Thesis- Thresholds of Ground by Ellie O'Connor

THRESHOLDS OF GROUND

ellie oâ&#x20AC;&#x2122;connor thesis 2016-2017 cal poly slo

THRESHOLDS OF GROUND Fifth Year Architectural Thesis llie ’ onnor io ryan iel s Fifth Year Thesis Award Recipient Vellum Furniture Competition Winner University Art Gallery Furniture Showing AIA.CCC Student Design Award Finalist

Copyright © 2018 Designed and written by Ellie O’Connor All rights reserved. No part of this publication may be reproduced in any form without written permission from the author. Made in partial fulfillment of a Bachelor’s Degree in Architecture California Polytechnic State University San Luis Obispo Printed in the United States

â&#x20AC;&#x153;Beginning as highly coded, decorated, and taking the claim of civilization of the raw ground, the floor assumes complexity in its section in inverse proportion to the simplification of its surface details.â&#x20AC;?1 - AMO

GROUND Different words and terms decorate conversations involving “ground.” Such terms include floor, flooring, landscape, ground, earth, level, deck, terra firma, land, terrain, soil, dirt. Though similar, they speak to distinct interrelated concepts. In this thesis, an exploration of these terms takes place without committing exclusively to a single term. “Ground” is the term most commonly used to umbrella and explore these related concepts.

For the vast majority of history, the ground has been an idle given, the basis for vertical surfaces. At times, the floor has been a display of graphics, elaborate patterning, or intricate joinery dictated by the material. Though vertical surfaces and form making have captured the audience of the architect and led the industry, the ground is a rich register of relationships and opportunity for organizing interplay. Uniquely, this is the surface we are nearly always in physical contact with, the percussive plane we enact upon thanks to gravity. A closer look at this architectural element surprises and perplexes, intrigues and provokes, offering a fresh look at understanding of construction technologies, spatial relationships, and cultural practices.2

CONTENTS 6

Research map - abstract - discourse - literature review

Precedent chapel, zumthor - chapel, lewerentz - cemetery, scarpa - school, wright

Making physical abstract - esquisse model - vellum furniture

Collage concept - site - program - thematic elements

Artifact concept - site - program

Iteration taxonomical explorations - zoom in, zoom out, repeat - site sections

Proposal final words - site, main hub, pods, details - show

Reference footnotes - bibliography - thanks

Research Map a graphic of heros

Abstract a concise overview

Discourse the essay

Literature Review more writing

research

RESEARCH MAP

ABSTRACT Being aware of and captivated by the floor beneath reveals an ordered beauty—the detailing of tile work down the nave of Italian cathedrals; the intricacies of cobblestone patterns decorating the streets of Prague; the worn wood boards indicative of ritual as most common foot path in a tiny Swiss chapel. In each instance, the ground plays not only the literal role of connection to the earth, but also establishes the metaphysical relationship between person and place. Our unavoidable contact with the ground necessitates the correspondence between the earth, contextual circumstance, and a personal, experiential relationship with site—the integral link between humans and the world.3 This relationship speaks of nonphysical qualities of craft, time, value, history, and place. As a ramification of material advances and the Modern movement, the prioritizing of efficiency and production resulted in our passive interaction with the ground. In America today, our site unspecific materials manifest as concrete ubiquitously poured out, asphalt spread for any surface deemed for cars. The authenticity and human element of ground has widely been lost. With it, the sense of place derived from the connection of human to earth distorted. The ground consists of much more than tile, a flat slab of concrete, or dirt; “it is in fact a myriad of rich circumstance and latent potential, particularly promising for”4 assessing threshold and place. The physical and nonphysical qualities of the ground share an integral relationship. Properties of the ground are to be assessed on three different levels: the physical manifestation of material; the aesthetic, visual composition; and the metaphysical qualities of place. In the first level of assessment, the tangible form of joinery or fabrication is identified and classified, such as a grid system of granite cobblestones and grout. In the second, aesthetic elements of rhythm, pattern, contrast, juxtaposition, balance, and composition recollect evaluation of the two-dimensional art world. Lastly, that which “must be experienced both perceptually and phenomenologically”5 illuminates place—transformation over time, habits, and identity. This thesis argues for greater awareness of articulation of the ground plane as a method of defining space with significant implications of place. Through assessment of the ground plane, taxonomy of fragments or micro-environments show the interactions between the physical and nonphysical qualities of ground and spatial threshold. In relation to the ground, heightened awareness of space and of the haptic shapes our perception of position, orientation, and sense of depth. This assessment is a study of both the tectonic material relationships that compose the ground plane and the threshold wherein the pattern is broken or distorted. In order to truly engage context and understand place, architecture must respond to the ground.

DISCOURSE Being aware of and captivated by the floor beneath reveals an ordered beauty—the detailing of tile work down the nave of Italian cathedrals; the intricacies of cobblestone patterns decorating the streets of Prague; wood bricks nestled together beneath an exposed arch of the Danish Parliament; the worn wood boards indicative of ritual as most common foot path in a tiny chapel perched on a Swiss alp hillside. In each instance, the ground plays not only the literal role of connection to the earth, but also establishes the metaphysical relationship between person and place. This relationship speaks of craft, time, value, history, and place. As a result of the Industrial Revolution and Modern movement, this authenticity and intricacy of ground has been lost. Concrete ubiquitously poured out, asphalt spread for any surface deemed for cars, and 2” x 2” tiles slapped on every restroom floor. With it, the sense of place derived from the connection of human to earth was distorted. The result of the process shifted dramatically from the quality of the careful craftsman to the impersonal machine of mass production and transportation infrastructure. Before Modernism, the craftsman held each component in his hands and worked the material appropriately; the slower pace yielded rich and meaningful composition. The delightful irregularities in cobblestones and uneven wear of wood gave the crafting of the ground a human aspect. In America today with our site unspecific materials and wide availability through technological advancement, the relationship of tectonics of ground to place has been distorted; death of the craftsmanship at the hands of efficiency and production. Our unavoidable contact with the ground necessitates the correspondence

between the earth, contextual circumstance, and a personal, experiential relationship with site—the integral link between humans and the world.6 These interactions are shaped by the zones or spaces defined by threshold or boundary. Studying site at the human scale, thresholds and boundaries abound. Boundaries are established by material changes, elevation changes, or patterning and define space where two conditions meet. This assessment is a study of both the tectonic material relationships that compose the ground plane and the threshold wherein the pattern is broken or distorted. Within architecture, more attention is given to the walls to determine space, yet the ground is a powerful element of placemaking. The everpresent ground is “submerged in the obscurity of a film of familiarity,”7 yet, once probed and pondered, offers quite a commentary on the world around us. The ground is impregnated with poetic content and spatial structure to be assessed in a phenomenological sense.8 The surfaces and the nature of their character combine into “patterns of physical, intellectual, poetic, and political structure that intersect, overlap, and weave together to become the context for human thought and action.”9 The ground consists of much more than tile, a flat slab of concrete, or dirt; “it is in fact a myriad of rich circumstance and latent potential, particularly promising for”10 assessing threshold and place. The physical and nonphysical qualities of the ground share an integral relationship. Properties of the ground are to be assessed on three different levels: the physical manifestation of material; the aesthetic, visual composition; and the metaphysical qualities of place. In the first level of assessment, the tangible form of joinery or fabrication is identified

and classified, such as a grid system of granite cobblestones and grout. In the second, aesthetic elements of rhythm, pattern, contrast, juxtaposition, balance, and composition parallel evaluation of the two-dimensional art world. Lastly, that which “must be experienced both perceptually and phenomenologically”11 illuminates culture, history, time, place, and identity. The physical makeup of the ground constitutes its tangible composition and thresholds and boundaries are to be literally found in the joinery. Part of our distorted relation to the ground is due to our reliance on sight for understanding and neglect of touch. The overemphasis of image overlooks understanding how a space holds you. Figures such as Juhani Pallasmaa address this issue by “attempting to re-sensualise architecture through a strengthened sense of materiality and hapticity, texture and weight, density of space and materialised light.”12 The physical properties of the material are of high importance and are given an elevated position in understanding of place. Awareness of the haptic makes one aware of thresholds in the tangible environment. The haptic, “of or relating to the sense of touch, in particular relating to the perception and manipulation of objects using the senses of touch and proprioception,”13 informs human experience and interaction with materials, particularly the ground. Our perception of position, orientation, and sense of depth derives from our relation to the ground. The taxonomy of components of ground and material systems analytically assesses both technical and construction characteristics. From this taxonomy, we see the physical way threshold is established and boundaries are declared that range from harsh juxtaposition to subtle graduation.

Stephen Kieran and James Timberlake classify conditions of specific physical interactions of materials into ten gerunds—“framing, hinging, joining, lining, patching, profiling, scaling, selecting, slipping, weaving—look[ing] backward to the ancient craft origins of architecture and forward to an ever expanding universe of contemporary technology and architectural composition.”14 Bianca Albertini and Sandro Bagnoli take a similar approach to taxonomy of details through a list of thematic elements— support, connector-link, fixed joint-hinged joint, closure-aperature, solid-void, moldingprofiling, surface, and transparency.15 These two lists overlap in the specific term of “profiling,” yet clearly speak the same language in their approach to details. This study of the commonplace, an obsessive attention to detail, lays the foundation for further analysis of the ground and sets the tone for the approach. Divisions and boundaries are established by different methods of joinery and material articulation. Lines are particularly powerful and versatile in the ways they establish threshold. “Lining is used in architecture as structural underlayment, environmental underlayment, scrim or overpayment, and reinforcement…. The use of the principle of lining gives rise to an architecture of stratification.... Through forms of lining, we seek actual and aesthetic expression of stratification. Architecture assumes the complexity of geology.”16 The line can visually serve both as the divide of harsh juxtaposition or establish a grid or field where the threshold is blurred through gradual transition.

The physical tectonics of joinery and articulation of the ground surface lay the foundation for assessing their aesthetic composition and greater significance.

surface is a powerful tool of the craftsman.

“All we can see here are the traces of the process of how, for example, a simple utility such as a metal hinge can be the source for an autonomous sculptural invention; or how an opening in a wall can result in a composition where light and opaqueness are used instinctively as elements for an abstract design. The generating force to the designer is that wonderful combination of the two—dimensional pattern and volumetric vision.”17 Though not speaking of the ground specifically, this quote captures the essence of dimensional composition.

“The architectural complement [of surface] best lends itself to exploiting light, to enhancing the vital functions of color, creating either strong or gentle contrasts. Closer than other spatial components to painting, every style and every epoch has conjured it. In our case, it inevitably becomes a very versatile means of expression. The influences of modern pictorial research are evident. But so are the signs of instinctive response to textural values: relationships between the differing granulosities of a rendering, rough offset by smooth, an extraneous material that creeps in to act as a foil, chromatic alterations, nuances or imperceptible variations of tone in a single stone.”19

The second category of aesthetic, visual composition builds off of the first category of physical tectonics and material. Ways of reading rhythm, pattern, contrast, juxtaposition, balance, and composition speak of relationships. The nature of these relationships determine the nature of the threshold. These aesthetic evaluations recollect the two-dimensional art world. Color field painters exploit and singularly focus on specific elements of composition or color theory or contrast. Specific to their representation, they “reject illusory depth in order to reinforce the presence of the painting itself as an iconic artifact and an autonomous reality.”18 Mark Rothko’s work among others can be critiqued in terms of juxtaposition, contrast, hard and soft edges, and balance. The nature of conversation and filters of criteria to assess his work share the same lens I seek to apply to the composition of and thresholds of the ground. Since the ground is most commonly flat,

The pattern and subtle grid so common as a backdrop in our existence is the simplicity and order which hosts complexity as the basis of systems. “Numbers in Color Painting,” by Jasper Johns, “Composition II in Red, Blue, and Yellow,” by Piet Mondrian, and “James” by Chuck Close each contain the similar qualities of color, line, and texture, resulting in art pieces rich in multiple readings.20 Adding Mark Rothko’s “No. 61” painting to the bunch, these four pieces are dynamic in their part-topart and part-to-whole relationships. I employ this set of analytical language from the twodimensional art world to the plane of ground. Boundary articulated in the repetitive nature of the tectonics is in question in these twodimensional art pieces. The lines, divisions, and contrasts in materials visually all speak of relationships. In the field condition, the small, singular element frames understanding of the dimension of the whole. “It [is] the module—

that is a component unity,—establish[ing] a harmonious relation between the parts and the whole in every building.”21 “The emphasis on repeating pattern and process requires a large enough temporal context to be certain that phenomena are in fact recurring. When actions repeat, they are not objectified or taken out of context, but instead become something continually taking on new meaning through participation in a larger pattern of recurrences whose cyclical nature has no discernible beginning or end.”22 In the field condition, threshold may be blurred, divisions obscured by scale, or lost entirely as a result of repetition. In the craftsmanship of a butcher block table, the elements relate to each other on different levels. The scales range in size from individual block-to-block to glued blockchunks to the unified whole. Zooming in to the patterning of the wood and woodgrain of individual blocks and their orientation, blocks with radial grain are oriented to center, blocks with lateral grain are positioned lengthwise, and the blocks with some white paint are positioned with the grain running parallel to the short side. The haptic quality of the construction of suturing 1.5” wood blocks together is key to understanding these thresholds and comparison of scales. Understanding the part informs understanding of the whole; so too, understanding the whole informs understanding of the part by giving context. Lastly, the least tangible, yet arguably, most influential qualities comment on the relationship between human and ground.23 Identity and culture manifest themselves in the ground plane through material choice, iconography, joinery techniques—ultimately

a cultural palimpsest, a layering worth unfolding. Sense of place and time emerge in well-articulated and crafted ground at this meeting, this threshold between earth and man. The physical, tangible ground and its aesthetic components contribute to and determine the ground’s metaphysical value. In many places where history has been preserved instead of replaced, the materials of the ground are the vernacular, local materials and local building technologies. The material choice and articulation speak to place and culture. Natural materials specifically reveal age and embody history with their gorgeous wear of patina, softening, rust, or fade. Site, at the human scale, is both an investigation of physical tectonics and articulation of threshold and an inquiry of nonphysical layers. “Fairly quantifiable elements from quality of space, light, repose and outlook to firmness, commodity and delight. A dwelling can be measured by what it contains—both tangible and not. Artifacts and machines are stored alongside memories and dreams.”24 The threshold between tangible and not becomes blurred as we see both have a very real presence in influence on how we perceive spaces and the zones between the two. Definitions of boundary shape transitions from interior to exterior, from chaotic to peaceful, from rooted to precarious. Place and placemaking transcend scale. “Place can be as small as the corner of a room or as large as the earth itself: that the earth is our place in the universe is a simple fact of observation to homesick astronauts.… It is obvious that most definitions of place are quite arbitrary.25 Geographers tend to think of place as having the size of a settlement: the plaza within it may be counted a place, but usually not the individual houses, and certainly not that old rocking chair by the

fireplace.”26 Discussing ground necessitates discussion of terminology or establishing bounds as frames for understanding scales. The frames to determine scales become further thresholds for understanding and comparing elements. Place applies to the rocking chair differently than to the city as a whole. In the example of manhole covers from cities across Europe, a photographic taxonomy reveals character in weathering, joinery, materials, and symbolism; a singular element plays a part in the whole and establishes relationships to nearby elements of varied quantity and quality. Quite often, the material choice and its detailing of this utilitarian cover speak to the culture and identity of the city itself. In the image on the top left from Freiburg, Germany, one can gather from the icon of the gear the value of industry and technological advances. In this example, the graphics do the storytelling of the country’s value of industry as the castle symbol speaks of the city’s value of that particular building and its history. Surrounded by worn cobblestones, the ground reveals the sense of history and vernacular material choice for the old city. At the Museo Querini Stampalia, Carlo Scarpa’s joinery and material choices narrate the beginning, middle, and end of a journey across a Venetian bridge—a fundamental change in one’s surrounding in physical relation to the ground that occurs on the street before the bridge, on the bridge, and having reached the other side.27 The material transitions parallel the state changes. You find stable stone before over the water and lofty, delicate wood while over the water to narrate this crossing. The elevation change locates the three different states as well. To study the ground tectonics, they change to

parallel the stages of the journey. “Natural material express their age and history, as well as the story of their origins and their history of human use…. Buildings of this technological age usually deliberately aim at ageless perfection, and they do not incorporate the dimension of time, or the unavoidable and mentally significant processes of aging.”28 Aging and weathering particularly contribute to the haptic qualities. In Peter Zumthor’s intimate St. Benedict Chapel perched on a hill nestled in the Swiss alps, a habit physically manifest in the ground through weathering. The ritual has worn down the floor boards, designating path. Not only has this established the boundary between circulation and fixed furniture, but it narrates the procession of steps. This study of the ground takes account of these post-occupational conditions such as ritual. This ritual is the patterned link between architecture and the occupant. “The current over-emphasis on the intellectual and conceptual dimensions of architecture contributes to the disappearance of its physical, sensual and embodied essence.”29 For this reason, the industry must retain its roots in the haptic experience and awareness of the physical elements and their relationships to “aspir[e] ‘to make visible how the world touches us.’”30 These three categories of ground—physical tectonics, aesthetic compositional readings, and ephemeral meaning—characterize the relationship between human and earth. Taxonomy of the elements of threshold on different scales gives words to the discussion. Discourse of threshold and boundary informs an understanding place and being. When pulled into the foreground of the conversation, the ground has much wisdom to offer the architect.

L I T E R AT U R E R E V I E W The ground plane rests unassumingly underfoot, quite overlooked, and, yet, as an effect of gravity, is something we humanly are in contact with more than any other surface. The tectonics of the ground plane manifest into a matrix of layers through elements of edge, transition, joinery. The surfaces and the nature of their character combine to “patterns of physical, intellectual, poetic, and political structure that intersect, overlap, and weave together to become the context for human thought and action.”31 The physical properties of the ground such as texture and material lend themselves to their appropriate nonphysical properties of equal interest such as identity and culture. Being aware of and captivated by the floor beneath takes its forms of beauty— the detailing of tile work down the nave of Italian cathedrals; the intricacies of cobblestone patterns decorating the streets of Prague; wood bricks nestled together beneath an exposed arch of the Danish Parliament; the worn wood boards indicative of most common foot path in a tiny Zumthor chapel perched on a Swiss alp hillside. In each instance, the ground plays the literal role of connection to the earth and establishes the metaphysical relationship between person and place. These speak of craft, time, value, history, and place. Place and place making transcend scale. “Place can be as small as the corner of a room or as large as the earth itself: that the earth is our place in the universe is a simple fact of observation to homesick astronauts... It is obvious that most definitions of place are quite arbitrary. Geographers tend to think of place as having the size of a settlement: the plaza within it may be counted a place, but usually not the individual houses, and certainly not that old rocking chair by the

fireplace.”32 Discussing ground necessitates redefinition of terminology or establishing bounds as frames for understanding scales. Place applies in a different nature to the rocking chair than to the city as a whole, yet, still transcends scale in the same way a design concept does from detail to the overall massing. In Place: A Concise Introduction, Cresswell criticizes place being limited to “the realm of the particular, the limited, the local and the bound[—...] this idea of place as a fascination with the particular and the study of place as ‘mere description.”33 Yet, I think that some of this notion of limitation that he speaks of is fitting for looking at the ground in relation to place, because that is what I am after: the particular, the local, the bound at the human scale. At the same time, I recognize the elevated platform that he brings place to, which transcends those limiting descriptions and scale. Place leads us to being—“the very everyday and mundane fact of our knowing where to enact out lives. We live in one place, work in another, play football in another. But we are also willing to protect our place against those who do not belong and we are frequently nostalgic of places we have left. The human responses... reveal the deeper significance of place to human ‘being.’”34 As one entity establishes itself different from the other, threshold becomes intrinsic to this conversation. Through threshold, the conversation begets elements coming in contact with another; noteworthy instances of threshold identify themselves or obscure themselves in material, joinery, contrast and assimilation, juxtaposition, and seek to broaden the conversation. Definitions of boundary shape transitions from interior to exterior, from chaotic to peaceful, from rooted

to precarious. In the art world, visual relationships of part-to-part and part-to-whole are responsible for the dynamic and multiple readings of works of Jasper Johns, Mark Rothko, and Chuck Close.35 Boundary articulated in the repetitive nature of the tectonics is in question in these two-dimensional pieces. In the architecture world, another dimension is added and with it, another layer of craft. Furthermore, not only is there the relationship of the parts to each other, but there is the thickness or seam of what lies between—grout for tile or mortar for bricks. This visually adds another set of lines or pattern for the eye to read with the craft of construction. The lines, divisions, and contrasts in materials visually all speak of relationships. Looking at lines specifically, “lining is used in architecture as structural underlayment, environmental underlayment, scrim or overpayment, and reinforcement.... The use of the principle of lining gives rise to an architecture of stratification.... Through forms of lining, we seek actual and aesthetic expression of stratification. Architecture assumes the complexity of geology.”36 A complied taxonomy of conditions into ten gerunds which define this act of physical threshold—“framing, hinging, joining, lining, patching, profiling, scaling, selecting, slipping, weaving—looks backward to the ancient craft origins of architecture and forward to an ever expanding universe of contemporary technology and architectural composition.”37 The ground is a great matrix of palimpsest of time. “When valued as a cultural product as well as a natural resource the processes, connections, stories, and meanings of the ground take on a different cast. The more readily grasped social, political, and physical structures that give a

culture its unique particularity are brought into relationship with the immense and less comprehensible scale of natural process.”38 In the example of manhole covers from cities across Europe, a simple personal taxonomy reveals character in weathering, joinery, materials, and symbolism; a singular element plays a part in the whole and establishes relationships to nearby elements of varied quantity and quality. Often, the material choice and its detailing of this utilitarian cover spoke to the culture and identity of the city itself. The ground is impregnated with poetic content and spatial structure39 to be assessed in a phenomenological sense.40 Site at the human scale is both an investigation of physical tectonics and articulation of threshold, but also, an inquiry of nonphysical layers. At the Museo Querini Stampalia, Carlo Scarpa’s joinery and material comment on the beginning and end of a journey across a Venetian bridge—a fundamental change in one’s surrounding specifically in physical relation to the ground that occurs before the bridge, on the bridge, and in between those two states.41 The material change from stable stone on land to lofty, delicate wood over water narrates this crossing. The ever-present ground is “submerged in the obscurity of a film of familiarity,”42 yet, once probed and pondered, offers quite a commentary on the world around us.

markuskyrken

Saint Benedict Chapel peter zumthor, 1988

Markuskyrken sigurd lewerentz, 1956

Brion Cemetery carlo scarpa, 1969-78

Taliesen West frank lloyd wright, 1959

precedent

PRECEDENTS

EXPERIENCE “Zumthor purposefully maintains his atelier in this humble, remote location in order to ensure his experience of ‘presence’: ‘Every once in a while, I get this feeling of presence. Sometimes in me, but definitely in the mountains. If I look at these rocks, those stones, I get a feeling of presence, of space, of material.’”43

“inspired by the image of the Mother Church: security, softness, dignity, composure, concentration; a place of reflection, space to breathe”44 - Peter Zumthor

FORM

MATERIAL pure form

punctured

connection to earth (entry breaks form)

transition zone/volume

tectonics joinery weathering

SOLAR ORIENTATION sun time weathering

ST. BENEDICT CHAPEL 1988 Peter Zumthor Sumvitg, Switzerland CONCEPT Excellent craft and understanding of material, detailed articulation of materials specific to surface, time and weathering drive the design and experience.

DETAIL

RIBBED STRUCTURE

exterior wood shingles wall cavity gap floor

wood shingles exterior wall cavity gap broken wall floor

WALL SECTION

infinite exterior expanse gap/cavity/ significant void inhabitable platform

ZONES OF SPACE 23

MORTAR + BRICK “This determines the texture of the brickwork in which the mortar assumes a similar value to that of the bricks, turning the roles traditionally attributed to the two elements into an ambiguous one [....] The wall—or rather what appears to be a single expanse of brickwork—is, however, the result of the juxtaposition of a series of fragments, made evident by large, dark mortar joints running from the edge of the roof to the ground level, dividing the facade into a series of vertical bands.”45 The mortar, the seemingly insignificant and secondary material, establishes itself through the contrast with the primary brick. The mortar especially highlights the means of joinery by announcing the individuality of a single brick with its light border.

EXPERIENCE The level of the lights I find most interesting. I’d seen sketches before but it’s completely different with the hovering forest a bit above your head. It breaks up the space significantly. The lights make paths by being hung at different levels.

PUNCTURES Deep punctures in the side walls make the windows glow bright in the surprisingly dim interior. Lewerentz worked for years on windows and therefore executes skilled craft in how the glass sits in the wall.

MARKUSKYRKEN

1956

Sigurd Lewerentz Stockholm, Sweden PATTERN + MATERIAL Extensively different brick patterns were applied throughout the complex. In this, there lies the beautiful example of innovation and variety with a single module. Its use with dynamic variety of joinery creates slightly different textures of wall as a whole. The singular module is used as floor, wall, and roof, creating a cohesive whole with flavor and variety in the details. Different structural capabilities and massing types are explored in the brick patterning and joinery from the vaulting of the sanctuary ceiling to the curving element of the exterior of the sanctuary side entrance.

CONCEPT + METHODOLOGY The cemetery fundamentally is conceived as a garden. In this, the intent is “to render the natural sense of the concept of water and field, water and earth: water is the source of life.”46 To facilitate an experience, a element key to the concept is that of a journey “practically free of restrictions.”47 One comments, “from here I can see out and from outside no one can see in.”48 Scarpa applied a deliberate system of 5.5 cm. Detailed articulation of materials specific to surface establish the tactile. Unconventional articulation of boundary and edge compliment the symbolic manifestation of transcendent concepts.

SITE PLAN CONTENT ANALYSIS addition existing cemetery

existing + addition

water

sunken walkway paths

BRION CEMETERY

1969-1978

Carlo Scarpa San Vito d’Altivole, Italy ABSTRACT MATRIX “The entire Brion cemetery is conceived, scaled, and built on the single module of 5.5 x 5.5 cm and its multiples and submultiples. Such is its bearing on relating scale and proportion of the parts and in determining the form of the single elements, that it has become the salient characteristics of the place. It adapts to an almost endless series of compositions and variations, but at the same time it is also a constraining factor. It is a geometrical yardstick, a self-imposed discipline that Scarpa rationally applies to the whole: an abstract matrix yielding an expressive order of the city of the dead, which in terms of plastic form enhances the metaphysical sense.”49

SITE CONTEXT

SYSTEM

average human width = 44 cm

surrounded by fields

SECTION

5.5 cm multiples: 5.5, 11, 16.5, 22, 27.5, 33, 38.5, 44

arcosolium

Paths are sunken down into the grassy lawn of the earth. Solid and void interplay create the path of circulation for meandering through the site.

Scarpa’s work raised intentionally with 60° walls to isolate the cemetery and give a sense of self-containment

AXIS â&#x20AC;&#x153;Implying, as all too many would assume, that in making an axis, one simply sets up a line which people can walk. This is not the case at all. An axis is a relationship across space, not simply a path. At best it is a thing of the mind, not just of the feet.â&#x20AC;?50

TALIESEN WEST

1959

Frank Lloyd Wright Scottsdale, Arizona, USA

Threshold51 [thresh-ohld, thresh-hohld] noun 1. the sill of a doorway. 2. the entrance to a house or building. 3. any place or point of entering or beginning: the threshold of a new career. 4. Also called limen. Psychology, Physiology. the point at which a stimulus is of sufficient intensity to begin to produce an effect: the threshold of consciousness; a low threshold of pain.

Physical Abstract a challenge of perception of boundary, border, and pattern in a 2.5D artifact

Esquisse Model a study of material transition and joinery

Vellum Furniture a response of tectonics and pattern at the human scale

making

PHYSICAL ABSTRACT

A manifestation of patterned tectonics and material as a means of tinkering with boundary and threshold. From this platform of repetition and highly crafted modularity, I challenge joinery, composition, relationships of part-topart and part-to-whole.

â&#x20AC;&#x153;The emphasis on repeating pattern and process requires a large enough temporal context to be certain that phenomena are in fact recurring. When actions repeat, they are not objectified or taken out of context, but instead become something continually taking on new meaning through participation in a larger pattern of recurrences whose cyclical nature has no discernible beginning or end.â&#x20AC;?52 - Robin Dripps

“‘They set off, and immediately the cunningly sprung boards gave out penetrating squeaks and groans.’ The floor is a sonic environment. People do not ordinarily walk along the edge of rooms tapping on walls, but they are almost always making some percussive sound on the floor.”53 - AMO

ESQUISSE

Four different field conditions represented through different materials, through different articulation of that material, and with varied joinery technique. These four different zones of composition speak to the language of the material itself. Each zone becomes its own place with unique character driven by its material and visual qualities. If you run your hand across the surface, the texture goes from hydrocal-smooth to unsanded-wood-endgrain-rough. The transition from hydrocal to sanded plywood seems like the most juxtaposed transition, yet the inlaid walnut strips add a layer of ambiguity as they bridge the two field conditions and obscure the hard line.

VELLUM FURNITURE

an scale response o ec onic esi n ni ersi y ar allery rni re s o in cra le o cra le a ar inner

ca en in or a erials e es e an i a rip o e l er s ore o in ire a o eir scrap pile en in line appene o e rien a con rac or o can i ly o ere o le e a e a pee a e e ris a is c rren o si e

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n e oo s op s rippe e oo o os o i s i e pain an c e in o c es or y esi n i ilarly in searc o s eel ca e pon pro isin a ar in e scrap pile a e local s eel yar

er l e cla ps an en in s eel e ele an co ee a le e er e a pro c o ea y i a pas o as e in s o e pas an ispers o e a erialsâ&#x20AC;&#x2122; is ory s ill s o ro o c es o i e pain ro e railin s le ea erin pa ina ro e pos re on rac s in e s eel yar

e ric ion asse o e oo osaic easy ranspor a ion as e co pli en o

ly o e s eel le s a le op allo or an con in e li e li in roo

PROCESS [Elements] 296 [Materials] repurposed poplar, redwood, pine, steel [Cost] $7.72 [Value] priceless

lateral tangential grain

painted pine

redwood + poplar

radial end grain

Concept ground - threshold - materials - tectonics - place

Site valley center - california - avocado + lemon grove

Program artist - person of faith - dwelling - retreat

Thematic Elements a taxonomical approach

collage

THRESHOLD(S) connec in

ro n

o er s o analysis

Boundaries are established by material changes, elevation changes, or patterning and define space where two conditions meet. The tectonics of surface, most evidently in the ground plane, become a commentary on place. Identity and culture manifest themselves in the ground plane through material choice, iconography, joinery techniquesâ&#x20AC;&#x201D;ultimately a cultural palimpsest, a layering worth unfolding. In both two-dimensional surface and threedimensional space, you can extract elements and assess based on the same criteria of composition (aesthetically and in terms of construction), lines dividing space, texture, contrast, juxtaposition, and rhythm. The lines, divisions, and contrasts in materials visually all speak of relationships. In this collage, the lines and patterns lead you across the page, pulling your eye along a path from ground surface to the curved wall and pitched roof. The glorification of pattern sitting atop a subtle grid in the background signifies the simplicity and order hosting the complexity of system. The clamp and wood blocks comment on the modularity of pattern and how the individual pieces compose a whole. The ground is impregnated with poetic content and spatial structure to be assessed in a phenomenological sense.

CONCEPT in

ence on space an place

GROVE a oca o an le on ro e

Tucked away in the rolling hills of Valley Center, California, the grove contently exists, far from the sounds of honking cars and glare of street lights, timeless in its resolve. Time is counted by the sun and measured by picking and trimming seasons of avocados, lemons, and oranges. The ebb and flow of heat from the cool of morning to sweaty lunchtimes to late afternoon warmth pace the day. The demographics are mixed culturally as the surrounding land is occupied by singlefamily residential homes and the workforce of the trees is primarily Mexican. Years of careful cultivation and wild nature at work on the landscape have shaped this twelve acre parcel. In the collage, the wood reads both as a stack of wood as well as a site plan indicating trees. This site represents a haven away from the city. Welcome to the rural, a place to recenter and be refreshed.

SITE alley cen er cali ornia

ARTIST RETREAT spa ial isc ssion o ar li e an

For millennia and even today, art uniquely connects artist and viewer to each other and to the physical and spiritual worlds. Whether the artists be painters, graphic designers, poets, architects, fashion designers, sculptors, dancers, videographers, jewelry makers, or musicians, creatives offer another way of viewing the world that enriches it with beauty and meaning. In cultivating connection to God, people, and art, this program tests the boundaries between these three spheres and explores their overlap. Collisions of different artists from varied disciplines are represented with their appropriate slots in the wall and adjacency to other artists. The wood blocks represent the diversity of individuals contributing to a rich collective whole. Functioning through a programmatic and social network, the artist is to thrive in community and retreat from routine. It is a spatial discussion of the intersections of art, life, and faith.

PROGRAM

a pro in o connec ion

all c ra ion

allery

13 december 2016

thematic elements Specific Building Blocks of Design Methodology Inspired by multiple sources of research and analysis of my own, I developed a list of thematic elements to give vocabulary to patterning and joinery of materials. The top row contains the most basic elements, the second row deals with planar elements, and the bottom row applies to the third dimension.

[1]

[2]

[3]

LINE

AXIS

GRID

[4]

[5]

[6]

P AT H

MEET

SLIP

[7]

[8]

[9]

S U R FA C E

STEP

C LO S U R E

“As treatises on geometry develop from point to line to surface to solid, the Themes in our set of Memory Chambers might start with a line—an axis (if it is straight) or a path (if it wanders), then proceed to orchards that multiply that line onto a place, and then to platforms, slopes, and stairs that raise some of the places into the third dimension. After that, we can enclose our spaces with walls and borders pierced with doors and windows and sheltering pockets of space at the edge, cover our space with roofs and canopies, stud it with markers, and then have a look at how we animate it with light and ornament.”54 - Chambers for a Memory Palace

LINE

[1] [single thread; continuous extent of length; ushering direction or measure]

AXIS

[2] [straight form of line; to reach; establish a destination; spine]

GRID

[3] [rhythmic intersection of lines; anti-axis in effect; basis of plane]

P AT H

[4] [wandering form of a line; invitation to linger, to explore, to slow one’s pace, to choose]

MEET

[5] [the abrupt coming together of two elements wherein the threshold is a harsh divide]

SLIP

[6] [slide past; elongation of the threshold; formal extension of interlocking members]

S U R FA C E

[7] [basis of texture; basis of the tactile; integral for the play of light and shadow]

STEP

[8] [shift in plane; elevation change establishing a different level entirely]

C LO S U R E

[9] [frames passage or aperture; spatial surrounding emphasizing break in the solid]

Concept diagram + analysis

Site diagram + analysis

Program diagram + analysis

artifact

CONCEPT

This particular artifact illustrates the connection between concept, site, and program weaving a narrative of collective thesis and thesis project: The foot engages with ground in a tactile sense; two-dimensional pattern joins the dialogue; nine thematic elements put words to conversation and understanding of identity of place, transformation over time, culture, and history; â&#x20AC;&#x153;+â&#x20AC;? grid mimics the structured organization of trees of the grove

in plan; the cyclical nature of time and continuity of living things; the avocado tree with its seven year stumping cycle shows its dynamic spatial characterâ&#x20AC;&#x201D;the rhythmic breathing of this Earth; merely one example of the circle of lifeâ&#x20AC;&#x201D;the everyday give and take and connectivity of the all in all. The delicacy and fortitude of life as it is understood through the eyes of faith and manifest in art.

SITE

The avocado and lemon grove is ruled by the natural elements and operates by the clock of the sun. The plot of land sits in hilly terrain with taller rocky hills in the distance. The brown painting lines represent the dirt and paved roads that provide access to the site. These also capture the sense of meandering and winding pace of life at the grove.

For efficiency of resources, growth, and fruit production, the avocado trees operate within a seven year stumping cycle. This cycle replenishes nutrients to the soil and minimizes cost of water while maximizing fruit output. Throughout the course of the seven years, drastically different spatial conditions characterize the site. As a nod to the religious experience, three bands represent the Trinity weaving through the natural elements of site.

SOUTHERN CALIFORNIA: NORTHERN SAN DIEGO COUNTY: OUTSIDE OF VALLEY CENTER

LEMON V AVOCADO + GROWTH STAGES 60

OPEN SPACE

EXISTING PATHS

PROGRAM

This diagram is an abstracted site plan. The abstraction organizes the program on the site and explains the relationship between nodes and axes. The intent is to encourage wander throughout the existing grid of the avocado and lemon trees. The dark blue axis represents the existing path from lower entry gate to the mid, flatter pad to the upper pad. The rings respond to the natural pads of flatter slopes, where it is the most fitting to develop fixed structures. The curved blue elements represent the two existing entry points of road and gate on the property. While the nodes and natural axis exist, the intention of the design is to formally extend into the grid of the crops and to locate programmed structures. Their distance from each other reinforces exploration of the entire site. Such an exploration and wandering through the trees promotes a hyperawareness of the senses, particularly that of the ground and locating one self in relation to the known and the unknown. es reac across space o ra o e er e i por an poin s in a place ey are en al cons r c s a elp s o posi ion o rsel es an a e alliance i in s il in s or spaces a s are ere yo r ee ac ally ro so a a appens alon e ay eco es e i por an in n so e o e os in eres in places a es an pa s in er ea e i e a is allo in e in o o e connec in an e pa allo in e ee o an er e plore a e c oices an p in s in se ence - Chambers for a Memory Palace

FAITH-BASED ARTIST RETREAT A sense of procession in the placement of the program should enrich the sacred experience and connection to the landscape. Thoughtful spatial sequence is integral for procession. The pace of the experience is influenced by establishing â&#x20AC;&#x153;journeyâ&#x20AC;? through the placement of the program. This artist retreat is to be one of both seclusion and community. A breakdown of the program of a faith-based artist retreat by asking the questions: Who are they? What do they do? What do they need? and designing from there.

e is ory o reli io s arc i ec re is c arac eri e y or s an spaces or ani e alon a es a e en e reac o se eral o ec s or c a ers ro lon alls co r s an oreco r s o e o er li i s o e sacre precinc e il ers o sec lar spaces oo reco ni e e or ani a ional po er o e a is an arran e palaces an ci ic spaces alon lines a lea ro en ire co ple es e en ci ies ars allin e a en ion o all ose in a en ance separa in le ro ri an se in e s a e or processions - Chambers for a Memory Palace

Taxonomical Explorations a model charrette

Zoom In, Zoom Out, Repeat paver - main hub - site

Site Sections an application of thematic elements

iteration

TAXONOMICAL EXPLORATIONS Isolating specific actions or elements, a study of their spatial relations through articulation [1] abstraction of ground, layer of fallen leaves above, man-made addition above the organic layers, [2] layers of enclosure varying in transparency and solidity, [3] grid of trees, [4] lifted mass, [5] artists from different disciplines coming together, [6] joinery exploration of modules, [7] repetition of elements creating different spaces, [8] three nodes delicately and subtly connected, [9] an epicenter of patterns, [10] modular possibilities of structure, [11] pattern exploration

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

ZOOM IN - PAVER Right: Modular paver experimentation Below, model: Designing with thematic element “Slip” Below, sketches: Section of main hub

ZOOM OUT - MAIN HUB Left Top: Napkin sketches of concept Left Middle: Model charrette: how to connect to landscape and extend to other nodes on site Left Bottom: Model: red color representing rammed earth as rooting datum Right Top: Program Right Bottom: Program plus connection to landscape plus extension to other nodes on site plus thematic elements

to NG

SL D

PO III ]

lip

L AL

Y ER

ER OW OOM HEN H S STR ITC K ING RE LIV Y BB G O N I L IV

S RK

G n] w

]

rid

d ken

sun

[

]

[st

os [cl

]

[st

th]

IO CT

[pa

ZOOM OUT MORE - SITE : ZOOM IN - POD Left Top: Development of different zones of tree growth and placement of built nodes Left Bottom: Giant site model process with CNC Router Right Top: Pod sketches in different zones of tree growth Right Bottom: Site plan diagram of three avocado growth zones (old, mid, and stumped) and relationship between main hub and pods

[mid growth] [stumped] [old growth]

sleeping pod i main hub sleeping pod ii sleeping pod iii

lookout

sleeping pod

intervention

144’

136’

128’

120’

112’

main hub

104’

[slip] [step] [axis] [line]

[lemon trees]

96’

[step] [surface] [meet]

[patio] [gallery]

[workshop]

[gathering] [road]

[meet] [step] [line]

si e sec ions 74

esi nin

e a ic ele en s

[surface] [closure]

sleeping pod

intervention

sleeping pod

intervention

entry

84’

72’

64’

56’

48’

40’

32’

24’

16’

8’

0’

[step] [meet] [grid]

[stumped avos] [old avos] [intervention]

Final Words the written component

Site, Main Hub, Pods, Details the project

Show the ktyg gallery exhibition

proposal

FINAL WORDS As a result of material advances and the Modern movement, the prioritizing of efficiency and production resulted in our passive interaction with the ground and distorted sense of place. Our everyday environments lack the craft, detail, and human scale that guided the making of places in the past. This thesis argues for the articulation of the ground plane and material tectonics to define a sense of place. Threshold established on the ground plane instrumentally shapes spatial sequence and how we understand where we are. The interaction between the physical elements and their embodied non-physical qualities such as history and transformation over time frames how we develop an understanding of place. As a design methodology, I employ a set of defined thematic elements of nouns and verbs as a taxonomical vocabulary of composition. To test this study of ground, material, and tactile experience, a faith-based artist retreat hosts day trippers and artists in residence to wander and discovery. The dispersed program across the twelve acre grove propels one to hyperawareness of the senses through exploration and curiosity. This detail oriented methodology of materiality creates engagement; a measured set of experiences in a dynamic setting for pause and reflection. The crop rotation cycle of stumping the avocado trees agriculturally replenishes the soil and generates produce efficiency in seven year cycles. This process of stumping and letting the trees regrow provides distinct spatial conditions specific to the growth stage. Shortly after stumping, the trees take on a spatial condition of sticks in a field. When the trees have returned to full growth, the canopy condition casts great shadows and leaves pile up to form

a thickened layer to crunch through. In between these conditional and growth extremes, the middle growth acts as blobs to walk between. These dynamic and varied spatial conditions specific to growth stage are design drivers for highlighting transformation over time. Three different levels of programmatic intensity sit nestled throughout the site. The driving experience of the project is the wandering between, stumbling upon these sites, and the experience once the node is reached. From large to small scale, the hierarchy of structures are the main hub, pods, and interventions. The main hub houses workshops, gallery, enclosed gathering space, and the necessities of permanence such as kitchen, restroom, and bathrooms. This main hub formally extends into the landscape and takes advantage of the climate through porches, patios, and greenery as outdoor programmed spaces. The articulation of the ground plane and its commentary on indoor and outdoor here becomes pivotal in the detailing and zoning of spaces. At a smaller scale, the pods serve as a sleeping location, small workshop space, and protected points of pause. Smallest, the interventions focus specifically on a place to sit or a place to set up an easel. Each of these fixed components of program use the vocabulary of the thematic elements, interact intentionally with the conditions of ground, and establish a determined spatial experience.

SITE Below: The white painted rectangles locate the portions of the pod model Total area of the parcel: 12 acres Model scale: 1”= 50’-0”

avocado stumped

avocado mid

avocado old

lemon

main hub

pod

road

neighbor

ain

ace approac

ile ascen in

e ill

MAIN HUB Below: Programmatic diagram Model scale: 1/8”= 1’-0”

sleeping pod

restroom + shower

individual workshops

kitchen

living

main workshop

[mid growth] sleeping pod (0) [stumped] [old growth]

sleeping pod (i) main hub sleeping pod (ii) sleeping pod (iii)

MAIN HUB Two zones of trees meet as the form extends into the landscape Model scale: 1/8”= 1’-0”

PODS

GROWTH CYCLE

7 year stumping crop rotation

SLEEPING POD

artist in residence / workspace

Right Bottom: Four pods, one in each spatial condition: (From left to right) lemon, avocado mid, avocado stumped, avocado old Each of the rectangular portions of the model correspond to the white rectangles of the site model Model scale: 1/8”= 1’-0”

[young growth] 6 months

[middle growth] 3 years

[old growth] 7 years

sticks in field

blobs

canopy

year 0

year 3

year 7

D E TA I L S

ARTICULATION OF THESIS TO DESIGN PROJECT

INTERLOCKING PAVER + DETAIL Below: 1:1 Concrete interlocking paver with ceramic possible combinations Right: Detail of porch and living space, near kitchen and main workshop Rammed earth, wood, glass, and concrete as main materials

Studio BS

scale l”=0”-1’ ellie o’connor

thesis studio show - ktgy gallery

19 - 20 may 2017

THE SHOW projection on site model zones of avocado tree growth: old, mid, stumped lemon trees, existing roads, property line

Footnotes the references + image sources

Bibliography the sources

Thanks so many thanks

REFERENCE

FO OT N OT E S INTRODUCTION 1

AMO and Rem Koolhaus, Elements: Floor. (Venice, Italy: Marsilio Editori, 2014), 2.

Ibid., 79-80.

ABSTRACT 3

Charlotte Whitlock, “Dwelling Deeply: Measures of the Ground.”

Ibid.

DISCOURSE 6

Charlotte Whitlock, “Dwelling Deeply: Measures of the Ground.”

Stephen Kieran and James Timberlake. Manual: The Architecture of Kierantimberlake (New York: Princeton Architectural Press, 2002).

Reference to Gaston Bachelard’s research. In Site Matters: Design Concepts, Histories, and Strategies, ed. Carol J. Burns and Andrea Kahn (New York, NY: Routledge, 2005), 66.

Robin Dripps, “Groundwork.” In Site Matters: Design Concepts, Histories, and Strategies, ed. Carol J. Burns and Andrea Kahn (New York, NY: Routledge, 2005), 59.

Charlotte Whitlock, “Dwelling Deeply: Measures of the Ground.”

Ibid.

Juhani Palasmaa. The Eyes of the Skin, (West Sussex, United Kingdom: John Wiley & Sons Ltd, 1996), 131.

“Haptic.” New Oxford American Dictionary. 2nd ed. Edited by Erin McKean. New York: Oxford University Press, 2010.

Stephen Kieran and James Timberlake. Manual: The Architecture of Kierantimberlake (New York: Princeton Architectural Press, 2002).

Bianca Albertini and Sandro Bagnoli. Carlo Scarpa: Architecture in Details (Cambridge, Massachusetts: The MIT Press, 1988), 251.

Stephen Kieran and James Timberlake. Manual: The Architecture of Kierantimberlake (New York: Princeton Architectural Press, 2002).

100

Stefan Buzas. In Carlo Scarpa: Architecture in Details, ed. Bianca Albertini and Sandro Bagnoli (Cambridge, Massachusetts: The MIT Press, 1988), ix.

Cameron Anderson. The Faithful Artist: A Vision for Evangelicalism and the Arts (Downers Grove, Illinois: IVP Academic, 2016).

Bianca Albertini and Sandro Bagnoli. Carlo Scarpa: Architecture in Details (Cambridge, Massachusetts: The MIT Press, 1988), 251.

Jasper Johns. “Numbers in Color Painting.” Painting. 1959. Piet Mondrian. “Composition II in Red, Blue, and Yellow,” Painting. 1930. Chuck Close. “James.” Museum of Modern Art, San Francisco. Painting. 2002.

Viollet-le-duc. Discourses on Architecture (1863), 91.

Robin Dripps, “Groundwork.” In Site Matters: Design Concepts, Histories, and Strategies, ed. Carol J. Burns and Andrea Kahn (New York, NY: Routledge, 2005), 62.

Charlotte Whitlock, “Dwelling Deeply: Measures of the Ground.”

Ibid.

This sense of the word “arbitrary” carries a negative connotation, implying lack of attention to detail or care, but the term points out how flippantly we change scale when we use the term “place.”

Tim Cresswell. Place, A Short Introduction (Malden, Massachusetts: Blackwell Publishing, 2004).

Reference to Carlo Scarpa’s Museo Querini Stampalia.

Juhani Palasmaa. The Eyes of the Skin, (West Sussex, United Kingdom: John Wiley & Sons Ltd, 1996), 128.

Ibid.

Ibid., 130.

LITERATURE REVIEW 31

Robin Dripps, “Groundwork.” In Site Matters: Design Concepts, Histories, and Strategies, ed. Carol J. Burns and Andrea Kahn (New York, NY: Routledge, 2005), 59.

Tim Cresswell. Place, A Short Introduction (Malden, Massachusetts: Blackwell Publishing,

101

2004). 33

Ibid.

“Numbers in Color Painting,” by Jasper Johns, “No. 61,” by Mark Rothko, and “James” by Chuck Close each contain the similar qualities of color, line, and texture.

Stephen Kieran and James Timberlake. Manual: The Architecture of Kierantimberlake (New York: Princeton Architectural Press, 2002).

Ibid.

Robin Dripps, “Groundwork.” In Site Matters: Design Concepts, Histories, and Strategies, ed. Carol J. Burns and Andrea Kahn (New York, NY: Routledge, 2005), 64.

Ibid.

Reference to Gaston Bachelard’s research. In Site Matters: Design Concepts, Histories, and Strategies, ed. Carol J. Burns and Andrea Kahn (New York, NY: Routledge, 2005), 66.

Reference to Carlo Scarpa’s Museo Querini Stampalia.

Stephen Kieran and James Timberlake. Manual: The Architecture of Kierantimberlake (New York: Princeton Architectural Press, 2002).

REST OF THE BOOK 43

Gili Merin. “Peter Zumthor: Seven Personal Observations on Presence In Architecture” (ArchDaily, December 3, 2013). Accessed November 7, 2016.

Peter Zumthor. In “Peter Zumthor: Seven Personal Observations on Presence In Architecture,” ed. Gili Merin (ArchDaily, December 3, 2013). Accessed November 7, 2016.

Mall, Pall. “Markuskyrkan” in Sigurd Lewerentz (New York: Phaidon, 2012).

Sergio Los. Carlo Scarpa: An Architectural Guide (Arsenale Editrice, 2006), 94.

Ibid,. 72.

Ibid,. 90.

Bianca Albertini and Sandro Bagnoli. Carlo Scarpa: Architecture in Details (Cambridge, Massachusetts: The MIT Press, 1988), 215.

102

Donlyn Lyndon and Charles W. Moore. Chambers for a Memory Palace (Cambridge,

Massachusetts: MIT Press, 1996). 51

“Threshold.” New Oxford American Dictionary. 2nd ed. Edited by Erin McKean. New York: Oxford University Press, 2010.

Robin Dripps, “Groundwork.” In Site Matters: Design Concepts, Histories, and Strategies, ed. Carol J. Burns and Andrea Kahn (New York, NY: Routledge, 2005), 59.

AMO and Rem Koolhaus, Elements: Floor. (Venice, Italy: Marsilio Editori, 2014), 52.

Donlyn Lyndon and Charles W. Moore. Chambers for a Memory Palace (Cambridge, Massachusetts: MIT Press, 1996), 53.

Ibid,. 62.

Ibid,. 65.

IMAGE SOURCES p.14

Rothko, Mark. “No. 61 (Rust and Blue)”, Museum of Contemporary Art, Los Angeles. Painting. 1953. Johns, Jasper. “Numbers in Color Painting.” Painting. 1959. Mondrian, Piet. “Composition II in Red, Blue, and Yellow,” Painting. 1930.

p.15

Close, Chuck. “James.” Museum of Modern Art, San Francisco. Painting. 2002.

p.16

Groninger Kerken. Ontwerp van Carlo Scarpa (Venetie). November 25, 2015. WordPress. Accessed November 8, 2016. https://groningerkerken.wordpress.com/2015/11/25/eenontwerp-voor-vernieuwing-en-behoud/scarpa-venetie/.

p.22

Zumthor, Peter and Thomas Durisch. Caplutta Sogn Benedetg, Sumvitg, Graubünden. In Peter Zumthor: Buildings and Projects 1985-2013. Scheidegger and Spiess, 2014.

p.25

Sun, Christopher. “Case Study, Sigurd Lewerentz.” Presentation at the Danish Institute for Study Abroad, Copenhagen, Denmark, April 12, 2016.

p.26

Albertini, Bianca and Sandro Bagnoli. Carlo Scarpa: Architecture in Details. Cambridge, Massachusetts: The MIT Press, 1988.

p.60

United States Geological Study. “Oceanside, California.” Compiled by the Bureau of Land Management. Topographical Map. 1982.

103

BIBLIOGRAPHY Albertini, Bianca and Sandro Bagnoli. Carlo Scarpa: Architecture in Details. Cambridge, Massachusetts: The MIT Press, 1988. AMO and Rem Koolhaus, Elements: Floor. Venice, Italy: Marsilio Editori, 2014. Anderson, Cameron J. The Faithful Artist: A Vision for Evangelicalism and the Arts. Downers Grove, Illinois: IVP Academic, 2016. Close, Chuck. “James.” Museum of Modern Art, San Francisco. Painting. 2002. Cresswell, Tim. Place, A Short Introduction. Malden, Massachusetts: Blackwell Publishing, 2004. Dripps, Robin. “Groundwork.” In Site Matters: Design Concepts, Histories, and Strategies, edited by Carol J. Burns and Andrea Kahn. New York, New York: Routledge, 2005. Holl, Steven and Juhani Pallasmaa and Alberto Perez-Gomez. Questions of Perception: Phenomenology of Architecture. San Francisco, California: William Stout Publishers, 2006. Johns, Jasper. “Numbers in Color Painting.” Painting. 1959. Kieran, Stephen and James Timberlake. Manual: The Architecture of Kierantimberlake. New York: Princeton Architectural Press, 2002. Koyama, Akira. Architecture and Urbanism, 1984. Leven, David and Stella Betts and Leven Betts. Pattern Recognition. New York: Princeton Architectural Press, 2009. Lin, Maya. “2 x 4 Landscape.” Installation. 2006. Liturgists, The: Michael Gungor and Mike McHargue. “Religious Art.” 2016. The Liturgists Podcast. Podcast. Los, Sergio. Carlo Scarpa: An Architectural Guide. Arsenale Editrice, 2006. Lyndon, Donlyn & Moore, Charles W. Chambers for a Memory Palace. Cambridge, Massachusetts: MIT Press, 1996. Mall, Pall. Sigurd Lewerentz. New York: Phaidon, 2012. Merin, Gili. “Peter Zumthor: Seven Personal Observations on Presence In Architecture.” ArchDaily, (December 3, 2013). Accessed November 7, 2016. http://www.archdaily.com/?p=452513.

104

Mondrian, Piet. “Composition II in Red, Blue, and Yellow,” Painting. 1930. New Oxford American Dictionary. 2nd ed. Edited by Erin McKean. New York: Oxford University Press, 2010. Pallasmaa, Juhani. The Eyes of the Skin. West Sussex, United Kingdom: John Wiley & Sons Ltd, 1996. Rothko, Mark. “No. 61 (Rust and Blue)”, Museum of Contemporary Art, Los Angeles. Painting. 1953. Sestoft, Jørgen. “Peder Vilhelm Jensen Klint.” Casabella, (October - January 1996-97): 14-27. Slavid, Ruth. Wood Houses. New York: Abbeville Press Publishers, 2006. Tuan, Yi-Fu. Space and Place: The Perspective of Experience. St. Paul, Minnesota: University of Minnesota Press of Minneapolis, 1977. Viollet-le-duc. Discourses on Architecture, 1863. Whitlock, Charlotte, “Dwelling Deeply: Measure of the Ground.” Zumthor, Peter and Thomas Durisch. Peter Zumthor: Buildings and Projects 1985-2013. Scheidegger and Spiess, 2014.

105

MANY THANKS to my parents, joey and krista, specifically for funding the last five years and for being my parents to bryan shields, mark cabrinha, keith wiley, bob demmond, doug jackson, sandy stannard, tom di santo, casey benito, dave kempken, teri sanders-brown, and all the other professors, and to michael lucas for helping me get a projector when dougâ&#x20AC;&#x2122;s studio checked out all of them on campus to everyone in thes-ish studio: annabelle nikolov, brent bumbaca, colin murphy, deeksha phadnis, eric tam, eva xie, jenny nguyen, katie bishop, kyle denis, liz murphy, liza talavera, max warman, megan ryan, oscar hernandez, pei-en yang, prab sutti, sarah lerner, steven torres, vanani vasundhara to sophie de christopher for the endless pep talks and to the faithful mentees, hannah oitzman and kristin miller-nelson, for food, caffeine, chocolate, laughs, and laboring tirelessly on my presentation shenanigans

106

107