III.II.
THE PATH OF TIME DAVID BARAEV ATELIER FLUX
III - X XI - XXIV XXV - XXXV XXXVI - XLVIII XLIX
Concept Hall of Serenity Hall of Connection Hall of Reflections Critical Reflection
Death does not exist in nature. What we perceive as Death is simply a state of change for molecules and cells. Thus, Death is only a human phenomenon, as it defines a state of existence and a state of non-existence. From a perspective of Nature, it is a conventional transition, but for us it is a catalyst. We love, create and fight because we fear Death. Yet we cause Death. Irk Valley was a heavenly landscape once, and we rapidly poisoned it. When we felt we did not need it anymore, we left it to rot. But it did not die. Humanity died there, the Valley went through a state of change and was reborn. Death is immensely tragic. Within those hours of a burial ceremony, there are two occurrences: the process of the body and the reflection in the minds of those close to the deceased. The project will explore the physical and psychological states of change happening with the users. The connection with Irk Valley will provide almost accidental moments of serenity. Resomation is a new environmentally friendly alternative to cremation. By using high pressure, heat and lye, a human body is dissolved into water. The bones are later pulverised into crystal white ashes. The body is allowed to return to the natural cycle.
CONCEPT : IDEATION PETER ZUMTHOR : «A FEELING OF HISTORY»
Own photograph
In book called «A Feeling of History» Swiss architect Peter Zumthor discusses time, memory and transience with architectural historian Mari Lending in context of both to the renowed Allmannajuvet Museum in Sauda, Norway, as well as his personal opinions and feelings on the matter. The project serves as tourist attractions to the abandoned zinc mines and consists of several small prefabricated timber structures, one of which houses objects that used to belong to the miners. The working conditions in the mines were appalling; and the objects by their nature are meant to share the history and the experiences of their bearers in a plane of subconsciousness. Zumthor acknowledges his particular interest in subtle storytelling through objects, which is evident in most of his work. He gives an example in literature that he is fascinated by: the French author Stendhal’s concept of «Crystallisation», elaborated in «La Rameau de Salzburg». A young miner meets an unfortunate end in a Salzburg salt mine. After 50 years, his widow recovers the body, perfectly preserved in ferrous vitriol, untouched by decay and as beautiful as the day he died. A mourning old lady is reunited with a young male sleeping beauty in breath-taking symbiosis of eternity and temporality of love. (Lending and Binet, 2018) Suddenly, I’ve realised how truly beautiful time is. It constantly changes every single object in the universe. And the phemonenon of humanity constantly trying to capture both time and objects outside of time started to fascinate me. Therefore - what is time? (Amoretti, 2019)
According to physics, everything is made up of atoms. Atoms do not live or die, they only change with energy exerted on them. Energy is not a physical matter, yet both atoms and energy are infinite and constant at all time. Both cannot be created or destroyed. Therefore, if an object is a composition of atoms, time is a constant movement of atoms under the effect of energy. Thus, an object does not exist. Anything we define as an object is simply a structure of atoms that happens to exist within the moment when we give an object a name. Nothing and everything is solid at the same time. A human, despite being a sentient creature, in million years will «dissolve» into infinite other objects. Yet we love people. We suffer greatly once we lose them. We bear memories, «photographs» of specific atomic arrangements, but which we hold dear. Time is a human concept, as it only exists because of memory, as we are able to witness and comprehend relative coordinates of movement energy and atoms. Time is the forth coordinate in the three-dimensional world. One cannot state a place without time, nor would one state a time without a place. Irk Valley might lay in ruins at this moment that we are observing it, yet it is a constantly moving living organism. Thus, what kind of building may demonstrate and express time?
CONCEPT : OPTIONS
Interior Study Model 1 : 200
«Irk Valley Observatorium» Nature Conservation & Research Facility
Interior Study Model 1 : 200
«Museum of Post Human World» Irk Valley as a model of World void of Humanity
Site Model 1 : 1000
«Path of Time» Burial Service Facility
CONCEPT : OPTIONS IRK VALLEY OBSERVATORIUM
The Irk Valley Observatorium would be located at the top of the Improbable Hill and would be comprised of two volumes : the bottom volume would house botanists, scientists and historians working on assisting the natural rewilding that is occuring in the Valley, as well as to preserve artifacts of history and display them in the upper volume. The said upper volume would house three typologies of spaces : exhibits of physical artefacts, chambers of metaphysical communication of history of Irk Valley and in-between spaces of contemplation of lush wilderness of the Valley. The Observatorium would serve as the ending of the Journey that was presented in 3.1.
Interior Study Model 1 : 200
CONCEPT : OPTIONS MUSEUM OF POST HUMAN WORLD
One may say that Irk Valley serves as an «accidental» model of the Post-Human World. It was once a centre of human economic and industrial activity, but now it lies in ruins. In a way, it is the fate of any human-occupied site; like Sahara, which once was a green oasis, was turned into a desert. Thus, the museum would consist of verticallty stacked volumes, with corridors on the perimeter of glass facade and recessed exhibition spaces in the middle. The exhibitions would house virtual reality rooms, which would allow users to witness and experience the Post-Human World; the world where all humans had dissapeared. Each room would «house» a different scenario of PHW, such as an empty city, countryside or factory complex. Users would be able to walk through these scenarios and accelerate time to see nature reclaiming Earth. The Journey from 3.1. would be featured as the last «scenario»; users would walk through the actual Post-Human World.
Interior WWStudy Model 1 : 200
CONCEPT : OPTIONS THE PATH OF TIME
Hall of Reflections
Path of Time
River Irk
Hall of Serenity
Hall of Connection
Resomation is a new environmentally friendly alternative to cremation. By using high pressure, heat and lye, a human body is dissolved into water. The bones are later pulverised into crystal white ashes. The body is allowed to return to the natural cycle. This option would consist of extended Journey from 3.1. now called Path of Time and three new buildings : Hall of Serenity (building for resomation), Hall of Connection (building for wake) and Hall of Reflections (columbarium). By allocating said buildings in different parts of the site and connecting them with the Path of Time, Irk Valley suddenly becomes the central element of the scheme - it becomes meditative space for contemplation and reflection, while the buildings both serve their respective functions, as well as subtly demonstrating Time, Life and Death. This is a clearly winning option, as it fully communicates the ideas and values that I would want to invest into Irk Valley.
Site Model 1 : 1000
CONCEPT : MASTERPLAN SITE MODEL + ANALYSIS 1 : 1000
Railway Site
New 3.2. Path
Northern Site
3.1. Path
Improbable Hill
Northern Site Northernmost Part of Irk Valley, where River Irk enters the Site. Features steep topography and is densly overgrown with trees. In 3.2. it houses Hall of Serenity, a resomation facility, and Hall of Connection, a building for wake ceremonies.
New 3.2. Path A continuation of 3.1. Path. At certain points on the site will require to have a certain form of canopy.
Improbable Hill A former landfill site, landscaped into an artifical hill. In 3.1. it used to house an older iteration of The Rise, yet now it is untouched.
3.1. Path The central aspect of 3.1., featuring an experiencial walk through the wilderness of Irk Valley
Railway Site A large part of Irk Valley which features remnants of abandoned railway tracks and a parking lot for then employees of the railway. Features the Impossible Bridge, a landmark of Irk Valley. The bridge played an integral part in 3.1., serving as a link between The Arrival, The Descent and The Rise. In 3.2. Railway Site houses the Hall of Reflections, a columbarium.
Site Model 1 : 1000
CONCEPT : MASTERPLAN THE PATH OF TIME MODEL + ANALYSIS 1 : 50
Canopy in the Northern Site The canopy will cover all the paths in the Northern Site. This is because of quality of life consideration for funeral attendies, as well as to subtly signify the way in the dense wilderness. Yet it’s visual obstruction is minimised with the use of aluminium ‘s reflectivity.
Canopy in the Railway Site A large part of Irk Valley which features remnants of abandoned railway tracks and a parking lot for then employees of the railway. Features the Impossible Bridge, a landmark of Irk Valley. The bridge played an integral part in 3.1., serving as a link between The Arrival, The Descent and The Rise. In 3.2. Railway Site houses the Hall of Reflections, a columbarium.
Materiality Model 1 : 50
CONCEPT : ELEMENT THE PATH OF TIME CANOPY DETAIL 1 : 20 1000mm x 400mm x 6mm R=10mm 2900mm x 230mm x 20mm 5000mm x 150-60mm x 20mm 2650mm x 1000mm x 20mm 2550mm x R=50mm 1000mm x 400mm x 6mm
upper aluminium sheet aluminium screw, welded for moisture control oval shaped plywood rafters, located every 1000mm secondary vertical plywood beams, located every 500mm primary horizontal plywood beam toothpick-shaped columns, clad in brushed aluminium lower brushed aluminium sheet
100
100
500
500
500
500
500
2550
2750
200
500
white reflective concrete, imprinted with Irk Valley birch trunk cross-section aggregate and sand leveling layer concrete foundation blocks secondary vertical plywood beams, located every 500mm soil
350
100mm 50mm 200mm x 200mm x 200mm 5000mm x 150-60mm x 20mm
3000
The Path of Time features a quite straight-forward structure - plywood beams and rafters, clad in brushed reflective aluminium, and supported by toothpick columns, also clad in aluminium. By combining a reflective material with curved surfaces, one could witness interesting distorted and blurred reflections. The floor is made upon of 100mm thin fine concrete slab mixed with small pieces of white translucent glass, which is stained with birch tree trunk cross section found in Irk Valley in the later stage of it’s maturing. Later, the concrete is polished, creating an finish resembling both the shine and detail of terrazzo and ripples on a still body of water from rain, 1 : 20 1m
2m
Hall of Serenity Northern Site
HALL OF SERENITY SITE
Hall of Serenity
Hall of Connection
Northern Site
Hall of Serenity
Site Model 1 : 1000
Hall of Connection
HALL OF SERENITY SITE
Hall of Connection
Hall of Serenity
Hall of Connection
Site Model 1 : 200
Hall of Serenity
HALL OF SERENITY PROGRAMMATIC ANALYSIS PRECEDENTS
Barozzi & Veiga Crematorium in Thun, Switzerland ( Concept )
Johan Celsing Crematorium in Stockholm, Sweden ( Built )
(Barozzi Veiga, 2015)
(Marinescu, 2017)
OFFICE Kersten Geers Crematorium in Ostend, Belgium ( Concept )
RCR Architects Crematorium in Holsbeek, Belgium ( Built )
(OFFICE, 2019)
(Hisao, 2016)
As resomation is a relatively new technology, there are no outstanding architectural examples of a «resomatorium». This is also due to issues with legality, as well as a slow societal acceptance and awareness. Therefore, I had to look at programmatic arrangements of crematoriums, as there is little to no difference to the process of resomation in architectural terms.
COLUMBARIUM / MORTUARY
RESOMATION / CREMATION
SPACES OF REFLECTION
SERVICE SPACES
BAROZZI & VEIGA CREMATORIUM
JOHAN CELSING CREMATORIUM
- Individual rooms for storage of bodies - Bodies and Visitors do intersect occasionally - Small spaces of reflection - Square layout - Visitos do not witness cremation - No mortuary, no columbarium
- Mortuary room and Cremation room are the centre - Small columbarium (rather just urn storage) - Visitors and Bodies always intersect - Square layout - Visitors witness the cremation
OFFICE KERSTEN GEERS CREMATORIUM
RCR ARCHITECTS CREMATORIUM
- Three clear rectangular volumes, two thin linear anxillary volumes separating - Flexible corridor between chapels - A lot of «barriers» which allows privacy and concealment - Square layout - Visitors do not witness cremation - No mortuary, no columbarium
- Two volumes, one for cremation, another for processing burials - Underground hidden entrances for Bodies, overground entrance from the park for Visitors - Visitors and Bodies intersect - Elongated layout - Visitors do not witness cremation - No mortuary, no columbarium
PUBLIC CIRCULATION
SERVICE CIRCULATION
HALL OF SERENITY SITE MODEL 1 : 200
River Irk
Hall of Serenity
Path of Time
Hall of Connection
Site Model 1 : 200
The building is located at the bank of River Irk and at the point where the river enters the site. The bank is elevated over the river by 2.5m with a man-made stone promenade. The building is hidden behind the trees, as well as it is located over an existing sewage tunnel, which allows for easier access to plumning, which is vital for a resomatorium. The building is made up of two volumes - a top vertical volume, which is the actual ÂŤHall of SerenityÂť, a small, but tall chapel which only features a water powered platform bed and a skylight above it. The lower volume is the resomation facility, which provides the necessary spaces for handling the bodies, such as the room for the resomation machine and an office for the employees with a small courtyard.
Study Model 1 : 100
HALL OF SERENITY PROGRAMME
Buildings from precedents
The Halls
- large, square mass - houses all functions - flat large sites
- small, specific and unique - each major functions have own building : columbarium, wake, resomatorium - one large site, but small and topographically challenging subsites, connected to each other with Path of Time
Chapel Volume
Resomatorium Volume
The process of resomation in the Hall of Serenity is quite straightforward: the body would arrive in a hearse, the attendees would pick up the casket and carry it to the building. Then they would place the casket onto the water powered platform, which would look like a table with water countertop. The casket would be lit by the skylight. After the attendees say their goodbyes, the casket would be lowered into underground level, while the ÂŤtableÂť will slowly be filled with water again. Then the body would be placed into the resomation machine and within 3-6 hours it would be liquified. The bones could be pulverised and families would have an option of either bringing the urns home, or to keep them in the Hall of Reflections. Study Model 1 : 100
HALL OF SERENITY PROGRAMMATIC SECTION
Chapel Volume
Resomation Room Office
Resomatorium Volume
Study Model 1 : 100
HALL OF SERENITY INTERIOR + EXTERIOR MATERIALITY
3m
3m
3m
3m
Both the interior and exterior are clad with heavily charred thin vertical wooden slats, which would be slowly exerting ashes. Such gesture would allow for a misty atmosphere inside, as the only source of light would be coming from the skylight, which in turn would be clad with mirror glass inside to allow maximum amount of sunlight into the space. On the outside in a windy weather, the ashes will fly off the facade ever so slightly, allowing for a slightly etherial appearence. Methaphorically, such gesture symbolises us giving a second life to a material and allowing it to flourish beautifully, which would not happen normally, as we look at burned objects as «broken» and «dead».
3m
Materiality Model 1 : 50
HALL OF SERENITY TUNNEL DIAGRAM
The water powered platform is the crucial aspect of the building. The casket would be placed on to the «table of water» and then lowered into the resomation room. The mechanism functions with simple physics of gravity and pumps. As well as this, once the casket is delivered, the platform would return to the chapel and water would be pumped up, to have that «water table» look.
HALL OF SERENITY FACADE CORNER DETAIL : PLAN 1 : 10
30mm x 30mm x 1000mm 3mm 30mm x 60mm x 1000mm 30mm x 60mm x 1000mm 200mm x 60mm x 3000m 200mm 50mm 30mm x 60mm x 1000mm 3mm 30mm x 30mm x 1000mm
heavily charred birch slats, exterior aluminium sheet horizontal timber battens, serving as the main structure of the skin vertical timber battens, attached directly to the timber studs vapour permeable membrane timber studs, serving as the main structure insulation vapour barrier insulation horizontal timber battens, serving as the main structure of the interior skin aluminium sheet heavily charred birch slats, interior
720
50
200
90
5 30
1 : 10 0.2m Materiality Model 1 : 50
0.4m
0.6m
0.8m
1m
HALL OF SERENITY FACADE DETAIL : SECTION 1 : 10
100mm 100mm x 100mm
500
200mm
173,49
530
200 mm
1 : 10 0.2m
0.4m
0.6m
0.8m
1m
screed with black pigment inverted T shaped metal form preserver damp proof membrane rigid floor insulation vapour permeable membrane structural concrete
HALL OF SERENITY GROUND FLOOR PLAN + ELEVATION SOUTH 1 : 100
Chapel
1 : 100 2m
4m
6m
8m
10m
HALL OF SERENITY UNDERGROUND FLOOR PLAN + ELEVATION EAST 1 : 100
Office
1 : 100 2m
4m
6m
8m
10m
Preparation Room
Resomation Room
HALL OF SERENITY SECTION + ELEVATION WEST 1 : 100
Chapel
Office
1 : 100 2m
4m
6m
8m
10m
Preparation Room
Resomation Room
Hall of Connection Northern Site
HALL OF CONNECTION SITE
Hall of Connection
Study Model 1 : 100
Hall of Serenity
HALL OF CONNECTION SITE MODEL 1 : 200
River Irk
Hall of Serenity
Path of Time
Hall of Connection
Site Model 1 : 200
Hall of Connection stands within the extends of the same site as Hall of Serenity, but higher and closer to the road. Due to the difficult topography, the building would either have to feature multiple step levels, which makes the programmatic arrangement challenging, as a wake cerenomy would require a large, single space. Another option would be to elevate the building with stilts. That would open interesting posibilities with the space under the building.
Study Model 1 : 100
HALL OF CONNECTION PROGRAMMATIC PLAN 1 : 200
Wake Kitchen + WCs Reception Hidden Garden Wake
Wake
Hidden Garden
Kitchen + WCs
Wake
Reception
1 : 200 4m Study Model 1 : 100
8m
12m
16m
20m
HALL OF CONNECTION PROGRAMMATIC SECTION 1 : 200
Wake
Hidden Garden
Kitchen + WCs
1 : 200 4m Study Model 1 : 100
8m
12m
16m
20m
HALL OF CONNECTION ATMOSPHERE
INTERIOR ATMOSPHERE
Study Model 1 : 100
Study Model 1 : 100
HALL OF CONNECTION FACADE DETAIL : PLAN 1 : 20
200mm x 50mm 100mm 2000mm x 2000mm 30mm 200mm 800mm x 300mm
Facade Detail Model 1 : 20
bespoke profile corrugated steet facade panel waterproofing insulated curtain wall panel CLT primary structural column plywood interior finish, chamfered conve timber parquet
1 : 20 1m
2m
HALL OF CONNECTION FACADE DETAIL : SECTION ( DRAWING + MODEL ) 1 : 20 ( DRAWING ) / 1 ; 50 ( MODEL )
1 : 20 1m
2m Facade Detail Model 1 : 20
HALL OF CONNECTION EXTERIOR ATMOSPHERE
HALL OF CONNECTION PLAN + ELEVATIONS NORTH AND SOUTH 1 : 100 + 1 : 200
Kitchen
Wake Room
Hidden Garden
WCs
Reception
1 : 200
1 : 100 2m
4m
6m
8m
10m
4m
8m
12m
16m
20m
HALL OF CONNECTION SECTION + ELEVATIONS EAST AND WEST 1 : 100 + 1 : 200
Wake Room
Hidden Garden
1 : 100 2m
4m
6m
8m
10m
Kitchen
Hall of Reflections Railway Site
HALL OF REFLECTIONS SITE
Hall of Reflections
3.1. Arrival
Hall of Reflections
Railway Site
Site Model 1 : 1000
HALL OF REFLECTIONS SITE MODEL + ANALYSIS 1 : 500
30m
Hall of Reflections
The Arrival
35m
40m
The Descent
Proposed Building Location
Existing Staircase 15m Rise 35m Length
Site Model 1 : 500
Impossible Bridge
The complicated aspect of the Railway Site is it’s topography and exposure - the steep part of the site is densely overgrown, and the flat part of the site is vastly empty, thus meaning it is very exposed. Putting a building within the flat area is a very monumental move, which one should avoid due to the sensitive nature of it’s programme storing ashes. Yet placing it within the slope is problematic as it would require an access strategy. However, the seclusion provided by the density of trees is very positive factor.
Site Model 1 : 500
HALL OF REFLECTIONS MASSING DIAGRAM 1 : 100
Columbarium Volume
Columbarium Volume
Columbarium Volume
Flush with landing
Flush with landing
Recessed into the ground
Recessed into the ground X + 6m
Flush with landing
Recessed into the ground X + 4m
Circulation X + 2m
Urn Storage?
Circulation
Urn Storage?
Circulation
Urn Storage?
X + 2m
X + 2m
X + 4m
X + 4m
X + 6m
X + 6m
River Irk
X
River Irk
1 : 100 2m
4m
6m
8m
10m
X + 2m
X + 4m
X + 6m
HALL OF REFLECTIONS CONCEPTUAL PLAN
The building is incorporated into the existing staircase on the site. Currently, the stair is in derelect condition and it does not comply with Building Regulations K for public staircases. It would be rebuilt to feature landings, which in turn would serve as levels for each volume of the columbarium.
Study Model 1 : 100
HALL OF REFLECTIONS CONCEPTUAL SECTION
By offseting the building from the staircase by 4m and populating that buffer zone with trees, the building becomes much more secluded and private. When one would walk up the stair, one would only see a flat concrete facade with a single door. The family members of the deceased would be given a key to a respective volume where their ashes are stored, thus protecting the them from people accidentally walking into the building.
Study Model 1 : 100
Water Garden
Corridor
Urn Storage Wall
HALL OF REFLECTIONS PROGRAMMATIC PLAN
All of the 3 volumes are nearly identical physically and programmatically. Corridors are flush with landings, and the water garden is recessed into the ground. The wall itself serves as the urn storage - there are randomly scattered circular windows along the wall, in which an urn could be placed. On the opposite side one may find concrete fixtures, visually ÂŤintersectingÂť the glass wall and a water garden, consisting of a pond with a single tree. There are concrete steps leading to the tree.
Study Model 1 : 100
HALL OF REFLECTIONS URN STORAGE + INTERSECTING FIXTURE
The «frame» of such windows are clad with stainless steel, which would multiply sunlight’s intensity, thus appearing as circles of light. Yet the more urns are place in a columbarium volume, less «circles of light» there will be, reminding us of the life’s duality of temporality and eternity. Study Model 1 : 100
The concrete intersecting fixtures provide a visual trick of being both outside and inside. Yet the main point is that with time, the exterior part of fixtures with stain and mold from water garden’s moisture, while the interior part will stay preserved. There are three fixtures: an altar, a bench and a table for flowers
HALL OF REFLECTIONS URN STORAGE DETAIL : SECTION 1 : 10
250mm 120mm 560mm x 300mm - 10mm - 45mm - 6mm 250mm
exterior in-situ cast concrete wall rigid insulation bespoke urn storage window detail silicone exterior sealant highly reflective glass pane insulation waterproofing reflective tubular brushed steel finish silicone intereal sealant interior in-situ casr concrete wall, filleted scultural edge, R=50mm
1 : 10 0.2m
0.4m
0.6m
0.8m
1m
HALL OF REFLECTIONS INTERSECTING FIXTURE DETAIL : SECTION 1 : 10
100mm 120mm 220mm x 28mm 18mm 150mm
screed floor, made from the same cement and aggregates as the walls rigid insulation glass frame two 6mm glass panes with 6mm cavity structural concrete slab with varying heights water garden pool solid concrete rhobus table, made up of two right angle extruded triangles, one inside, one outside
1 : 10 0.2m
0.4m
0.6m
0.8m
1m
HALL OF REFLECTIONS ATMOSPHERE
HALL OF REFLECTIONS ROOF PLAN + TYPICAL COLUMBARIUM UNIT PLAN 1 : 100
Columbarium Level 3
Columbarium Level 2
Columbarium Level 1
Water Garden
Corridor
Typical Columbarium Level 1 : 100 2m
4m
6m
8m
10m
HALL OF REFLECTIONS SECTION + ELEVATIONS NORTH AND EAST 1 : 100
Columbarium Level 3
Water Garden
Columbarium Level 2
Corridor
Columbarium Level 1 Water Garden
Corridor
Water Garden
Corridor
1 : 200
1 : 100 2m
4m
6m
8m
10m
4m
8m
12m
16m
20m
REFLECTION
Not only had Atelier FLUX fundamentally changed my perception of architecture, my understanding of time has shifted dramatically. I see everything as accumulation of energy, rather than physical matter. Energy is constant, and it moves constantly. That way, everthing is changing at all time. What makes existence meaningful, is the fact that we are able to have memories. And objects tell memories on a different plane of consciousness. As well as this, FLUX had enhanced the introspective side of my personality. When I interact with objects and buildings, I think deeply of it’s origin, it’s path and it’s future. Nothing can exist without a reason. Irk Valley, a dump to some, to me is a fountain of knowledge and could be used to understand the current political and societal climate in the UK. With Technologies I have stated to feel and act on mutliple scales at the same time. I see how a small detail in a wall can be the heart of a building’s concept. Or how a single environmental or physical parameter can shift a building’s core principles unrecognisably. Studying with Lukasz in Humanities had taught me to see our history and our actions with exponencial projection. For example, how a single young German man by the name of Friedrich Engles was so appalled by people’s condition in Irk Valley, that his and his comrade Karl Marx’s ideas had formed our world today. Even so, what happened in Irk Valley had started a chain reaction, at the end of which Architecture and Mobility unit was created. At the end of my internship at Herzog & de Meuron, I was anxious and uncertain about what and how would I do in my 3rd Year at MSA, as I have an entirely different experience and knowledge, which I would have said before is a negative thing. However, thanks to Carrie and Dan’s attitude to ideation of architecture, I can admit that I have truly worked hard and did create a good Bachelors Thesis project.