.

Create acoustically isolated rooms for ministry areas to maintain privacy.

Ministry rooms will have a high NRC and CAC ceiling as well as noise cancelling insulation in the walls.

Meditation garden must be acoustically isolated from the main road using built and planted materials.

There will be multiple planted layers and a brick wall built along Staring Lane to reduce noise from the road.

Strategic use of flooring materials to aid users in wayfinding.

Using color or material changes to delineate paths of travel, as well as using like materials in places that have a similar function.

Integrate Indoor/ Outdoor

Acoustics

Circulation

The roofs of exterior circulation paths There will be openings in the roof to allow will be adapted to let more light into the for light filtration. buildings they access.

Ethereal Light

78

Change the roofing material in certain areas to a semi-translucent plastic in order to create a “glowing� effect.

Polycarbonate plastic will be used as the roofing material to soften the light entering from the ceiling.

Create a digitally fabricated light screen to sculpt the light before it enters the building, selecting where the light falls in the room and where it hides.

The screen will include a surround in the sanctuary and a new covering and column system for the external walkway, or artery. for the site.

Focus Criteria This focus criteria relate specifically to the digital fabrications being applied to the project in order to enhance the spiritual atmosphere of this place. Included in this list are also examples of applications used to fulfill the design needs.

Issue

Design Criteria

Increase visual detail and texture.

Create digitally fabricated elements These elements will take place on a micro and that hold intricate details to be macro scale. First the overall intricacies of the absorbed visually. fabrication will accomplish both visual detail and texture on the large scale. Second there will be specific details added on a smaller scale to the columns found throughout the site that will only be noticed upon closer inspection.

Application

Shape spaces through the controlled casting of shadows.

The fabricated elements will have many avenues for light to pass through to create shadows that will help shape each space.

Specifically there will be a sculpting of shadows in the sanctuary from light penetrating the wall cavities. The screen will have multiple layers, adding to the intricacy and further controlling the light entering the space.

Create a cohesive visual language for the site and its interiors.

Similar materials and visual cues function as a bonding agent holding the site together and bridging the gap to the interior.

Lightly colored cedar wood will be used to bring digital models to life. Patterns found in the artery will carry into the sanctuary on a larger scale to tie the two together visually.

Aid in generating spiritual moments.

Create objects that generate a sense of wonder and curiosity through clean, precise craft, and that draw attention to rather than distract from God.

The scale, amount of detail, drawing of the eye upward, and feeling of being enveloped in a sea of sculpted shadows and spent light.

Maintain accessibility behind elements where applicable to do so.

Where there is room to do so create an operable entryway to access behind the fabricated elements for maintenance and cleaning purposes.

The location of these hatches will be at points furthest from the wall. These hatches will be installed in such a way that the casual observer will not notice them.

79

Pre-Schematic Design Introduction

Programming

The purpose of pre-schematic design is to come up with ideas.

The research has been compiled and the time has come to begin thinking about multiple solutions to the variety of issues that have emerged. There are no bad ideas until they have been put on paper, and there is no way of knowing where the rabbit hole goes unless it is followed.

During the first round of programming for this project it was discovered that the parsonage should be removed to accomodate more parking for a growing church population.

That being said, it was removed from the program. There were no other major changes to the program from this point to the final program, however a few small changes were made. First was the cafe being moved from the administration building to the first floor of the public building. This provided more square footage for the cafe as well as satisfying a code classification issue with the commercial kitchen. Another issue was the maximum number of occupants for the commercial kitchen. An exception was found in the International Building Code (IBC) that allows for more people to occupy the kitchen. This exception can be found at IBC 1004.2. The tare was also changed to reflect new square footages.

During this part of the process concepts are developed as a springboard for ideation, which involves a great deal of speculation and investigation through the creation of everything from diagrams to models or just simple conversation. (Robinson and Parman 2010)

ID4720 F15

Table 6.2 Short Program.

Number of Restroom Fixtures

Occupancy Assignable Space

Function

OLF

Maximum No. of Occupants

No. of Users

Unit SF

No. of Units

Sanctuary Sanctuary Stage Transition Room Flex Room Classroom

438

4555

1910

1

272

1910

37

8

567

1

37

567

39

30

590

1

39

590

15 net/person

66

40

1001

1

66

1001

20 net/person

24

15

487

1

7 net/person

272

Stage

15 net/person 15 net/person

Building 02 Pastor's Office

Business

Administration Area

Business

Music Minister's Office

Business

CafĂŠ Service Area

Business

CafĂŠ/Library Seating Area

Assembly: Unconcentrated

100 gross/person 100 gross/person 100 gross/person 100 gross/person 15 net/person

Total SF

5884.5

GSF

114

2950

1

1

300

1

3

300

6

2

650

1

6

650

2

1

200

1

2

200

3

3

300

1

3

300

100

50

1500

1

100

1500

Tare

15%

Total SF

3392.5

GSF

1

98

2500

7

3

150

2

14

300

Healing Rooms Admin/Team Room

Educational: Classroom

20 net/person

10

5

200

1

10

200 600

Shop

Educational: Shop

1

487

20 net/person

Waiting Room

1

15%

Educational: Classroom

HR Room

Urinal

24

SOZO Room

Educational: Classroom Assembly: Unconcentrated

Men

Tare

3

Building 03

20 net/person

7

4

150

4

28

15 net/person

26

25

400

1

26

400

50 net/person

20

7

1000

1

20

1000

Watercloset

Women Lavatory

Watercloset Lavatory

3

3

6

3

1

4

1

1

2

2

2

1

2

2

3

2

1

1

2

2

2

Tare

15% 2875

Building 04

221

4850

2

2

2

2

First Floor

136

2600

1

1

1

1

2000

1

1

1

1

Commercial Kitchen

Assembly: Unconcentrated Kitchens: Commercial

15 net/person

133

133

2000

1

133

200gross/person

3

3

600

1

3???

600

85

2250

50

1500

Second Floor Gallery Artist Studios

Assembly: Exhibit Gallery

30 net/person

1500

150

50

1

Business

100gross/person

7

1

150

5

35

750

Tare

15%

Total SF

5577.5

Drinking Fountain

2

Total SF

Multi-Purpose Room

80

Total Net Assignable SF

230

Assembly: Concentrated

Assembly: Unconcentrated Assembly: Unconcentrated Educational: Classroom Area

Total Occupants

GSF

1

Table 6.3 Long Program.

Space

SF

Sanctuary

5117

Users

Activities

Equipment

Sanctuary

2000

Pastor, Admin., Music Min., Members, Guests, Musicians, Jan., Wedding, Guest Speaker

Corporate Gathering, Preaching, Speaking, Teaching, Music, Worship, Praying, Meditating, Fellowshipping

Computer, Projector, Screen, Speakers, Microphones

Stage

535

Pastor, Musicians, Guest Speaker

Speaking, Preaching, Teaching, Music, Worship, Baptism (behind stage), Screening Videos

Speakers, Monitors, Microphones, Instruments, Sound Board, Recording Equipment, Music Stands, Many Many Other Things

Transition Room

768

Pastor, Admin., Music Min., Members, Guests, Musicians, Jan., Wedding, Guest Speaker

Small Gathering, Drinking, Fellowship, Circulating

Coffee Maker, Sink, Fridge, Drinking Fountain

Childcare

1814

Childcare Staff, Children, Jan.

Teaching, Playing, Childcare, Learning, Music, Small Gathering

Fridge, Sink, Cabinets (kitchenette)

Administration Building

2950

Pastor’s Office

300

Pastor, Members, Guests

Studying, Meeting, Praying, Meditating, Reading, Preparing

Computer

Administration Area

650

Admin., Pastor, Members (deacons), Jan.

Admin, Studying, Meeting, Preparing, Communicating, Planning, Coordinating

Music Minister’s Office

200

Music Min., Musicians, Jan.

Practicing, Preparing, Singing, Playing, Meeting, Communicating, Studying, Meditating

Computer, Upright Piano, Instruments

Computers, Printer/Scanner

Cafe Service Area

300

Café/Library Staff

Socializing, Preparing Food/Drink, Working, Serving, Cleaning

Coffee Makers, Espresso Machine, Ice Maker, Convection Oven, Cup Holders, Cash Register, Tablet, Syrup Wracks, Blenders, Dish Sanitizer, 3 Hole Sink, Pastry Case, Splash Shields, Cold Storage

Cafe/Library Seating Area

1500

Café/Library Staff, Customers

Cleaning, Reading, Eating, Ordering, Drinking, Studying, Browsing, Reading, Socializing, Meeting

Sound System, Microwave

Ministry Building

2500

SOZO Room 01

150

SOZO Staff, SOZO Visitors, Jan.

SOZO Ministry

N/A

SOZO Room 02

150

SOZO Staff, SOZO Visitors, Jan.

SOZO Ministry

N/A

Healing Rooms Admin

200

Healing Rooms Staff, Jan.

Healing Rooms Ministry, Admin., Meeting, Praying, Meditating, Preparing

Computer (will run music to waiting room)

81

Furniture

Lighting/Acoustics

Storage

Adjacencies

Problems

Chairs, Tables

Atmospheric natural and artificial lighting. Acoustic panels for the walls. Materials will control sound levels along with sound system.

Potential storage for chairs needed in another location on site.

Immediately Adjacent to Side Room Conveniently Adjacent to Childcare Stage is located in this room

Existing ceiling and walls will make creating atmospheric lighting a challenge. Long shape is acoustically challenging.

Stools, Drum Throne

See above ^

All stage equipment should have a place to be stored if the stage is to be cleared.

Instrument case storage.

Sheet music filing system.

Located in Sanctuary Immediately Adjacent to Side Room Conveniently Adjacent to Childcare

Placement within the space determines the directional focus of the room. Creating a shape that works with a variety of functions will be a challenge.

Chairs, Tables, Stools, Step Stool for Drinking Fountain

Should be soundproofed from sanctuary with an A/V feed in place. Task and daylighting are primary.

Coffee, dairy, condiments, bottled water, restroom stock

Immediately Adjacent to Childcare Immediately Adjacent to Sanctuary/Stage

Maintaining the sanctuary’s atmosphere in this transition flex space

Tables, Chairs, Shelf Systems

Should be soundproofed from room to room and from the rest of the facilities. Should have A/V feed from sanctuary.

Lots of exterior visuals.

Needed for toys, crafts, projects, snacks, and bags/ jackets

Immediately Adjacent to Side Room Conveniently Adjacent to Sanctuary/Stage

Flexible rooms with movable walls that are still acoustically isolated.

Book Cases for Books.

Immediately Adjacent to Admin Area.

Conveniently Adjacent to Music Min. Area Not Adjacent to Café/Library

Creating a quiet, secluded place to study while maintaining an openness for visitors.

Office supplies

Immediately Adjacent to Pastor’s Office.

Immediately Adjacent to Music Min. Area Conveniently Adjacent to Café/ Library

Creating atmospheric qualities in an office area.

Creating atmospheric qualities in an office area.

Shelving, Desk, Desk Chair, Lounge Chairs, Lounge Table Desks, Desk Chairs, Chairs, Table, Work Table, Filing Cabinets

Acoustically Private. Natural and Task Lighting.

Desk, Desk Chair, Chairs, Shelves

Acoustically Private. Natural and Task Lighting.

Instruments

Immediately Adjacent to Admin Area.

Immediately Adjacent to Music Min. Area Not Adjacent to Café/Library

Stool

Attempt to contain loud noises. Natural and Task Lighting.

Syrup, Coffee Beans, Powders, Cups and Condiments, Tea, Dairy, Pastries

Immediately Adjacent to Café/ Library Seating Area Conveniently Adjacent to, Admin.

Area Not Adjacent to Music Min. Area, Pastor’s Office

Keeping the noise from machines at a minimum should prove difficult.

Condiments for Condiment Counter

Immediately Adjacent to Café/ Library Seating Area Conveniently Adjacent to, Admin.

Area Not Adjacent to Music Min. Area, Pastor’s Office

Opening the seating area up to the exterior of the building while not allowing parking to be distracting.

Files, Some Office Supplies

Immediately Adjacent to SOZO Room 02 Conveniently Adjacent to HR Rooms, HR Admin Not Adjacent to Waiting Room

Providing natural light while maintaining visual privacy.

Providing natural light while maintaining visual privacy.

Providing natural light while maintaining visual privacy.

Tables, Chairs, Lounge Chairs, Coffee Tables, Book Cases, Shelves, Condiment Counter

Table, Chairs, Desk w/ Filing, Desk Chair

82

Acoustically Private. Natural and Task Lighting

Acoustically Open. Natural and Task Lighting. Overhead LED Lighting.

Acoustically Private. Natural and Task Lighting.

Table, Chairs, Desk w/ Filing, Desk Chair

Acoustically Private. Natural and Task Lighting.

Files, Some Office Supplies

Immediately Adjacent to SOZO Room 02 Conveniently Adjacent to HR Rooms, HR Admin Not Adjacent to Waiting Room

Desk, Desk Chairs, Round Table, Chairs, Filing System

Acoustically Private. Natural and Task Lighting. Overhead LEDs.

Files, Some Office Supplies

Conveniently Adjacent to HR Rooms, SOZO Rooms, Waiting Room

Space

SF

Users

Activities

Equipment

HR Room 01

150

HR Staff, HR Visitors, Jan.

HR Ministry

N/A

HR Room 02

150

HR Staff, HR Visitors, Jan.

HR Ministry

N/A

HR Room 03

150

HR Staff, HR Visitors, Jan.

HR Ministry

N/A

HR Room 04

150

HR Staff, HR Visitors, Jan.

HR Ministry

N/A

Waiting Room

400

HR Staff, HR Visitors, Jan., SOZO Staff, SOZO Visitors

Meditating, Preparing, Waiting, Listening

Sound System

Shop

1000

Artists, Theater Groups, Grounds Staff, Jan.

Set Building, Art Making, Repairing, Fabrication

Wood Working Equipment, MIG and Flame Welding Machines, Dust Collection

Public Building

4850

First Floor

2600 Active Learning, Dancing, Acting, Gathering, Eating, Socializing, The List is Very Long‌

Movable Walls, Table and Chair Dollies

Multi-Purpose Room

2000

Pastor, Admin., Music Min., Members, Guests, Musicians, Jan., Wedding, Guest Speaker, Dancers, Theater Groups, Artists

Commercial Kitchen

600

Renters, Members, Guests

Cooking, Preparing, Serving, Teaching, Cleaning, Eating, Drinking, Learning

Mixers, Ovens, Cooktops, Fridges, 3 Hole Sink, (research)

Second Floor

2250

Gallery

1500

Artists, Dancers, Musicians, Jan., Guests, Members

Gathering, Viewing, Listening, Eating, Drinking, Socializing, Buying, Selling

TV’s, Projector, Screen, Hanging Line w/ Clips, Sound System

Artist Studio 01

150

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

Artist Studio 02

150

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

Artist Studio 03

150

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

Artist Studio 04

150

Artists

Art Making, Napping, Meditating

Artist brings own equipment.

Artist Studio 05

150

Artists

Art Making, Napping, Meditating

83

84

Furniture

Lighting/Acoustics

Storage

Adjacencies

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

N/A

Conveniently Adjacent to HR Rooms, Providing natural light while Waiting Room, HR Admin, SOZO maintaining visual privacy.

Rooms

Problems

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

N/A

Conveniently Adjacent to HR Rooms, Providing natural light while Waiting Room, HR Admin, SOZO maintaining visual privacy.

Rooms

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

N/A

Conveniently Adjacent to HR Rooms, Providing natural light while Waiting Room, HR Admin, SOZO maintaining visual privacy.

Rooms

Chairs, Small Table

Acoustically Private.

Natural and Task Lighting.

N/A

Conveniently Adjacent to HR Rooms, Providing natural light while Waiting Room, HR Admin, SOZO maintaining visual privacy.

Rooms

Chairs, Coffee Table(s), End Tables, Sofas,

Acoustically Private.

Natural and Task Lighting.

N/A

Conveniently Adjacent to HR Rooms, Creating a warm, inviting space HR Admin to make visitors as comfortable Not Adjacent to SOZO Rooms as possible.

Work Benches, Stools, Drafting Station, Storage Shelves

Acoustic pockets to control sound.

Natural, Task, and Overhead Lighting.

Tools, Materials, Adhesives, etc…

Large Set Pieces, Paper Rolls

Conveniently Adjacent to HR Admin Not Adjacent to SOZO Rooms, HR Rooms, Waiting Room

Tables, Chairs

Acoustically Private.

Natural and Task Lighting. Overhead LEDs.

Tables and Chairs, Theater Materials, Movable Walls

Immediately Adjacent to Commercial Kitchen How to make the space feel Not Adjacent to Gallery, Studios larger with low ceilings.

Stainless Steel Counters and Tables. Mobile Chopping Blocks

Acoustically Private.

Natural and Task Lighting.

Dry and Cold Food, utensils, bowls, etc…

Immediately Adjacent to MultiPurpose Room Not Adjacent to Gallery, Studios

Pedestals, Tables

Acoustically Private.

Natural and Task Lighting.

Spare Parts, Art, Tables, Pedestals, TV’s, Food and Drink.

Immediately Adjacent to Gallery Not Adjacent to Commercial Kitchen, Multi-Purpose Room

Getting as much natural light as possible with a flat roof.

Table, Shelves

Acoustically Private.

Natural and Task Lighting.

This space doubles as storage.

Immediately Adjacent to Gallery Not Adjacent to Commercial Kitchen, Multi-Purpose Room

Shaping the space to maximize natural light.

Table, Shelves

Acoustically Private.

Natural and Task Lighting.

This space doubles as storage.

Immediately Adjacent to Gallery Not Adjacent to Commercial Kitchen, Multi-Purpose Room

Shaping the space to maximize natural light.

Table, Shelves

Acoustically Private.

Natural and Task Lighting.

This space doubles as storage.

Immediately Adjacent to Gallery Not Adjacent to Commercial Kitchen, Multi-Purpose Room

Shaping the space to maximize natural light.

Table, Shelves

Acoustically Private.

Natural and Task Lighting.

This space doubles as storage.

Immediately Adjacent to Gallery Not Adjacent to Commercial Kitchen, Multi-Purpose Room

Shaping the space to maximize natural light.

Table, Shelves

Acoustically Private.

Natural and Task Lighting.

This space doubles as storage.

Immediately Adjacent to Gallery Not Adjacent to Commercial Kitchen, Multi-Purpose Room

Shaping the space to maximize natural light.

Creating an open enough space to work on large set pieces as well as smaller projects.

Fitting all of the equipment in a small space.

Figure 6.1 Pre-Schematic Design Adjacency Matrix.

85

Diagrams Dri

ve

Kim b

ro

Sta ring

Lan

e

Driv e

Sta ring

Kim b

ro

Me nlo

Lan

Driv e

N

e

Site Diagram

Lan

e

gcre st P ark wa y

Sta ring

Kim b

ro

Driv e

Kin

Figure 6.2 Site Diagram with Entry Points.

Public, Semi-Private, Private, and Utility.

PUBLIC SEMI-PRIVATE PRIVATE UTILITY/STORAGE

These diagrams were created to aid in developing the site more fully. During this portion of work it was decided that the ministry building circulation could be changed in order to maximize natural light, and also that the administration should be moved to be more easily accessible. Other issues arose suggesting the exterior circulation was incomplete, and so it will be rerouted to avoid going into buildings to remain under a covering.

Looking at the direct sunlight

diagram it became obvious that there was not enough natural light finding its way to parts of the sanctuary building. More windows will be added, as well as other more drastic solutions, including but not limited to changing the roofing material altogether.

The private areas of this complex will be consolidated into tighter areas so that the public and semi-private space can be maximized.

Sun Path Study

Figure 6.3 Usage Diagram: Public, Semi-Private, Private, Utility/Storage Spaces.

Interior Circulation

86

Figure 6.4 Interior Circulation Diagram.

Figure 6.6 Site Diagram Showing Sun Path.

Exterior Circulation & Building Access Points

Direct Sunlight VS Artificial Light

Figure 6.5 Site Exterior Circulation Diagram with Building Access Points.

Figure 6.7 Lighting Diagram Showing Direct Sunlight and Artificial Light.

Bubble Diagrams Assembly: Unconcentrated

Education: Classroom

Ministry Building

Assembly: Concentrated

Education: Shop

Assembly: Gallery

Commercial Kitchen

SOZO Rooms

Business

Stage

Waiting Room Shop

Healing Rooms

Sanctuary

Healing Rooms Admin/Team Room Healing Rooms Admin/Team Room

Healing Rooms Childcare Area

Shop SOZO Rooms

Waiting Room

Figure 6.10 Ministry Building Bubble Diagrams.

Transition Room

Public Building First Floor

Stage

Commercial Kitchen Sanctuary

Multi-Purpose Room Figure 6.8 Sanctuary Bubble Diagram.

Admin Building Pastor’s Office

Cafe Service Area Admin Area

Music Minister’s Office

Figure 6.11 Public Building First Floor Bubble Diagrams.

Public Building Second Floor Cafe/Library Seating Area Artist Studios Gallery

Music Minister’s Office

Cafe Service Area Admin Area

Cafe/Library Seating Area

Gallery

Pastor’s Office Figure 6.9 Admin Building Bubble Diagrams.

Figure 6.12 Public Building Second Floor Bubble Diagrams.

87

Space Studies These are quick sketches drawn to scale of each program element.

They include equipment and furniture blocks to better understand the space moving toward blocking diagrams.

DRUM ENCLOSURE

BASS AMP

KE Y

MO N

BE NC BO A

H

RD

ITO R

SPEAKERS OVERHEAD

PULPIT

COFFEE AREA

SIDE ROOM

SOUND BOARD

PC

3'-0"

3'-0"

88

1'-0"

REC. EQUIP.

10'-0"

Figure 6.13 Transition Room Space Study.

1'-0"

10'-0"

Figure 6.14 Sanctuary Space Study.

MOVABLE WALLS CREATE A MULTITUDE OF POTENTIAL ROOMS FOR CHILDCARE.

CHILDCARE AREA

RESTROOMS SNACK PREP AREA

STORAGE FOR TOYS TABLES CHAIRS CRIBS

1'-0"

10'-0"

Figure 6.15 Childcare Area Space Study.

HR ADMIN 3'-0" 1'-0"

10'-0"

Figure 6.16 Healing Rooms Admin Area Space Study.

PASTOR'S OFFICE

ADMIN. AREA

3'-0" 1'-0"

WAITING ROOM

3'-0" 10'-0"

Figure 6.17 Pastor’s Office Space Study.

1'-0"

3'-0" 10'-0"

Figure 6.18 Admin Area Space Study.

1'-0"

10'-0"

Figure 6.19 Waiting Room Space Study.

89

1 1 3 3

2 2

2424

9 9

4 4

5 5

7 7

1010 8 8 2323

2222 1111

1. 1.

MITER SAW MITER SAW 2. 2.

RADIAL ARM SAW RADIAL ARM SAW 3. 3.

VERTICAL/DISK SANDER VERTICAL/DISK SANDER 4. 4.

WET/DRY GRINDER WET/DRY GRINDER 5. 5.

LATHE LATHE 6. 6.

PLANER PLANER 7. 7.

BAND SAW BAND SAW 8. 8.

ROUTER TABLE ROUTER TABLE 9. 9.

HORIZONTAL SANDER HORIZONTAL SANDER 10.10.

JOINTER JOINTER 11.11.

TABLE SAW TABLE SAW 12.12.

HOIST ONON OVERHEAD RAIL HOIST OVERHEAD RAIL ASSEMBLY TABLE ASSEMBLY TABLE 6 6 13.13.

14.14.

DUST COLLECTOR DUST COLLECTOR 15.15.

VICE VICE 16.16.

GRINDER GRINDER 17.17.

WELDER WELDER 18.18.

DRILL PRESS DRILL PRESS 19.19.

SCROLL SAW SCROLL SAW 20.20.

STORAGE WALL STORAGE WALL 21.21.

SINK SINK 22.22.

REFRIGERATOR REFRIGERATOR 23.23.

COMPRESSOR COMPRESSOR 24.24.

WORKBENCH WORKBENCH 25.25.

OVERHEAD DOOR OVERHEAD DOOR 26.26.

KILN KILN

MUSIC MUSIC MIN MIN AREA AREA

3'-0" 3'-0" 1'-0" 1'-0"

10'-0"10'-0"

Figure 6.22 Music Minister’s Office Space Study.

2121 1212

1313

SHOP SHOP 2626

2020

1919

1818 1717 16161515

2525

1414

HR HR

3'-0" 3'-0" 1'-0" 1'-0"

10'-0"10'-0"

3'-0" 3'-0"

Figure 6.20 Shop Space Study.

1'-0" 1'-0"

10'-0"10'-0"

Figure 6.23 Healing Room Space Study.

COMMERCIAL COMMERCIAL KITCHEN KITCHEN

3'-0" 3'-0" 1'-0" 1'-0"

10'-0"10'-0"

Figure 6.21 Commercial Kitchen Space Study.

Cold Cold Storage Storage Refrigerators Refrigerators Freezers Freezers DryDry Storage Storage Utility Shelves Utility Shelves Prep Prep Stationary Prep Tables Stationary Prep Tables Underneath: Underneath: Smallwares Smallwares i.e.i.e.

Food Processor, Mixers Food Processor, Mixers Production Production Ranges Ranges Ovens Ovens Steamers Steamers IceIce Machine Machine Fryers Fryers Griddle Griddle Service Service Storage forfor Storage Flatware Flatware Dishes Dishes Drinkware Drinkware Serving Trays Serving Trays Pitchers Pitchers Bussing Bins Bussing Bins Drink Dispensers Drink Dispensers etc... etc...

Dishes and Cleaning Dishes and Cleaning 3 compartment sink 3 compartment sink Dishwasher - probably under counter Dishwasher - probably under counter Supply Closet forfor Supply Closet Chemicals (must be be locked) Chemicals (must locked) Mops Mops Brooms Brooms Brillo Pads Brillo Pads Sponges Sponges Trash Liners Trash Liners etc... etc...

Trash and Waste Trash and Waste Waste Bins Waste Bins Recycling Bins Recycling Bins

SOZO SOZO 3'-0" 3'-0" 1'-0" 1'-0"

10'-0"10'-0"

Figure 6.24 SOZO Room Space Study.

ARTIST ARTIST STUDIO STUDIO 3'-0" 3'-0"

90

1'-0" 1'-0"

10'-0"10'-0"

Figure 6.25 Artist Studio Space Study.

MULTI-PURPOSE AREA Fold Out Tables AREA 6' / 8' MULTI-PURPOSE Fold Out Chairs BENCH BENCH

Fold Out Tables 6' / 8' Fold Out Chairs Space will remain empty unless tables and chairs are needed.

Space will remain empty unless tables and chairs are needed.

PEDASTAL PEDASTAL ART MOUNTED ON WALLS

BENCH BENCH

ART MOUNTED ON WALLS

PEDASTAL PEDASTAL

BENCH BENCH

MULTIPURPOSE MULTIAREA PURPOSE AREA

3'-0"

PEDASTAL

1'-0"

10'-0"

3'-0"

Figure 6.27 Multi-Purpose Area Space Study.

PEDASTAL

1'-0"

10'-0"

GALLERY GALLERY

3'-0" 1'-0"

10'-0"

Figure 6.26 Gallery Space Study.

3'-0"

1'-0"

CAFE/LIBRARY CAN ACCOMODATE UP TO 50 CUSTOMERS

10'-0"

1. DISPLAY CASE 2. TABLET/REGISTER 3. SAFE (UNDERNEATH) 1. DISPLAY CASE 4. ESPRESSO MACHINE #1 2. TABLET/REGISTER 5. CUPS AND SYRUPS 3. SAFE (UNDERNEATH) 6. ESPRESSO MACHINE #2 4. ESPRESSO MACHINE #1 7. HOT LIDS / SLEEVES 5. CUPS AND SYRUPS 8. CONDIMENTS 6. ESPRESSO MACHINE #2 9. COLD LIDS 7. HOT LIDS / SLEEVES 10. BLENDER BASES W/ SHIELD 8. CONDIMENTS 11. BLENDERS / BLENDER LIDS 9. COLD LIDS 12. SINK 10. BLENDER BASES W/ SHIELD 13. GRINDERS 11. BLENDERS / BLENDER LIDS 14. COFFEE BREWER 12. SINK 15. WARMERS / AIRPOTS 13. GRINDERS 16. GRANITA MACHINE 14. COFFEE BREWER 17. TOASTER 15. WARMERS / AIRPOTS 18. CONVECTION OVEN 16. GRANITA MACHINE 19. ICE MAKER 17. TOASTER 20. 3 HOLE SINK 18. CONVECTION OVEN 21. SANITIZER 19. ICE MAKER 22. REFRIGERATOR 20. 3 HOLE SINK 23. FREEZER 21. SANITIZER 24. MOP CLOSET AREA 22. REFRIGERATOR 25. DESK 23. FREEZER 26. SHELF STORAGE 24. MOP CLOSET AREA 27. CONDIMENT BAR 25. DESK 26. SHELF STORAGE 27. CONDIMENT BAR 23 24 23

CAFE/LIBRARY CAN ACCOMODATE UP TO 50 CUSTOMERS

CAFE/LIBRARY CAFE/LIBRARY

22

20

21

22

20

21

24

1

2

3

CAFE1 SERVICE2AREA 3 25

26

19

18

17 16 15 14 CAFE SERVICE AREA

25

26

19

18

17

16

15

14

2

4

5

6

7

2

4

5

6

7

8 13

12

11

10 9

13

12

11

10 9

8

OUTDOOR SEATING

27 27

3'-0" 1'-0"

OUTDOOR SEATING 10'-0"

3'-0"

3'-0" 1'-0"

10'-0"

1'-0"

10'-0"

3'-0" 1'-0"

10'-0"

Figure 6.28 Cafe Service Area and Cafe/Library Seating Area Space Study.

91

Blocking Diagrams Sanctuary

Public Building First Floor

Childcare Area

Commercial Kitchen

Multi-Purpose Room

Stage Transition Room

Sanctuary

Figure 6.32 Public Building First Floor Pre-Schematic Blocking Diagram 01.

Public Building Second Floor

Artist Studio 01

Artist Studio 02

Figure 6.29 Sanctuary Pre-Schematic Blocking Diagram 01.

Admin Building

Gallery

Pastor’s Office

Cafe/Library Seating Area

Admin Area Music Minister’s Office

Cafe Service Area

Artist Studio 05

Ministry Building

92

SOZO Room 02 Healing Room 02

Healing Room 04 Healing Room 03

Waiting Room

Healing Rooms Admin/Team Room Figure 6.31 Ministry Building Pre-Schematic Blocking Diagram 01.

Artist Studio 03

Figure 6.33 Public Building Second Floor Pre-Schematic Blocking Diagram 01.

Figure 6.30 Admin Building Pre-Schematic Blocking Diagram 01.

SOZO Room 01 Healing Room 01

Artist Studio 04

Shop

Sanctuary

Public Building First Floor

Childcare Area

Commercial Kitchen

Stage

Multi-Purpose Room Transition Room

Sanctuary

Figure 6.37 Public Building First Floor Pre-Schematic Blocking Diagram 02.

Public Building Second Floor

Artist Studio 01 Artist Studio 02

Figure 6.34 Sanctuary Pre-Schematic Blocking Diagram 02.

Admin Building Pastor’s Office

Music Minister’s Office

Admin Area

Artist Studio 05

Cafe Service Area

Artist Studio 03

Gallery

Artist Studio 04 Cafe/Library Seating Area

Figure 6.38 Public Building Second Floor Pre-Schematic Blocking Diagram 02.

Figure 6.35 Admin Building Pre-Schematic Blocking Diagram 02.

Ministry Building Healing Healing Healing Healing Room Room Room Room 01 02 03 04 Shop SOZO Room 01

SOZO Room 02

Waiting Room Healing Rooms Admin/Team Room

Figure 6.36 Ministry Building Pre-Schematic Blocking Diagram 02.

93

Concept #1 Ethereal lighting and atmosphere. Digital fabrication affords the opportunity to create otherworldly formal objects. These can be used as light screens to filter, diffuse, and contain light.

Intricate screens will be used to manipulate light and shadow by wrapping the interior of the sanctuary, casting specific shadows and controlling the atmospheric conditions. Not only will these screens be creating shadow and controlling light, but they will add immense visual interest to the areas they are applied.

Indirect Sunlight

Figure 6.40 Sanctuary Sketch Plan Diagram with Digital Fabrication.

Seen above is a layout option for the sanctuary building, including the digitally fabricated elements and added windows.

Direct Sunlight Screen Filtering Light Figure 6.39 Sanctuary Cross Section Lighting Diagram.

94

Light filters in through large windows at the gable ends of the room and a transparent roof. The light is filtered by the digitally fabricated wall panels that wrap around the entire room in an organic, undulating pattern.

Figure 6.41 Sanctuary Sketch Cross Section Diagram.

Seen left is an attempt at opening the walls up with more glass, and supporting the cmu rows with an added steel beam.

Figure 6.42 Sanctuary Sketch Exploring Materials and Windows.

Seen below is an option exploring with a completely transparent plastic roof where the digital fabrication reaches up into the ceiling to aid in controlling the amount of light entering the space.

Figure 6.43 Sanctuary Sketch Cross Section with foyer and external walkway.

Sketched option for a pattern on the sanctuary roof with opaque and transparent plastics to control the light quality.

Alternate to the wrapped wall system; there would be an intricately woven cloud put in place to filter light from the completely transparent roof.

This would be woven around the existing beams from the previous flat roof.

Figure 6.44 Sanctuary Sketches Exploring Alternatives.

95

Concept #2 Building connections using H2O. Water and spirituality go handin-hand, and what better way to connect these buildings than with reflecting pools and fountains. The buildings envelope a meditation garden, and so the water will function as both an aesthetic agent visually and acoustically. The bubbling, castcading water will provide a white noise to aid in shielding the garden from outside noise pollution. Using pools will serve also to cool the covered areas around the site during the hot summer months, which tend to last the better part of half a year in Baton Rouge.

This concept will be integrated into the digital fabrication that runs throughout the main artery of the site, the covered walkway.

There are two trains of thought concerning this fabrication. First, that it needs to be entirely organic and different from the existing buildings. Second, that it should mimic the existing buildings from the outside perspective, but place the organic on the inside, so that only those walking the path can see the intricacies.

96

Figure 6.45 Sketch Options for Covered Walk and Columns with Light Conditions.

This is an exploration of different column shapes and visual identities for the covered walk. The walk will be expanded to include access points from parking areas.

One idea is that the covered walk will feed into the cooling pools and fountains by creating waterfalls from the roof. The ensuing cascade would become part of the visual screen for the garden and the outdoor cafe seating.

The above sketches show ideas for the exterior profile fitting in with the existing buildings.

The shed roof was decidedly tossed out after a peer review.

This sketch to the right outlines the primary transition spaces between buildings, and potential locations of water features for the site.

Figure 6.46 Sketch Diagram of Exterior Transition Spaces and Water Features.

97

Seen below are sketches of the cafe seating area with a waterfall, cooling pools, and extended walkway roof to protect the area from weather and direct sunlight.

Beneath those drawings can been seen ideas for a privacy wall that will run the length of the garden along Staring Lane.

To the right are sketches of an idea to create water screens using lengths of plastic for the water to trickle down into a pool that would both feed back into the waterfall but also to a series of feeder lines that would water the garden.

Figure 6.47 Sketch Diagram of Tall Building Water Screen and Garden Feeder.

98

Figure 6.48 Sketch Diagram of Cafe Seating and Waterfall and Garden Wall.

Schematic Design Introduction The purpose of schematic design is to take the ideas from pre-schematic design and figure out what works.

There may be elements from each idea or from only one, but they are refined in this stage. The refining process comes in the form of peer review, conversation, sketching ideas in a coffee shop, or from applying ideas directly to the project via drafting or modeling software. (Robinson and Parman 2010)

99

Programming

Design Criteria The list of goals in this phase has been edited and expanded to include an application column.

These applications are specific examples of solutions for the design criteria used to solve 100 the issues presented in this list.

This version of the short and long program contain the adjustments for square footage, spaces, and location of spaces. The childcare area was split up into a large multi-use space and a classroom, allowing for a higher variety of activities to take place. The cafe was moved into the public building first to maintain visibility from Staring Lane and Menlo Drive, and second so that all of the meeting spaces could be clustered together on the other end of the site close to the sanctuary while the public spaces occupy the two-story building. The artist studios changed from a classroom occupancy classification to business, and were also reduced in number from five to four to account for needed storage space for the gallery. The long program was also further refined and expanded upon in all categories to include more detail. The final program can be found in chapter 4.

Bubble Diagrams Assembly: Unconcentrated

Education: Classroom

Assembly: Concentrated

Education: Shop

Assembly: Gallery

Commercial Kitchen

Business

Stage

Sanctuary Classroom Flex Room

Public Building First Floor Transition Room

Commercial Kitchen

Stage Cafe/Library Sanctuary

Cafe Service Area

Figure 6.49 Sanctuary Schematic Design Bubble Diagram.

Figure 6.52 Public Building First Floor Schematic Design Bubble Diagram.

Admin Building

Pastor’s Office Music Minister’s Office

Multi-Purpose Area

Public Building Second Floor

Admin. Area

Figure 6.50 Administration Building Schematic Design Bubble Diagram.

Gallery

Ministry Building

Artist Studios

Figure 6.53 Public Building Second Floor Schematic Design Bubble Diagram.

Shop Waiting Room Ministry Rooms Figure 6.51 Ministry Building Schematic Design Bubble Diagram.

101

Blocking Diagrams Sanctuary

Flex Room

Public Building First Floor

Classroom

Commercial Kitchen

Stage Transition Room Cafe/Library

Sanctuary

Cafe Service Area Figure 6.57 Public Building First Floor Schematic Design Blocking Diagram.

Public Building Second Floor Artist Studio

Figure 6.54 Sanctuary Schematic Design Blocking Diagram.

Admin Building Music Minister’s Office Multi-Purpose Area

Pastor’s Office

Admin.

Area

Artist Studio

Gallery

Artist Studio

Figure 6.55 Administration Building Schematic Design Blocking Diagram.

Ministry Building

Ministry Rooms

102

Artist Studio

Waiting Room

Figure 6.56 Ministry Building Schematic Design Blocking Diagram.

Shop

Figure 6.58 Public Building Second Floor Schematic Design Blocking Diagram.

Site Plan The schematic design site plan includes a revised exterior walkway, specific entry points into the site and further into the interior of the site, the first floor plan of each building, and new parking scheme which includes dedicated cafe parking.

The exterior walkway in its existing condition is covered and paved, but falls short by not connecting the entrance of the sanctuary with the rest of the site when the transition room is locked. This was a covered area at one point in time, but it has since been enclosed and is now cutting off a vital artery of the site. By wrapping this path around the small restroom structure the artery is reconnected, and also offers a new potential entry point for the garden.

The garden now occupies the existing parking area, and consists of several meditation and gathering points, with paths meandering around a lush planted area. There is also a wooden wall now separating Staring Lane from the garden, this is both for acoustic and visual privacy for those occupying the garden.

The circles located on the artery are nodes. These nodes represent entry into both the artery and the inner site, which is now enclosed like a monastic cloister, furthering the idea of a place of meditation and contemplation.

Residence

Residence

Nodes represent entry points into the site artery at two levels, first from the parking areas, and second at the gates entering the cloister-like facility.

Parking Area #1

Neighbor's HomeResidence

The close-up seen on page 119 indicates interior circulation paths, where this larger plan shows exterior circulation paths.

Figure 6.59 Schematic Design Site Plan.

103

Kimbro Drive

Residence

Residence

Parking Area #2

Additional Garden Area

5' - 0"

Storage

Multipurpose Area 15

Pastor's Office 16

Utility Room

MM Office 14

Menlo Drive

Additional Garden Area

utility

Shop 10

Admin Area 2

---

Stage

Commercial Kitchen 11

Santuary 27 1910 SF

Commercial Kitchen Main Entrance

Cafe Seating Area & Book Display

1

2 32

4

18 17 16 1514 13 12

Cafe Storage

Staring Lane 104

5

6

7 8

11 109

Cafe Parking

BY: ISSUE FOR: DATE:

Additional Garden Area

5' - 0"

1642 SF

5' - 0"

Pastor's Office 16 327 SF

Admin Area 2 514 SF

10' - 0"

12' - 7 1/4"

Shop 10 958 SF

5' - 0"

5' - 0"

Utility Room

utility

MM Office 14 196 SF

Storage

Multipurpose Area 15

REVISIONS:

Additional Garden Area

---

365 Staring Lane.

Baton Rouge, LA 70810

Commercial Kitchen 11 416 SF

Atmosphere

Commercial Kitchen Main Entrance

Cafe Seating Area & Book Display

1

18

17

2

16

3

15 14

2

13

4

12

5

6

11

7

THESE DRAWINGS ARE THE PROPERTY OF DANIEL WILLSON AND ARE NOT TO BE REPRODUCED IN WHOLE OR IN PART. THEY ARE ONLY TO BE USED FOR THE PROJECT AND SITE SPECIFICALLY IDENTIFIED HEREIN. 8

SCALES STATED HERON ARE VALID ON THE ORIGINAL DRAWINGS ONLY. CONTRACTOR SHALL CAREFULLY REVIEW ALL DIMENSIONS AND CONDITIONS SHOWN AND REPORT TO THE DESIGNER ANY ERRORS, INCONSISTENCIES, OR OMISSIONS DISCOVERED.

10 9

THESE PLANS WERE PREPARED IN THIS OFFICE UNDER OUR PERSONAL SUPERVISION AND TO THE BEST OF OUR KNOWLEDGE COMPLY WITH STATE AND LOCAL CODES.

Cafe Storage

Cafe Parking

DATE:

2/15/2016 11:32:34 AM

FILE:

C:\Users\weede\Desktop\PANDA\Seminar 2\Revit\Atmosphere_second semester.rvt

SCALE:

3/32" = 1'-0"

DRAWN BY:

Author

CHECKED BY:

Checker

SHEET NAME:

Site/Ground Floor Plan Close Up

SHEET NO.

ID 2.0

Figure 6.60 Schematic Design Site Plan Close-Up.

Design Drawings Concept Organization, connection, flow, and Order. Between the as yet imagined and the fully formed thought ready for application lies the act of creating this thing called art. (Lobell 1979) Through arranging each building’s activities around a purpose the site becomes organized. Rerouting the site artery around the interior of the site and extending it to the site access points connection is achieved. Opening up the interior of each building with lower levels of visual clutter, transparent materials to open site lines and maximize views creates flow. Order is more difficult, because according to Louis Kahn it simply is, and is undefinable.

(Lobell 1979) However, in an attempt at drawing from Order and sculpting shadows, digitally fabricated elements will enhance the sanctuary, the site, and the meditation garden by creating a sense of inhabited spirituality. (Renn 2014)

105

Sanctuary Plan

Flex Room 107

Childcare 108

Utility 106

Boy's Restroom 109

Girl's Restroom 110

10' Stage 101a

Backstage 101b

Utility 105

Transition Room 102 Women's Restroom 104

---

Men's Restroom 103

10'

25'

Sanctuary 101

100 33 ---

106

Figure 6.61 Sanctuary Plan.

Sanctuary Longitudinal Section 5' - 0"

10' - 0"

20' - 0"

Figure 6.62 Sanctuary Longitudinal Section.

Sanctuary Cross Section

5' - 0"

10' - 0"

20' - 0"

Figure 6.63 Sanctuary Cross Section.

107

-

10'

Figure 6.64 Administration Building Plan.

---

25'

Multipurpose Area 206

Men's Restroom 205

5' - 0"

108 Pastor's Office 203

Women's Restroom 204

Storage 202

---

-

Admin Area 200

Music Minister's Office 201

Administration Building Plan

Administration Building Longitudinal Section

25' 10' Figure 6.65 Administration Building Longitudinal Section.

Administration Building Cross Section

25' 10' Figure 6.66 Administration Building Cross Section.

109

10'

5' - 0"

Figure 6.67 Ministry Building Plan.

---

-

110

Min. Room 304

Min. Room 305

25'

Min. Room 303

10' - 0"

Min. Room 306

Min. Room 302

Min. Room 307

---

Waiting Room 301

12' - 7 1/4"

5' - 0"

5' - 0"

Men's Restroom 310

Women's Restroom 309

Utility 308

21

22

23

24

20

1 2

26

10 9

Shop 11 300

3

19

18

13

4

17

16

7

8

5

15

14

12

6

Ministry Building Plan

Ministry Building Longitudinal Section

25' 10' Figure 6.68 Ministry Building Longitudinal Section.

Ministry Building Cross Section

25' 10' Figure 6.69 Ministry Building Cross Section.

111

Public Building First Floor Plan

Men's Restroom 405

Women's Restroom 404

Commercial Kitchen 403

Cafe Seating/Stacks 400 ---

Cafe Service Area 401

1

2

3

17

16

15

14

Cafe Storage 402

10'

112

Figure 6.70 Public Building First Floor Plan.

4

5

6

7 8

18

25'

2

---

13

12

11

10 9

Public Building Second Floor Plan

DN

Studio #1 22

Studio #2 24 164 SF Gallery 25 1762 SF

Studio #3 20 164 SF

Storage 21 164 SF

Figure 6.71 Public Building Second Floor Plan.

Studio #4 23 164 SF

113

Public Building Longitudinal Section

25' 10' Figure 6.72 Public Building Longitudinal Section.

Public Building Cross Section

25' 10' Figure 6.73 Public Building Cross Section.

114

Exterior Elevation - View from Menlo Drive

5' - 0"

10' - 0"

20' - 0"

Figure 6.74 Exterior Elevation - View from Menlo Drive.

Exterior Elevation - View from Garden

5' - 0"

10' - 0"

20' - 0"

Figure 6.75 Exterior Elevation - View from Garden.

115

Design Development Introduction The purpose of the design development phase is to develope one idea selected from the schematic design phase. During this portion of design it is imperative that the design concept is considered in all areas, from the materials and furniture to the placement of plants and implimentation of larger design elements. This solution is what communicates the intent of the work, to the client, the public, and to other designers. What makes this project special? Emphasize that. Integrate that focus and show why it is different.

(Robinson and Parman 2010)

Design Solution Design Drawings

Site Axon Drawings

Concept Organization, connection, flow, and Order. Between the as yet imagined and the fully formed thought ready for application lies the act of creating this thing called art.

(Lobell 1979)

116

Through arranging each building’s activities around a purpose the site becomes organized. Rerouting the site artery around the interior of the site and extending it to the site access points connection is achieved. Opening up the interior of each building with lower levels of visual clutter, transparent materials to open site lines and maximize views creates flow. Order is more difficult, because according to Louis Kahn it simply is, and is undefinable. (Lobell 1979) However, in an attempt at drawing from Order and sculpting shadows, digitally fabricated elements will enhance the sanctuary, the site, and the meditation garden by creating a sense of inhabited spirituality. (Renn 2014)

Figure 6.76 Site Axon Drawing 01.

Figure 677 Site Axon Drawing 02.

Site Plan These new site plans feature the new meditation garden, digital fabrications for the site artery, other site plantings, surrounding residences, and new areas for parking.

Residence

Residence

Residence

Figure 6.78 Design Development Site Plan.

117

Kimbro Drive

Residence

Menlo Drive

Residence

118

Staring Lane

Site Plan with First Floor This plan shows the first floor of each building.

Figure 6.79 Design Development Site Plan with First Floor.

119

120

Sanctuary Floor Plan

Figure 6.80 Design Development Sanctuary Floor Plan.

121

122

Figure 6.81 Design Development Administration Building Plan

10'

25'

Multipurpose Area 206

5' - 0"

Men's Restroom 205

Pastor's Office 203

Women's Restroom 204

Storage 202

Admin Area 200

Music Minister's Office 201

Administration Building Plan

Figure 6.82 Design Development Ministry Building Floor Plan.

10'

5' - 0"

Min. Room 304

Min. Room 305

25'

Min. Room 303

10' - 0"

Min. Room 306

Min. Room 302

Min. Room 307

Waiting Room 301

12' - 7 1/4"

5' - 0"

Men's Restroom 310

Women's Restroom 309

Utility 308

Shop 300

Ministry Building Plan

123

5' - 0"

Women's Restroom 404

Commercial Kitchen 403

10'

Men's Restroom 405

25'

Public Building First Floor Plan

Cafe Seating/Stacks 400

Cafe Service Area 401

Cafe Storage 402

124

Figure 6.83 Design Development Public Building First Floor Plan.

Public Building Second Floor Plan

25'

Studio #1 1401

Gallery 1400

Women's Restroom 1403

10'

Studio #2 1402

Men's Restroom 1404

Studio #3 1405

Studio #4 1406

Storage 1407

Figure 6.84 Design Development Public Building Second Floor Plan.

125

Sanctuary Floor Finish Plan

25' 10'

10'

126

Figure 6.85 Design Development Sanctuary Floor Finish Plan.

10'

25'

Administration Building Floor Finish Plan

Figure 6.86 Design Development Administration Building Floor Finish Plan.

127

16 26

10'

25'

21

22

23

24

1

20

2

10

9

Shop 11 300

3

19

4

13

18

17

5

8

7

15

12

14

6

Ministry Building Floor Finish Plan

128

Figure 6.87 Design Development Ministry Building Floor Finish Plan.

10'

25'

Public Building First Floor Finish Plan

Figure 6.88 Design Development Public Building First Floor Finish Plan.

129

10'

25'

Public Building Second Floor Finish Plan

130

Figure 6.89 Design Development Public Building Second Floor Finish Plan.

Enlarged Toilet Plan 1' - 0"

1' - 6"

0' - 6"

3' - 6"

5' - 3 1/16"

3' - 0"

3' - 2"

3' - 4"

ø 5' -

0"

ø 5' -

0"

---

1' - 6"

2' - 6"

2' - 9 1/2"

1' - 5"

1' - 6"

1' - 5"

1' - 0"

4' - 0"

Figure 6.90 Design Development Enlarged Toilet Plan.

Enlarged Toilet Section

2' - 10"

2' - 6"

2' - 6 1/2"

3' - 4 1/2"

2' - 10"

1' - 6"

3' - 4"

Figure 6.91 Design Development Enlarged Toilet Section.

Enlarged Stair Plan

Enlarged Stair Section

-

4' - 9 1/32"

---

4' - 9 1/2"

17' - 0"

3' - 0"

3' - 1"

2' - 9 1/2"

4' - 5 21/32"

0' - 5"

3' - 8"

0' - 11 1/2"

Figure 6.92 Design Development Enlarged Stair Plan.

Figure 6.93 Design Development Enlarged Stair Section.

3' - 3 3/4"

0' - 7 3/4"

4' - 0"

131

Sanctuary RCP

132

Figure 6.94 Design Development Sanctuary RCP.

Administration Building RCP

Figure 6.95 Design Development Administration Building RCP.

133

Ministry Building RCP

134

Figure 6.96 Design Development Ministry Building RCP.

Public Building First Floor RCP

Figure 6.97 Design Development Public Building First Floor RCP.

135

Public Building Second Floor RCP

136

Figure 6.98 Design Development Public Building Second Floor RCP.

Sections Sanctuary Cross Section 25' 10'

Figure 6.99 Design Development Sanctuary Cross Section.

Sanctuary Cross Section Rendered 25' 10'

Figure 6.100 Design Development Sanctuary Cross Section Rendered.

Sanctuary Longitudinal Section 25' 10'

Figure 6.101Design Development Sanctuary Longitudinal Section.

Sanctuary Longitudinal Section Rendered 25' 10'

Figure 6.102 Design Development Sanctuary Longitudinal Section Rendered.

137

Sections

138

25' 10'

Figure 6.103 Design Development North Elevation.

Sanctuary

Remote Distance of Exits Common Path of Egress Travel Exit Access Travel Distance Total Travel Distance

45’ - 0”

Remote Distance of Exits Location of Exits

Figure 6.104 Life Safety Diagram - Sanctuary.

139

Codes Work Sheet [IBC 2012] Occupancy Classification

[302.1]

Primary: Secondary:

Assembly Group A-3 Education Group E

Automatic Sprinnkler System

[903.3]

Sprinkled: Unsprinkled:

Yes No

Occupancy Load

Occupancy Load Factor

Occupancy Load Primary:

Area Per Floor For Each Floor Level

Total floor square footage if 1 primary gross use.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

7 net/person and 15 net/person Secondary: 20 net/person

Floor 1 Floor 2 Floor 3 Floor 4

Primary: 4068 Secondary: 487

Occpancy Load Per Floor

Total floor square footage ÷ occupancy load factor.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

Occpancy Load Total

Per Floor: 440

Total Load: 440

Exit Width

[1005.1, 1005.3.1]

Total Width in Inches: 88

Number of Exits

[1015.1, 1.21.1]

Number of Exits: 2

See for specific uses.

Simplified rule: 2 if OL = 50-499

3 if OL = 500-999

4 if OL = 1000 or more

Width of Each Exit

Minimum Stair Width: 44

[1004.1, NFPA 7.3.12]

OL x capacity factor = width in inches.

Calculate by multiplying the occupant load served by such stairway by a means of egress capacity factor of 0.3 inch per occupant. [0.2 inch per occupant in sprinkled building.]

[100.1] Total Width in inches ÷ number of exits.

Simplified rule: Minimum Width 44”

[36” when OL of all floor < 50]

Remote Distance of Exits

Minimum Remote Distance of Exits: 43’ - 3”

[1015.1] See for specific uses.

Simplified rule: Minimum Remote Distance

Measure maximum overall diagonal dimension of the building,

Exits should be located a minimum of:

Unsprinkled: one-half of the length of the maximum overall diagonal dimension.

Sprnkled: one-third of the length of the maximum overall diagonal dimension.

Common Path of Egress Travel

[1014.3] See for specific uses.

Maximum Common Path Distance: 75ft

Exit Access Travel Distance

Maximum Travel Distance: 250ft

[1016.2] See for specific uses.

Dead End Corridors

Maximum Dead End Corridor: 20ft

[1018.4] See for exceptions.

Simplified rule: There should be no dead ends in corridors

more than 20 feet in length.

Minimum Corridor and Exit Passageway Width

[1005.3.2] Calculate by multiplying the occupant load served

Minimum Corridor Width: 44in Minimum Exit Passageway Width: 66in

140

by egress components other than stairways by a means of egress capacity factor of 0.2 inch per occupant. [.015 inch per occupant in sprinkled bldg.]

[1018.2 For Corridors see for specific uses.

Simplified rule: Minimum 44”. [36” when OL of all floor < 50]

Administration Building

Remote Distance of Exits Common Path of Egress Travel Exit Access Travel Distance Total Travel Distance

62â&#x20AC;&#x2122; - 10â&#x20AC;?

Remote Distance of Exits

10'

97' - 0"

25'

34' - 8"

1 04

" '-0

29'

0"

33' - 10"

Location of Exits

Figure 6.105 Life Safety Diagram - Administration Building.

141

Codes Work Sheet [IBC 2012] Occupancy Classification

[302.1]

Primary: Secondary:

Business Group B Assembly Group A-2

Automatic Sprinnkler System

[903.3]

Sprinkled: Unsprinkled:

Yes No

Occupancy Load

Occupancy Load Factor

Occupancy Load Primary:

Area Per Floor For Each Floor Level

Total floor square footage if 1 primary gross use.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

100 gross/person Secondary: 15 net/person

Floor 1 Floor 2

Primary: 1047 Secondary: 1642

Occpancy Load Per Floor

Total floor square footage ÷ occupancy load factor.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

Occpancy Load Total

Per Floor: 109

Total Load: 109

Exit Width

[1005.1, 1005.3.1]

Total Width in Inches: 2.8

Number of Exits

[1015.1, 1.21.1]

Number of Exits: 2

See for specific uses.

Simplified rule: 2 if OL = 50-499

3 if OL = 500-999

4 if OL = 1000 or more

Width of Each Exit

Minimum Stair Width: 44

[1004.1, NFPA 7.3.12]

OL x capacity factor = width in inches.

Calculate by multiplying the occupant load served by such stairway by a means of egress capacity factor of 0.3 inch per occupant. [0.2 inch per occupant in sprinkled building.]

[100.1] Total Width in inches ÷ number of exits.

Simplified rule: Minimum Width 44”

[36” when OL of all floor < 50]

Remote Distance of Exits

Minimum Remote Distance of Exits: 34’ - 8”

[1015.1] See for specific uses.

Simplified rule: Minimum Remote Distance

Measure maximum overall diagonal dimension of the building,

Exits should be located a minimum of:

Unsprinkled: one-half of the length of the maximum overall diagonal dimension.

Sprnkled: one-third of the length of the maximum overall diagonal dimension.

Common Path of Egress Travel

[1014.3] See for specific uses.

Maximum Common Path Distance: 75ft

Exit Access Travel Distance

Maximum Travel Distance: 250ft

[1016.2] See for specific uses.

Dead End Corridors

Maximum Dead End Corridor: 20ft

[1018.4] See for exceptions.

Simplified rule: There should be no dead ends in corridors

more than 20 feet in length.

Minimum Corridor and Exit Passageway Width

[1005.3.2] Calculate by multiplying the occupant load served

Minimum Corridor Width: 44in Minimum Exit Passageway Width: 44in

142

by egress components other than stairways by a means of egress capacity factor of 0.2 inch per occupant. [.015 inch per occupant in sprinkled bldg.]

[1018.2 For Corridors see for specific uses.

Simplified rule: Minimum 44”. [36” when OL of all floor < 50]

Floor 3

Floor 4

Ministry Building

Remote Distance of Exits Common Path of Egress Travel Exit Access Travel Distance Total Travel Distance

69â&#x20AC;&#x2122; - 10â&#x20AC;?

Remote Distance of Exits

" '-0

10'

25'

53' - 7"

34' - 8"

74' - 2"

1 04

16 '-

3"

'40

0"

Location of Exits

Figure 6.106 Life Safety Diagram - Ministry Building.

143

Codes Work Sheet [IBC 2012] Occupancy Classification

[302.1]

Primary: Secondary:

Business Group B N/A

Automatic Sprinnkler System

[903.3]

Sprinkled: Unsprinkled:

Yes No

Occupancy Load

Occupancy Load Factor

Occupancy Load Primary:

20 net/person 15 net/person 50 net/person Floor 1 Floor 2 660 281 700

Area Per Floor For Each Floor Level

Total floor square footage if 1 primary gross use.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

Secondary: Tirtiary:

Primary: Secondary: Tirtiary:

Occpancy Load Per Floor

Total floor square footage ÷ occupancy load factor.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

Occpancy Load Total

Per Floor: 65

Total Load: 65

Exit Width

[1005.1, 1005.3.1]

Total Width in Inches: 13

Number of Exits

[1015.1, 1.21.1]

Number of Exits: 2

See for specific uses.

Simplified rule: 2 if OL = 50-499

3 if OL = 500-999

4 if OL = 1000 or more

Width of Each Exit

Minimum Stair Width: 44

[1004.1, NFPA 7.3.12]

OL x capacity factor = width in inches.

Calculate by multiplying the occupant load served by such stairway by a means of egress capacity factor of 0.3 inch per occupant. [0.2 inch per occupant in sprinkled building.]

[100.1] Total Width in inches ÷ number of exits.

Simplified rule: Minimum Width 44”

[36” when OL of all floor < 50]

Remote Distance of Exits

Minimum Remote Distance of Exits: 34’ - 8”

[1015.1] See for specific uses.

Simplified rule: Minimum Remote Distance

Measure maximum overall diagonal dimension of the building,

Exits should be located a minimum of:

Unsprinkled: one-half of the length of the maximum overall diagonal dimension.

Sprnkled: one-third of the length of the maximum overall diagonal dimension.

Common Path of Egress Travel

[1014.3] See for specific uses.

Maximum Common Path Distance: 75ft

Exit Access Travel Distance

Maximum Travel Distance: 250ft

[1016.2] See for specific uses.

Dead End Corridors

Maximum Dead End Corridor: 20ft

[1018.4] See for exceptions.

Simplified rule: There should be no dead ends in corridors

more than 20 feet in length.

Minimum Corridor and Exit Passageway Width

[1005.3.2] Calculate by multiplying the occupant load served

Minimum Corridor Width: 44in Minimum Exit Passageway Width: 44in

144

by egress components other than stairways by a means of egress capacity factor of 0.2 inch per occupant. [.015 inch per occupant in sprinkled bldg.]

[1018.2 For Corridors see for specific uses.

Simplified rule: Minimum 44”. [36” when OL of all floor < 50]

Floor 3

Floor 4

Public Building First Floor

Remote Distance of Exits Common Path of Egress Travel Exit Access Travel Distance Total Travel Distance

85’ - 7”

Remote Distance of Exits

58' 9"

31' - 0"

Location of Exits

84 '-

2"

54' - 7"

- 8" 50'

28' - 0" 41' - 0"

25' 10'

Figure 6.107 Life Safety Diagram - Public Building First Floor.

145

84 '-

2"

46' - 9"

Public Building Second Floor

72' - 6"

28' - 0"

' 32

" -2

25' 146

10'

Figure 6.108 Life Safety Diagram - Public Building Second Floor.

20 '-

0"

Codes Work Sheet [IBC 2012] Occupancy Classification

[302.1]

Primary: Secondary:

Assembly Group A-2 Business Group B

Automatic Sprinnkler System

[903.3]

Sprinkled: Unsprinkled:

Yes No

Occupancy Load

Occupancy Load Factor

Occupancy Load Primary:

15 net/person and 30 net/person 100 gross/person 200 gross/person Floor 1 Floor 2 Floor 3 Floor 4 1436 1762 616 400 416

Area Per Floor For Each Floor Level

Total floor square footage if 1 primary gross use.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

Secondary: Tirtiary:

Primary: Secondary: Tirtiary:

Occpancy Load Per Floor

Total floor square footage ÷ occupancy load factor.

If multiple uses divide sq. ft. of each use by its load

factor and total all uses.

Occpancy Load Total

Per Floor: 103

Total Load: 165

62

Exit Width

[1005.1, 1005.3.1]

Total Width in Inches: 20.6

12.4

Number of Exits

[1015.1, 1.21.1]

Number of Exits:

See for specific uses.

Simplified rule: 2 if OL = 50-499

3 if OL = 500-999

4 if OL = 1000 or more

Width of Each Exit

Minimum Stair Width: 44

[1004.1, NFPA 7.3.12]

OL x capacity factor = width in inches.

Calculate by multiplying the occupant load served by such stairway by a means of egress capacity factor of 0.3 inch per occupant. [0.2 inch per occupant in sprinkled building.]

[100.1] Total Width in inches ÷ number of exits.

Simplified rule: Minimum Width 44”

[36” when OL of all floor < 50]

Remote Distance of Exits

Minimum Remote Distance of Exits:

[1015.1] See for specific uses.

Simplified rule: Minimum Remote Distance

Measure maximum overall diagonal dimension of the building,

Exits should be located a minimum of:

Unsprinkled: one-half of the length of the maximum overall diagonal dimension.

Sprnkled: one-third of the length of the maximum overall diagonal dimension.

2

2

28ft

44

28ft

Common Path of Egress Travel

[1014.3] See for specific uses.

Maximum Common Path Distance: 75ft

Exit Access Travel Distance

Maximum Travel Distance: 250ft

[1016.2] See for specific uses.

Dead End Corridors

Maximum Dead End Corridor: 20ft

[1018.4] See for exceptions.

Simplified rule: There should be no dead ends in corridors

more than 20 feet in length.

Minimum Corridor and Exit Passageway Width

[1005.3.2] Calculate by multiplying the occupant load served

Minimum Corridor Width: Minimum Exit Passageway Width:

by egress components other than stairways by a means of egress capacity factor of 0.2 inch per occupant. [.15 inch per occupant in sprinkled bldg.]

[1018.2 For Corridors see for specific uses.

Simplified rule: Minimum 44”. [36” when OL of all floor < 50]

44in

44in

44in

44in

147

148

Item Name:

Arcade White

Item Name:

White Truffle

Manufacturer:

Sherwin Williams

Manufacturer:

Sherwin Williams

Catalogue # or Series:

SW 7100

Catalogue # or Series:

SW 6029

Description:

ProMar 200 Zero VOC Interior Latex

Description:

ProMar 200 Zero VOC Interior Latex

Sheen:

Eg-Shel

Sheen:

Eg-Shel

Base:

Extra White

Base:

Extra White

Note:

Hex Value: #f3eee7

Note:

Hex Value: #d7c8c2

Item Name:

Alabaster

Item Name:

Roycroft Adobe

Manufacturer:

Sherwin Williams

Manufacturer:

Sherwin Williams

Catalogue # or Series:

SW 7008

Catalogue # or Series:

SW 0040

Description:

ProMar Interior Latex Ceiling Paint

Description:

ProMar 200 Zero VOC Interior Latex

Sheen:

Flat

Sheen:

Eg-Shel

Base:

White

Base:

Extra White

Note:

Hex Value: #edeae0

Note:

Hex Value: #a76251

Item Name:

Tradewind

Item Name:

Arcade White

Manufacturer:

Sherwin Williams

Manufacturer:

Sherwin Williams

Catalogue # or Series:

SW 6218

Catalogue # or Series:

SW 7100

Description:

ProMar 200 Zero VOC Interior Latex

Description:

ProClassic Alkyd Interior Enamel

Sheen:

Eg-Shel

Sheen:

Semi-Gloss

Base:

Extra White

Base:

Deep Base

Note:

Hex Value: #c2cfcf

Note:

Hex Value: #f3eee7

Item Name:

Greek Villa

Item Name:

White Oak

Manufacturer:

Sherwin Williams

Manufacturer:

A Forest Somewhere

Catalogue # or Series:

SW 7551

Description:

Description:

ProMar 200 Zero VOC Interior Latex

Finish:

White Oak CNC Milled Plywood White Washed

Sheen:

Satin

Dimensions:

4’ x 8’ Sheets

Base:

Extra White

Note:

To be used in all digital fabrication.

Note:

Hex Value: #f0ece2 149

150

Item Name:

Fly Bench

Manufacturer:

Bernhardt Design

Catalogue # or Series:

4670, 4672 Fly

Finish:

Walnut 839

Dimensions:

w60” d207/8” h161/4” Seat Height: 161/4”

Description:

Bench Seat with Stainless Steel Legs

Notes:

These benches are located in the sanctuary.

To be used in all digital fabrication.

Item Name:

Avondale Pedestal Bench

Manufacturer:

SiteScapes Inc.

Catalogue # or Series:

AV1-1030

Finish:

Ipe Hardwood

Dimensions:

w72” d34” Seat Height: 26”

Description:

Backed Bench, Embedded Mount

Notes:

These benches are located in the garden. 320#

Item Name:

Folding Glass Wall

Manufacturer:

NanaWall

Catalogue # or Series:

SL60

Finish:

Ipe Hardwood

Dimensions:

Width: 165” Height: 96”

Description:

A thermally broken aluminum framed folding panel system.

Notes:

Single-handed operation and custom sizes. Meets or exceeds air, water, structural and forced entry tests for weather, durability and security.

Item Name: Manufacturer:

ios Altair Louver Window System with Stronghold Breezway

Materials:

Aluminum, Glass

Finishes:

Clear Anodized Aluminum

Dimensions:

Custom Sizes, 4” Glass Blades

Description:

Louvered window system with glass blades.

Notes:

Includes an integrated insect and security screen housing that allows easy fitting of screens to the frame.

Item Name:

Caper Stacking Chair

Manufacturer:

Herman Miller

Finishes:

Frame: Metalic Silver Seat and Back: Studio White Plug: Fog Seat Material: Silver Grey

Dimensions:

Seat Height: 18” Seat Depth: 18.5” Width: 24.25” Height: 32”

Description:

Stackable Chair

Notes:

No arms, hard floor glides or carpet glides.

151

152

Item Name:

audio Chair

Manufacturer:

Bernhardt Design

Catalogue # or Series:

1121W

Finishes:

White

Dimensions:

w211/8” d213/8” h301/2” Seat Height: 173/8”

Item Name:

Mirra 2 Task Chair

Description:

Molded Plastic Guest Chair

Manufacturer:

Herman Miller

Notes:

Finishes:

Base: Fog Frame: Studio White Back: Graphite Armpad: Black Seat: Graphite Back Black

Stackable, to be used in the cafe area.

Dimensions:

Seat Height: 16” - 20.5” Seat Depth: 18.5” Width: 30” Height: 38.75” - 42.75”

Description:

Task Chair

Notes:

Fully adjustable with lumbar support and tilt control, Butteryfly Suspension back, Aireweave 2 Suspension Seat, hard floor/carpet casters with quiet roll technology.

Item Name:

vue Table

Manufacturer:

Bernhardt Design

Catalogue # or Series:

SKU: Top: YBW, Base: FC8

Finishes:

Oak 837

Dimensions:

Top: 32” Square Top Edge: Flat: 11/4” Table Height: h281/4”

Description:

Multi-Purpose Table

Notes:

Folding Base with Latch Mechanism.

Item Name:

code Sofa

Manufacturer:

Bernhardt Design

Catalogue # or Series:

2105

Upholstery:

Luna Textiles Acolyte: Sediment: ACO-5439

Dimensions:

w60” d291/2” h295/8” Seat Height: 163/8” Fabric: 9 yds.

Description:

Lounge Sofa, Upholstered.

Notes:

Level I and GREENGUARD Certified.

Item Name:

argon Bench

Manufacturer:

Bernhardt Design

Catalogue # or Series:

5823

Finishes:

Walnut Wood, Stainless Steel.

Upholstery:

Luna Textiles Acolyte: Sheaf: ACO-5432

Dimensions:

w60” d203/4” h 171/4” Seat Height: 171/4” Fabric: 2.1 yds.

Description:

Bench, Upholstered Cusion.

Notes:

To be used in the waiting room.

153

Item Name:

apel Bench

Manufacturer:

Bernhardt Design

Catalogue # or Series:

5850

Dimensions:

Width 221/4” Round Seat Height: 171/2” Fabric: 1.6 yds.

Catalogue # or Series:

5851

Dimensions:

Width 411/4” Round Seat Height: 161/2” Fabric: 3.3 yds.

Upholstery:

Luna Textiles Acolyte: Archipelago: ACO-5432

Item Name:

Spatial Tile

Manufacturer:

Mohawk Group: Bigelow

Catalogue # or Series:

Bending Earth: Granite 7948

Dimensions:

24” x 24”

Installation Method:

Quarter Turn

Description:

Carpet Tile

Notes:

To be installed in the flex room and classroom.

Item Name:

Speed Limit Carpet Tile

Manufacturer:

Mohawk Group: Bigelow

Catalogue # or Series:

Scenic Journey: Peninsula 7989

Dimensions:

24” x 24”

Installation Method:

Brick Ashlar

Notes:

To be installed in the Sanctuary on the stage.

Thread Color: White 7LA

154

Description:

Bench, Saddle Stitched Upholstery

Notes:

To be used in the waiting room, cafe, and admin area.

Item Name:

Hustle and Bustle

Item Name:

Driftscape White

Manufacturer:

Mohawk Group: Lees

Manufacturer:

Armstrong Flooring

Catalogue # or Series:

On The Scene: Mod 937

Catalogue # or Series:

Performance Plus: ESP5210

Dimensions:

24” x 24”

Dimensions:

Installation Method:

Quarter Turn

Description:

Carpet Tile

Planks: 5” x Varying Lengths: 10” - 48” x 3/8” Armstrong Lifetime Finish, Medium Gloss.

Notes:

To be installed in the Pastor’s Office, Music Minister’s Office, and admin area storage room.

Description:

Birch Wood Flooring.

Notes:

See floor finish plan for location.

Item Name:

Upper Ferry

Item Name:

Blue Ridge

Manufacturer:

American Olean

Manufacturer:

Armstrong Flooring

Catalogue # or Series:

Historic Bridge: HB01

Catalogue # or Series:

Dimensions:

Planks: 57/8” x 357/16” x 5/16”

Heritage Classics Collection: HCM411BD

Description:

Glazed Porcelain Tile

Grout:

Manufacturer: Laticrete Product: Plasma Color: Antique White

Dimensions: Finish:

Planks: 5” x Varying Lengths: 10” - 48” x 3/8” Permion Urethane, Low Gloss.

Description:

Maple Wood Flooring.

Notes:

To be installed in the gallery.

Notes:

To be installed in all restrooms. Grout does not require sealing.

Finish:

155

Focus Integration The purpose of this focus is to enhance the spiritual climate of the site and, more specifically, the sanctuary with elements meant to inspire and evoke a sense of wonder. Digitally fabricated elements are the mode of this focus in order to (1) increase visual detail and texture, (2) shape spaces through the controlled casting of shadows, (3) create a more cohesive site through exterior transition areas, and (4) to “evoke silence, secret or drama with light and shadow – to create a ‘treasury of shadows,’ a ‘Sanctuary of Art.’ ” (Schielke 2013)

Figure 6.109 Focus Process.

Figure 6.110 Focus Process.

156

Figure 6.111 Focus Process.

The question asked at the beginning of this process was: What elements in a place contribute to an atmosphere of spirituality?

There was no list of things out there that made up the perfect spiritual place, natural or manmade. What was discovered, however, is that people make up half of the equation in a very concrete way. Spirituality is an abstract concept, and because of this is difficult to pin down as one set list of things that is the same for everyone. The other half of that equation is made up of material and nonmaterial, light and shadow. The physical world is spent Light, and the act of finding Order is spiritual one. (Lobell 1979)

Figure 6.112 Focus Process.

The elements created mimic water by taking an organic, wave-like form.

These fabrications filter daylight as it enters the sanctuary, but also hold the light between itself and the structure, which is itself transparent.

The same idea can be applied to the exterior walkway, the wave forms capture light and dispurse it in frayed patterns below.

The focus truly became the focal point of the project, by shielding the interior from harsh sunlight there was opportunity to create large, louvered openings in many areas. This allowed sitelines to the meditation garden, but also expanded the visual range of every building. The sanctuary roof was replaced with polycarbonate plastic, utilizing the soaring verticality of the screens to draw attention to the wide open sky above.

Figure 6.113 Focus Process.

157

Figure 6.114 Focus Process.

Figure 6.115 Focus Process.

Figure 6.116 Focus Process.

158

Figure 6.117 Focus Process.

Figure 6.118 Focus Process.

Figure 6.119 Focus Process.

159

Figure 6.120 Focus Process.

Figure 6.121 Focus Process.

160

Figure 6.122 Sanctuary Render From Stage.

161

162

Figure 6.123 Sanctuary Render From Stage.

Figure 6.124 Garden Render From Cafe.

163

164

Figure 6.125 Ministry Building Render From Entrance.

Figure 6.126 Enlarged Site Plan.

165

166

CHAPTER SEVEN

CONCLUSION

“Imagination is the only weapon in the war against reality.”

- Lewis Carroll, Alice in Wonderland

167

The question that started this crazy process was born from a natural curiosity about the world, and the spiritual places contained therein.

What elements in a place contribute to an atmosphere of spirituality?

Humans are inherently spiritual beings, and as such we place significance on certain places that help us connect to something outside ourselves, whether found in nature or a bustling, manmade metropolis. The elements in these special places, such as light, natural materials and even geography, can be harnessed to create an atmosphere for the purpose of making a spiritual connection. Color, light, acoustics, materials, purpose, intentionality, are all elements necessary to a place of spiritual impact, as is the need to think about the physical representation to be used as a manifestation of atmosphere, like mist. Intention to create something very specific is a common thread that was unexpected in all of this. Creating harmony in using old (natural) and new (synthetic) materials opens a world of opportunities in generating atmospheric conditions. Places with such impact are like a good novel or film: the audience has to willingly suspend their disbelief just long enough to allow themselves to be affected. (Ferri 2007, 12) Renovating sacred spaces is like creating art; the senses must be engaged by designing an experience to match the function of the place. Providing moments that seep into their subconscious and overwhelm them is the goal. Places of spiritual significance deserve an atmosphere that will bring people to a place of faith, hope, and connection.

The problem was that many Protestant churches lean toward a utilitarian aesthetic in their places of worship, and that was acting as a deterent in making a spiritual connection, or having a spiritual moment. (Ren 2014) New Life Church was one such Protestant church. The solution was to strip it down to its bare bones, expose the raw building, and open it up. By organizing the programming, creating visual openness, orienting the site inward in a cloister-like fashion focusing on a prayer garden, and enhancing the site and sanctuary with digitally fabricated elements, New Life Church has departed from its utilitarian roots.

There exists a kind of minimalism that does not address mass specifically. This kind of minimalism exists in order to capture a â&#x20AC;&#x153;spiritual moment.â&#x20AC;? It speaks volumes about the space between the old and new and is a perspective that allows for the use of both in harmony. (Young 1996)

168

The most valuable lesson learned during this whole experience has been figuring out how to manage time and work on different parts of the project at once.

The purpose of this investigation into the atmosphere of place is to satisfy an ongoing curiosity about spirituality as it relates to place. Atmosphere is decidedly the word to describe the environment surrounding sacred places. The goal in studying atmosphere is to create places that draw people in and transport them, if only for a moment, to an almost mystical state of being for the purpose of growth and greater understanding.

It may seem like a strange solution considering the goal is incorporeal in nature, but the physical materials and lighting play such a huge role in the atmosphere of a place.

Think about how an old Irish castle feels as opposed to a modern office building. The natural stone and daylighting being filtered through stained glass versus acoustic ceiling tiles, cubicles, and fluorescent lighting. Understanding the specific purpose of the space, whether it be for corporate worship or private meditation, drive the questions that will answer how the atmosphere of a place will be designed.

The goals I would like to see accomplished in this thesis include: - Expanding my knowledge of atmospheric design.

- Focusing on light and how it interacts with materials to create memorable spaces.

- Learning how to develop research-based design solutions to important issues.

- To attain a greater understanding of the programming phase of a design project.

These goals were written at the beginning of this journey.

Here at the end it can be said that these goals were without question accomplished.

Reference List Advameg, Inc. 2015. Baton Rouge, Louisiana Demographic Data. http://www.city-data.com/city/Baton-Rouge-Louisiana.html arcgis Online. 2015. Baton Rouge City Map. http://dwills1.maps.arcgis.com/home/webmap/viewer.html?webmap=d4e34e3a649f49ecad2bf7fa2a27df7c Cantwell, Christine. (2013). “Phenomenology and the Senses in Interiors.” In Graeme Brooker & Lois Weinthal (Eds.), The Handbook of Interior Architecture and Design (pp. 544-558). New York, NY: Bloomsbury Academic.

CPPC. 2010. Zoning Map of East Baton Rouge Parish. eBRGIS Program. https://brgov.com/dept/planning/pdf/ZoningThematicMap.pdf Ferri, J. Anthony. “The Willing Suspension of Disbelief.” In Willing Suspension of Disbelief: Poetic Faith in Film. pp. 1-12. Lanham, MD: Lexington Books, 2007.

Kong, Lily. 1993. Negotiating Conceptions of ‘Sacred Space’: A Case Study of Religious Buildings in Singapore. Transactions of the Institute of British Geographers, 18(3), pp. 342-358.

Kumler, Aden and Lakey, R. Christopher. 2012. The Material Sense of Things in the Middle Ages. Gesta, 51(1), pp. 1-17.

Lijn, Liliane. 1998. Body and Soul: Interactions between the Material and the Immaterial in Sculpture. Leonardo, 31(1), pp. 5-12.

Preston, Julieanna. (2008). In the Mi(d)st Of. Architectural Design, 78(3), pp. 6-11.

Reiach and Hall. 2007. “The Pier Arts Centre.” Accessed October 20, 2015. http://www.archdaily.com/118010/the-pier-arts-centre-reiach-and-hall-architects Robinson, B. Lily and Alexandra T. Parman. 2010. Research-Inspired Design: A Step-by-Step Guide for Interior Designers. New York: Fairchild Books.

Snyder, J. Karl Jr. 1985. Appraisal of Laurel Lea Baptist Church Property. Baton Rouge, LA: Karl J. Snyder, S.R.E.A., R.M. Strickland, Carol and Amy Handy. 2001. “Gothic: Building Lite.” In The Annotated Arch: A Crash Course in the History of Architecture.

Kansas City, MO: Andrews McMeel Publishing.

Studio Tam associati. 2007. “Prayer & Meditation Pavilion.” Accessed October 19, 2015. http://www.archdaily.com/18901/prayer-meditation-pavillion-studio-tam-associati Swabey, Curtis William. 1941. Do Material Things Exist? The Journal of Philosophy, 38(24), pp. 655-665.

U.S. Army Corps of Engineers. 2015. Table 1-57: Tonnage of Top 50 U.S. Water Ports, Ranked by Total Tons. Waterborne Commerce of the United States, Part 5, National Summaries. http://www.rita.dot.gov/bts/sites/rita.dot.gov.bts/files/publications/national_ transportation_statistics/html/table_01_57.html) Young, Lisa Jaye. (1996). Spiritual Minimalism. Performing Arts Journal, 53(2), pp. 44-52.

Still need to add new references from the church, sacred architecture artical, book on Louis Kahn, etc...

Annotated Bibliography Ferri, J. Anthony. “The Willing Suspension of Disbelief.” In Willing Suspension of Disbelief: Poetic Faith in Film. pp. 1-12. Lanham, MD: Lexington Books, 2007.

The book as a whole is a study of how people watch films. The first chapter discusses Samuel Taylor Coleridge’s famous phrase “the willing suspension of disbelief,” hence the title of the book and chapter. The chapter goes into details about Coleridge’s life leading up to and including the literary Romantic Age, and how that age of innovation had as much an impact on him as he had on it.

Kong, Lily. 1993. Negotiating Conceptions of ‘Sacred Space’: A Case Study of Religious Buildings in Singapore. Transactions of the Institute of British Geographers, 18(3), pp. 342-358.

This article seeks to explore social geography in a religious/spiritual way. It seeks to understand the state vs religious groups’ conflict over sacred places. The author fleshes out Singapore as a location for this showdown, then goes on to describe the insider/outsider mentalities that can be assigned to each party. Ultimately the takeaway from this article is that people will gather around one another and support each other as a community in times of need. If people treat the community like a sacred place then the place can be in flux. However, people will always place significance on material places to fulfill a spiritual need. This article is about people and their sacred places vs a state that would place less value on them because of a secular paradigm.

Lijn, Liliane. 1998. Body and Soul: Interactions between the Material and the Immaterial in Sculpture. Leonardo, 31(1), pp. 5-12.

This article discusses the authors work from an early stage of exploring light as it relates to materiality, or immateriality. The article begins with her early work with circles, discs and spheres and moves all the way to her late work with prisms and mythology, and then to her self-commentary work which is less interesting as far as this project is concerned. What started out as a passionate curiosity about the nature of light turns into a kind of self-obsessed fright.

Robinson, B. Lily and Alexandra T. Parman. 2010. Research-Inspired Design: A Step-by-Step Guide for Interior Designers. New York: Fairchild Books.

Research-Inspired Design is indeed a step-by-step guide. This book will take you through the core of what it means to do research and develop ideas in a meaningful way. Most helpful is the way in which the book breaks down each section into manageable bits of information before tying it all back together. From developing a personal design philosophy to showing you techniques on how to interview a client everything is covered clearly in order to help the newcomer succeed at such a daunting task.

Strickland, Carol and Amy Handy. 2001. “Gothic: Building Lite.” In The Annotated Arch: A Crash Course in the History of Architecture.

Kansas City, MO: Andrews McMeel Publishing.

The title of this chapter divulges its contents well. The beginning discusses Abbot Suger and his desire to expand St. Denis Cathedral, and essentially how doing that began the Gothic movement of architecture. The chapter brings up the amount of light desired in the spaces for both figurative and literal reasons, as well as how technological advancements saw the wall thicknesses dwindle from five feet to 18 inches. Time saw churches soar higher and higher with greater window to wall ratios until architects became more interested in the intricacies of the building than the size of them. The chapter ends by comparing Gothic churches from different countries.

Swabey, Curtis William. 1941. Do Material Things Exist? The Journal of Philosophy, 38(24), pp. 655-665.

This article is ultimately an exploration of whether material things really exist, or if they are all individual figments of a conscious mind will things into the imagination. The conclusion is that things must inevitably exist publicly, outside of any one individual’s consciousness, because that then becomes the axis around which all consciousness revolves.

WIll add Between Silence & Light, and the Sacred Architecture article to this list.