Gi Giannone by Drexel Architecture Program

NOT YOUR FAT H E R ’S S U N DAY B E S T DESIGNING SACRED SPACE GI GIANNONE ADVISOR KATIE BROH

17% GENERATION X

Religion = Human Creativity Rarely is religion seen as a form of creativity. Every story and every ritual is all human interpretation of a language we can’t understand - the meaning and purpose of our universe.

23%

OLDER MILLENNIALS

34%

YOUNGER MILLENNIALS

CHRISTIANITY

36% THE “NONES”

2007 Religion is an impressive example of large-scale human cooperation. It has proved expert in its ability to conjure massive groups of people in (presumably) total agreement and entered by free will.

“Spiritual, Not Religious” 59%

RELIGIOUS + SPIRITUAL

Religion = Human Error Since we, the humans, are in charge of translating this language of faith - what Spirit is, what Spirit wants, what Spirit says - it has never been perfect, because neither are we. Many faiths have caused irredeemable damage in the name of gods, elicited terror, and continue to act as condemning, exclusionary, and what many find hypocritical rhetoric

55.8

2 0 1 7

36.6

Religion = Human Cooperation

JUDAISM

2014

HINDUISM BUDDHISM

MUSLIM

48%

SPIRITUAL, NOT RELIGIOUS

19%

NEITHER RELIGIOUS NOR SPIRITUAL

27%

16% 18%

2012

2017

CHRISTIANITY

NOT WITHOUT FAITH THE “NONES”

The “Nones” SILENT GENERATION BABY BOOMERS

17% 23%

OLDER MILLENNIALS

34%

YOUNGER MILLENNIALS

36.6

36% 2014

55.8

HINDUISM BUDDHISM

11%

GENERATION X

2007

JUDAISM

2 0 1 4

Religious landscapes in the U.S. are changing. As generations progress, more people are leaving organized religion, and more specifically, Christianity. However, people are not leaving faith. There exists a demographic of peoples known as “The Nones” who claim to be “spiritual, but not religious.” With this growing demographic, there is hope to preserve faith and community by providing space to mark life cycle ceremonies. This project is a study in designing unaffiliated sacred space washed of major religious symbolisms. It instead uses light, materials, and sequence in attempts to choreograph an ineffable and curious experience.

MUSLIM

JINGDEZHEN IMPERIAL KILN MUSEUM

GALAXIA - BURNING MAN TEMPLE SACRED AS A CYCLE

LIGHT INFORMS SEQUENCE, MATERIAL INFORMS RITUAL

RODEPH SHOLOM (Below) Heavenly beams of light slip in from above. This light emphasizes the length of the volumes and the procession to the next exhibit.

SEQUENCE AND MOVEMENT

(Below) Contrasting the cave-like interior, the light at either end of the cavernous space propels the user forward. There is a balance between starving the user of light and blessing them light once found. The strong contrast between light and shadow makes the light at either end more powerful.

RECEIVE LIGHT

RADIATE LIGHT

PRECEDENT STUDIES Several studies were performed to investigate light, movement and material and its contribution to creating ineffable space. This assisted in the ability to study what in the absence of symbolisms and the ornate can make a space feel “sacred.” This selection varied from Churches, Chapels, Museums, Sculptures and natural landscapes.

BROAD STREET

BECOME LIGHT

FAIRMOUNT • • •

•

1 large worship venue 2 small worship venues individual worship installations (single family or smaller) reiki + meditation house

PLACING SACRED SPACE With many spiritual elements connecting people to nature, there was a desire for the site to have opportunities to connect with large plots of landscape. In choosing Fairmont Park, the site was ideal since it is both tied into the urban fabric of Philadelphia while also allowing a user to withdraw and retreat within the landscape. The character of a “park” is inclusive and public, inclusivity being a main goal of the project. The historic mansions sprinkled throughout the site allow users to confront the passing of time as the site is now being marked with a new development in sacred architecture. Placed along the East Park Reservoir, an abandoned reservoir returned to natural wildlife habitat, the site provides both the ability for users to wander into the site from existing park trails and be embraced within the boundaries of the water.

• "rebirth gardens" • mausoleum • columbarium

• individual immersion baths • ceremonial space • communal immersion pools

• library • meeting space • offices

DEFINING FORM

GROUP WORSHIP +

INDIVIDUAL OR

C E L E B R AT I O N

I N T R O S P E C T I V E S PAC E S

FLEXIBILITY + VARIETY

WITHIN THE TREES

W I T H I N T H E W AT E R

WITHIN THE SKY

HISTORICAL COMPONENTS TO ADOPT

D R A M AT I C S I N S C A L E

D R A M AT I C S I N L I G H T

HEIGHTENED SENSE OF MOTION (VIA SEQUENCE OR SOUND)

BY LIGHT The project defines instances of light to assist in designing the user experience and movement. “Pulled by Light” uses compressive, dimmer spaces with precious instances of bright, contrasting light to propel a user forward. “Relieved by Light” dapples light from above in moments of pause to give relief. “Clothed by Light” is reserved for larger, impactful moments and can be thought of as a more divine light.

PULLED BY LIGHT

RELIEVED BY LIGHT

CLOTHED BY LIGHT

SITE DESIGN CONCEPTS IN LAYERING

PRELIMINARY REVIEW

SCHEME 1: CHOSEN SCHEME

DESIGNING THROUGH MODEL MAKING To better understand form and its relationship to sequence and site, physical models were crucial to the process to help visualize and craft the experience. To experiment with layering the site experience - Scheme 1 layers the movement along the reservoir; Scheme 2 layers the sequence with a route building up to reveal at the reservoir; Scheme 3 attempted to layer vertically as the site sits on 20’+/- change in elevation.

SCHEME 2

11 DECEMBER 2021

Scheme 1 was favored for its less prescribed user and path coordination. Scheme 2, while compelling in the reveal, was too strictly prescribed of an experience for the varying programs on site. Before the review, Scheme 3 was determined not to be a viable option, for the program did not lend to this type of layering. Conversation encouraged more of a human connection and interaction with the buildings moving forward. Some of these spaces felt “ancient,” which begged the question what a sacred space of this era should look like.

SCHEME 3

WORSHIP SPACE CONCEPTUAL SKETCH

SCHEME 2 MAUSOLEUM CONCEPTUAL SKETCH

SCHEME 2 LIBRARY CONCEPTUAL SKETCH

TECHNICAL REVIEW

14 MARCH 2022

I continued to use the immersion pools below as a regular structural base for the worship space above. When it comes to achieving the thin and outward flowing walls, there are a couple ways to achieve this. (1) The first proposal was to have typical structural members and curve a lighter space frame and custom concrete panels attached at the exterior and interior faces. (2) Another proposal was to use curving structural steel and providing some lateral support. I decided to integrate buttresses within the design to support loads. Plaster and cloth above was used to experiment with in-between space and filtering light.

This model above was experimenting with the idea of polycarbonate exteriors that would allow the building to glow and created a layered experience of light on the interior. Materials used - metal mesh, cheese cloth, resin.

One model used FIMO clay while simultaneously marking up a floor plan underneath to study form and movement. (See left waiting for FIMO to harden 2 minutes at a time in the toaster oven above).

MASSING + PLAN DESIGN I experimented with different model making methods and materials as a way to work through the plans and massing simultaneously. This study was equally effective in understanding light’s interaction with material and confront the realities of structure. This eventually led to the decision to have “Clothed by Light” and more selective uses of divine light versus the original concept of having the space entirely illuminate.

EDOUARD CORROYER “GOTHIC ARCHITECTURE”

MT PLEASANT DRIVE PA R

ROCKLAND MANSION

BELOW + ABOVE RELATIONSHIP

KIN

3 7 2

8 1 4

MATERIAL IDENTITY + HIERARCHY

SITE CONNECTIONS PA R

NT AIN

GR E

IVE

KIN

FO U

In regards to the master plan, the main goals are to create (1) a layered experience and (2) a sense of mystery, both of which are a reflection of one’s journey and relationship with spiritual life. Then, all anchored programs on site should be united and strung together using “in-between” space and varieties of private and public exterior space. A specific material identity and form corresponds with the program type (diagram above).

KEY 1. 2. 3. 4. 5. 6. 7. 8. 9.

UNDERGROUND PARKING MAUSOLEUMS IN THE LANDSCAPE BURIAL + REBIRTH GARDENS WORSHIP AND IMMERSION POOLS INTIMATE SIZED WORSHIP LIBRARY / MEETING OFFICE REIKI HOUSE INDIVIDUAL WORSHIP INSTALLATIONS

UNDERGROUND PARKING SECTION

DEATH + LIFE: THE MAUSOLEUM

CRYPTS REFLECTION SEATING

COLUMBARIUM

CR YP TS

COLUMBARIUM

REFLECTION SEATING

CR YPT

The mausoleum should lay modest within the landscape to allow for a sense of discovery, slower paced wondering upon discovery, and to preserve sight lines of existing historic architecture on site. There should be incorporation of moments of pause and slower paced movement, which is further enforced by the exaggerated scale. Form is to be inspired by nature on site to further embrace our life cycle. The way the space lifts and buries within the landscape takes cues from plant life on site (See dogwood parti to the right) The mausoleum experience should breathe life into a space of mourning.

COLUMBARIUM

REFLECTION SEATING

CRYPTS

N LO SA

WATER COLLECTION R

G HI

S GE

RY YSTE ES M T A E CR

NCE

NTRA

E UPON

PLANTING STRATEGY FOR MAUSOLEUM SITE

WITHIN THE MAUSOLEUM

ENTRY TO WORSHIP + IMMERSION POOLS; VIGNETTE TO RIGHT

STAGE / ALTAR

WADING WATER

IMMERSION POOLS STAIRS TO WORSHIP ABOVE

MECHANICAL

LAUNDRY

LOBBY MEDITATION

COURTYARD/ OUTDOOR CEREMONY

MEDITATION

IMMERSION POOLS MEDITATION

MEDITATION STAFF LOUNGE

MEDITATION

PRIVATE BATHS MEDITATION GARDEN STORAGE

FIGURES IN THE WALLS

LOWER LEVEL / IMMERSION POOLS PLAN

The baths and immersion pools include a variety of public and private spaces from individual meditation, spaces for group ceremony, wading water for washing, and private and shared immersion pools. The user should feel cloaked by cave-like enclosures, irregular yet familiar. Natural light should be present, but precious.

IMMERSION POOL

OPEN TO COURTYARD BELOW

STORAGE

SHALLOW WATER

WORSHIP / SACRED SPACE FLOOR PLAN

AVOIDS SYMMETRY AND FOCUS OF SINGULAR OR CENTRAL LIGHT SOURCE FROM ABOVE

LIGHT FROM PERIMETER SKYLIGHT ABOVE ALLOWS CEILING TO FLOAT AND LIGHT TO ROLL DOWN WALLS

DIRECTION-LESS FLOOR PATTERN FOR FLEXIBILITY

WOOD TEXTURE AT PEDESTRIAN LEVEL

PLEATED WALLS EMPHASIZE MOVEMENT AND ACCEPT ROLLING LIGHT THAT ACCENTUATES THIS MOVEMENT

IMMERSION POOL

STORAGE

RESERVOIR

WATER INTERVENTIONS

PASSIVE VENTILATION

The worship space welcomes water and pulls it into its form. This allows users to wade in the water, something ritualistic and peaceful, while also providing a dramatic reflection of the building above. This will make the sacred space feel light and as if it is floating.

By keeping the footprint shallow, the lower portion of the exterior envelope incorporated operable openings for passive ventilation along the reservoir.

OPEN TO COURTYARD BELOW

STORAGE

SHALLOW WATER

RHYTHM IN THE ORGANIC

FLEXIBLE ARRANGEMENTS

The goal of the massing is to remain imperfect, flexible, and direction-less. To employ some order, breaks in the walls for light were kept at even spacings

The plan to the left is an example of an alternative arrangement, made easier with the use of a platform on tracks that can easily split in two to accommodate different scales. It is to be stored under the storage room when not in use.

QUALITATIVE MAPPING FILM I created this film as a way to express the qualities and the stories that occur within my project. To view on your mobile device, please scan the code above. You may also click the link below. - Thank you https://www.youtube.com/watch?v=JxmIXO1NvDE