TRANSCENDENT // ARCHITECTURE ERIC RIPLEY
FAITH INSPIRED THROUGH SACRED DESIGN
TRANSCENDENT // ARCHITECTURE Faith Inspired Through Sacred Design
Eric Ripley Bachelor of Architecture Thesis Ball State University // CAP Studio Professor // Andrea Swartz Thesis Advisor // Sean Burns I am very grateful to have had the opportunity to study architecture at Ball State University in the College of Architecture and Planning. I could not have made it without my families’ continuous support and of course my wife Hannah’s endurance and support throughout. I am also thankful for Andrea Swartz as she has been an inspiring studio professor over the year and constantly pushed me to strive for more. Sean Burns was also extremely helpful as he brought his design expertise and creative insights into this project. And most importantly I am thankful for God, who has given me the passion to know Him and use my gifts to share Him with others.
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TABLE OF CONTENTS
ABSTRACT 05
// Design Solution 36
THESIS RESEARCH & PROPOSAL // Intro 06
// Program & Circulation Diagram 38 // Site Plan & Floor Plans
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// Issues & Positions 07
// Renderings—Processional Journey
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// Precedent Studies & Analyses 12
// Renderings—Sanctuary
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// Conclusion & Techniques 20
// Renderings—Exterior
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// Foundational Values & Goals // Programmatic Specifications // Site Context & Analysis
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// Renderings—Outreach Journey
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// Sections
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// Axonometric Diagram
DESIGN PROCESS & SOLUTION // Schematic Design 28 // Daylighting Study 32 // Light Study Models 34
// Structural Section Detail
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57 60
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// Model Photos
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REFLECTIONS & CONCLUSIONS
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BIBLIOGRAPHY & FIGURE LIST
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ABSTRACT While sacred spaces and structures have historically been regarded as spiritually inspiring, more recent church design falls short of this. Immense and awe-inspiring cathedrals, built over centuries, were once the standard setting for Christian worship. Today, however, megachurches, housed in lack-luster “big-box” architecture, define the building-typology. The typical architectural design for contemporary houses of worship lacks the architectural characteristics to provide spiritual transcendence of the physical world. With the opportunity to uplift congregational worship and affirm an individual’s connection with God, the design of sacred spaces should be more thoughtful and more impactful on a user’s experience. Sacred architecture in the past incorporated the design of natural light as an aspect of the architectural experience, ideas of procession, materiality, and verticality (scale perception). These designed attributes can captivate one’s visceral and cerebral perception, encouraging users to move beyond just physical experience and connect with ephemeral and spiritual experience. The goal of this thesis design is to study the influence of the integration of these architectural attributes. This thesis is applied to the design exploration of a Christian church in downtown Muncie, Indiana. The design of the church is focused on achieving an architectural experience that is transformative as users transition from the realities of the profane world to the sacred experience of worship and relationship with God. While the conceptual and programmatic focus of the design is on the inward sanctuary space, the design also strives to welcome all people as we are all on this spiritual journey towards illumination. 05
INTRO Sacred architecture throughout the world has been designed and regarded as inspiring for millennia, even being the pinnacle of architecture. However, there has been a rather unimaginative wave of religious architecture in the last century. This wave of sacred design lacks creativity, life, and the ability to transcend the physical world. The design methods of sacred architecture in the past such as light, materiality, procession, and verticality have captivated one’s thinking, and caused wonder – past the physical world. How can the design methods and vocabulary of sacred architecture be incorporated into contemporary design in order to promote spiritual experiences that go beyond the boundaries of the church? A person’s physical needs are often at the forefront in the pursuit of human betterment. But when will an individual’s spiritual needs be embraced as their most important needs? The goal of contemporary sacred architecture should be to foster spiritual fulfillment and as a result physical fulfillment. The goal of this thesis is to study these topics through analyses and a design exploration that incorporates these essential design methods within this framework.
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ISSUES & POSITIONS When one thinks of sacred space, their mind typically wanders to the Gothic cathedrals of old. And rightfully so, ecclesiastical architecture has been erected to inspire and influence culture as a whole, in addition to the hearts of individual visitors. “… the Christian church, with its wealth and influence as the main engine of Western cultural development, was for centuries one of the prime sources of architectural commissions and opportunities to experiment.”1 It is often wondered what makes these magnificent icons so special, or so sacred. There are certain qualities within these buildings that cause visitors to experience something transcendent of the built environment. So, what exactly are these qualities and design techniques that affect people in this way? Additionally, what is sacred space and how can it be achieved? As one begins to look at examples of ecclesiastical architecture, there are a few design methods or qualities of sacred architecture that are interwoven into nearly every design. These qualities are; light, scale, materiality and procession. Light is crucial to every architecture design, so crucial that it might be said it is not unique to sacred design.
Feireiss, Lukas, and Robert Klanten. Closer to God: Religious Architecture and Sacred Spaces. Berlin: Gestalten, 2010. 1
Fig. 1
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However, it is the belief and symbolic meaning behind the integration of light that makes it such a special aspect of sacred design. The connection to light has often been viewed as enlightenment or illumination. A more coherent understanding of this relationship may have come from St. Augustine, “For St. Augustine, light was a metaphor for divine illumination and intellectual perception.”2 As architects and designers were given more freedom within the field, they implemented light into cathedrals that produced a symbolic connection. An experiential connection with God. For the Christian, this divine illumination and relationship to light is perhaps best described in the Gospel of John concerning Jesus, “In him was life, and that life was the light of all mankind. The light shines in the darkness, and the darkness has not overcome it.”3 This may perhaps be the most crucial standard to which we discern whether sacred architecture is successful or not. Does the architectural language and concept point towards divine illumination? Do the spaces within the building provide an opportunity to reflect on one’s spiritual journey and ultimately connect with God? These are some of the questions that must be asked when sacred space is being designed. Divine illumination, or God opening our eyes to His Gospel message, is the spiritual need that our sacred spaces should communicate, and with the help of quality design techniques—this symbolic connection is made possible.
It should be noted that generally, great works of sacred architecture are of immense scale. Examples such as the Cathédrale Notre-Dame de Paris and the Duomo di Milano display such magnitude of verticality. This of course is an intentional design move as there seems to be a correlation between scale and wonderment. “The scale of the building elements in relation to the human body differentiates the building from the everyday.”4 The differentiation between the everyday and the spiritual experiences can be stated as the sacred vs the profane. This is an important distinction when looking to apply these design methods and qualities to a contemporary sacred space. With that being said, the illusion or feeling of scale can be executed without the necessity for a three-hundred-foot-tall building. The importance lies in the experience of a space and if it is distinguished from the profane. While material technology has continued to evolve ever since the creation of man, the implementation of such materials remains ever so important. Take for instance the mud huts traditionally built in African settlements and compare that to the Romans’ implementation of the brick. Both cases use similar organic matter, however with the modernization of the clay brick, this gave structures a different textural feeling and more construction freedom due to its modularity. Ultimately, regardless of characteristic differences, the materials chosen
Roberts, Nicholas W., and Stephen A. Kliment. Building Type Basics for Places of Worship. New York: John Wiley & Sons, 2004. NIV Bible, John 1:4-5 4 Roberts, Nicholas W., and Stephen A. Kliment. Building Type Basics for Places of Worship. New York: John Wiley & Sons, 2004. 2 3
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for a design should convey the overall concept and story of the design. The modernization of materials makes this more possible with contemporary design. Procession has a perplexing history directly related to liturgical function, and is often exclusively associated to be Roman Catholic. However, procession can be thought of as the space that, “...provides for movement from one liturgical space to another.”5 So while it connects a user from one space or program to another and brings them from the profane and into the sacred, processional space synonymously is the space in which, “...the congregation disperses to perform its work in the world.”6 Therefore, above all else it is the experiential qualities of the processional space that make it a special part of the design. Procession could easily be disregarded, however with intentional connection to the architectural language, it allows for a contemplative rhythm. This is the foundation for an atmosphere and experiential quality that prepares a person as they journey from the profane to the sacred.
White, James F. Protestant Worship and Church Architecture: Theological and Historical Considerations. Eugene, OR: Wipf and Stock Pub., 1964. 6 White, James F. Protestant Worship and Church Architecture: Theological and Historical Considerations. Eugene, OR: Wipf and Stock Pub., 1964. 5
Fig. 2 — Duomo di Milano
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In recognizing the success and grandeur of the architecture of the Romanesque, Gothic, and Renaissance eras, the rather unsuccessful movement of sacred architecture in the last century becomes even more evident. It is apparent that most architects are either confused or uninspired as to how to approach sacred spaces now and transition into the age of contemporary ecclesiastical architecture. Lack of inspiration is not what current spaces of worship where people connect to God need, but instead an understanding of the historically rich past and innovation for the future. As stated eloquently by Lukas Feireiss,
However, this is not to say that there haven’t been any excellent examples of sacred design in recent years. Architects like Steven Holl, Tadao Ando, and Peter Zumthor have used their architectural expertise and creative abilities to design incredibly inspiring churches and places of faith. Some of their works will be remembered for centuries to come, including St. Ignatius Chapel, the Church of Light, and the Bruder Klaus Field Chapel. These projects wonderfully integrate the methods of light, procession, materiality and verticality in a way that provides space for users to gather and connect with God in a delightful way.
Sacred architecture can be said to have freed itself from the shackles of historicism to step confidently into the twenty-first century with new spatial ideas. Of course traditional concepts and patterns are still very much alive, but they exist side by side and sometimes hand in glove with modern principles. And that, ultimately, is the strength of contemporary sacred architecture: the ability to allow the cracks and ruptures, contrasts and contradictions between the past and present to co-exist. Offering us a level and a depth of contemplation that we cannot live without, and that we need to experience religion, the sacred building is still the image, the manifestation of a higher level of order and meaning.7
These design qualities along with creative solutions can lead to the achievement of designing sacred spaces. However, is it any one of these qualities individually that make a space sacred? No, for a building is not sacred in it of itself but a house for sacred activities. In Christian faith, the church is built of its people and the physical building is an expression of their sacred faith.8 With these realities in mind, one may conclude that designing sacred spaces is in vain. However, designing in the manner of including such design techniques, like light, procession, verticality, and materiality can encourage these experiences and connection with God even for those that aren’t associated with the Church. The design exploration and solution to follow aims to incorporate these timeless qualities and provide spaces for religious people and ‘outsiders’ alike to experience true illumination and congregate together.
Feireiss, Lukas, and Robert Klanten. Closer to God: Religious Architecture and Sacred Spaces. Berlin: Gestalten, 2010. Falconer, Robert. “Blessed Are the Consumerists: TheIdeology of Contemporary Mega Church Architecture.” Conspectus (The Journal of the South African Theological Seminary) 24 (September 2017): 65–103. 7 8
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P R E C E D E N T ST U DY
ST. IGNATIUS CHAPEL ARCHITECT // STEVEN HOLL LOCATION // SEATTLE, WA YEAR // 1997
Fig. 3
Steven Holl’s chapel is an excellent source of his inspiring concept coming to fruition beautifully. I examined Holl’s use of light within a small and effective space, and especially noticed how he brought the light into building through various compressive forms coming together, or what he referred to as the ‘Gathering of Different Lights’.
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While Holl’s vision for procession through the space might be overlooked at first, his implementation of notable points of interest around the worship space allow for a person to circulate to these nodes while still being apart of the sanctuary. As well as the various lighting strategies can be experienced from the different nodes.
Fig. 4
GATHERING OF FORMS
Holl’s idea for the gathering of various forms can be seen through the diagrammatic sketch. While these forms are symbolic elements in of themselves, they also provide openings for light to illuminate the various program spaces below. This was an idea that was influential to my design exploration in using massing forms to allow light into the building at different angles and times of the day. I had the chance to visit St. Ignatius Chapel in January 2020, and as I moved throughout the building I gained a sense of Holl’s organizational efforts to highlight the in between spaces or procession from one node to another.
CIRCULATION TO NODES
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P R E C E D E N T ST U DY
CHURCH OF LIGHT ARCHITECT // TADAO ANDO LOCATION // IBARAKI, JAPAN YEAR // 1999
Fig. 5
Ando’s work on the Church of Light needs no introduction, but as I studied his design ideas and strategies, they became even more powerful to me. I especially clung to the way he guided visitors indirectly into the worship space before finally revealing the culmination of the light piercing the space. A simple and yet powerful move.
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Additionally, Ando’s use of materials and particularly concrete, work extremely well with the light being splayed across its surface. Concrete is a material that if done well, can appear smooth or even more textured and its presence in the Church of Light brings a calming and rhythmic addition to the design.
Fig. 6
Fig. 7
INDIRECT PROCESSION
A particular detail of Ando’s work on the Church of Light that I found to be extremely effective, is unsurprisingly the cross feature in which daylight is brought into the space by narrow slits in the wall. This was profound in how I began to tackle lighting strategies later in the design. One of the ways that makes the ‘cross glazing’ effective is the procession into the worship space. The indirect entrance into the space allows for a sudden reveal of the light—as one turns. It is truly extraordinary illumination. 15
P R E C E D E N T ST U DY
BRUDER KLAUS CHAPEL ARCHITECT // PETER ZUMTHOR LOCATION // MECHERNICH, GERMANY YEAR // 2007
Fig. 8
This remote chapel in Germany sits in the middle of farmland and creates an isolated, unique experience for visitors. What appears to be plain and out of place from the exterior, actually provides a rather evocative encounter. Zumthor’s love and expertise with simplistic materiality is shown elegantly in this chapel.
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A key design aspect to the chapel is its conical form and concrete texture which lead one’s eyes and thoughts toward the skies—giving the chapel a strong sense of verticality. Any other openings would detract from this concept and Zumthor instead uses the material to instill movement in the space.
Fig. 9
Fig. 10
EXTERIOR FORM
INTERIOR CONCRETE FORM
The conical volume of the interior of the chapel differs greatly from the orthogonal exterior. Logs were arranged in a similar manner to a tipi. Along with form-work and the logs, concrete was poured in between the two to create the rugged texture. This approach to design and construction lets the interior remain concealed until a visitor makes their way into the worship space. Not only is the interior concrete form distinct from the exterior, but it is also the source of daylight as the rounded opening brings light down the concrete ribs. One cannot help but look upward—thus their thoughts and prayers follow. 17
P R E C E D E N T ST U DY
CHURCH OF ST. ANA ARCHITECT // URBIS LOCATION // RIJEKA, CROATIA YEAR // 2016
Fig. 11
The Church of St. Ana by Urbis, exemplifies contemporary strategies in order to inspire visitors. But beyond being just a sacred space, the building is positioned to be a connector to a nearby school and local park in order to draw students and locals to the site, compared to a similar space which may only see church goers visiting.
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Most of the design gestures were performed as a way to better integrate the building into the site and also create spaces that allow people to approach the inner worship area more experientially. The procession of this design is a powerful way to prepare someone as they move towards a sacred space.
VARIOUS SITE ACCESSIBILITY Fig. 12
Fig. 13
There is an atrium that acts as one of the entrances to the nave that hovers above a covered square area. Stairs from the covered square pull users up into the atrium space. The adjacent porch is the other informal entrance to the nave which connects people approaching from the upper square and the neighboring park. The porch and atrium act as a semi-private space and buffer, before someone finally enters the worship space. A truly lovely journey through white space, graced with soft light. 19
CONCLUSION
LIGHT
PROCESSION
MATERIALITY
VERTICALITY
It is evident that there are certain qualities, or design methods, that are apart of successful ecclesiastical architecture. And furthermore, that there are many other pragmatic aspects of sacred space that play a role in a project’s overall success. As researched and analyzed, these qualities are light, procession, materiality and verticality. All are crucial that a designer must confront them at some point in the design process—and how they do so helps determine how effective of a space it is. These qualities do not have to be applied to contemporary sacred spaces in the same manner that they once were, like the outrageous scale of many cathedrals for example. However, contemporary spaces have the freedom to experiment and apply them in new ways. One thing is for certain though, while the aesthetic qualities of the architecture play an important role in sacred design, it is not the only thing. In recognizing that a church is made up of the people and their relationships with each other and with God, this places equal importance on the program layout and pragmatic approach to the project. If a sacred space is to be successful in connecting a user with God and one another, then these two items must be taken into consideration as I continue towards my design exploration.
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FOUNDATIONAL VALUES ASSOCIATED GOALS ILLUMINATION // Spiritual Enlightenment / God opening ours eyes to His truth/the Gospel, drawing us to Himself // Experiential / Symbolic representation; shedding light into the dark for us to see and be guided
INCLUSIVITY // Everyone is on a spiritual journey, Christians, non-Christians, homeless alike are in need of illumination—reconciliation with God.
// Light will be a leading factor that guides users through the building (processional space) ascending to the culmination of the sanctuary—where users are encouraged to reflect on the cross of Christ and ultimately connect with God. // The place of worship/sanctuary would be the most light filled space in the building. // As users navigate to the sanctuary, the texture and feeling of the materials will change along with the intensity of light. // The form of the building would speak to the importance of the spaces (sacred vs profane) as well as inspire users from near and far. // The lighting, materials, circulation, spatial orientation, and form would all point to or draw a user to the place of worship— to which all of these aspects with be at their fullest. // The site and building would be approachable to any person— as well as an icon for downtown and broader Muncie. // The west edge of the site activates the connection between the MITS bus station to allow those in need to arrive with ease. 21
PROGRAM SPECIFICATIONS This thesis project will culminate with the design of a church that is rooted in historical patterns and design methods but forward thinking and innovative in the contemporary age. The aim of the church will be to communicate the ideologies of Christian faith through its symbolic, inspiring architecture and also provide pragmatic solutions for church functions and outreach alike. Just as important to this project as the inwardfocus, is the outward. Far too often are churches, big or small, solely inward-focused. This design is suited for an urban context with plenty of foot traffic and opportunities for the church to connect with the public. The design will aim to integrate into the urban fabric in order to be a church outside of its ‘four walls’. One way of doing this will be incorporating meditative spaces outside of the church to give the public a glimpse of the grander scale inside the church. Along with these things, included in the program will be spaces for outreach programs such as; a food kitchen, homeless shelters and showers for those in the public with these needs. Ultimately, like my thesis statement expresses, the primary goal of this church design is to provide any and everyone with the opportunity of connecting with the sacred— through architectural design, and furthermore encourage an experience with God. 22
BUILDING TYPE
Organizational Space Diagram
// Church- Christian Protestant / A small church that is spiritually inspiring, community focused, and welcoming to all.
PRIMARY PROGRAM SPACES // Place of worship (sanctuary) // Processional space // Outreach space for the homeless / Overnight shelter & showers / Soup Kitchen
PROGRAMMING SPACE LIST Worship Space / Sanctuary 5000 sf Lobby / Narthex 1500 sf Processional Space 1000 sf Meditation Spaces 1000 sf Kitchen / Outreach Kitchen 1250 sf Outreach Shelter / Sleeping 750 sf Showers 300 sf
ADJACENCIES & CONNECTIONS PRIORITY
SECONDARY
Rest Rooms 750 sf Large Meeting Space 1000 sf Classrooms 1500 sf Administration Offices 400 sf Storage 1000 sf Mechanical 3000 sf Circulation 3500 sf Total
≈22000 sf 23
SITE CONTEXT When selecting a site for this thesis exploration, several key factors and criteria were taken into consideration. Since people and gathering are at the core of this idea, selecting a site within an urban context was essential. Being in a location that is strategic in relation to transportation, both vehicular and pedestrian traffic was also important. The third and final criterion that guided this decision was the site’s ability to connect with its context and surroundings. This connection being through; serving the needs of the community and being an inclusive destination. The downtown area of Muncie, Indiana was a proper fit to these guidelines and the lot on the southwest corner of Walnut St/Main St will be the key starting point to this project.
N Context Map - Muncie Metro
SITE LOCATION // Downtown Muncie 111 W Main St, Muncie, IN 40.1932811 -85.3867666 24
KEY FACTORS // Centralized urban area // Close to city transport—MITS
Site Photos // NW & NE Corners
The site is in a rather strategic position due to all of the different forms of transportation circulating around it and the many forms of business and residences which interact with it. The strongest influencer on the site would be the MITS bus station which is directly west of the site. There is much bus, car, and pedestrian traffic in and out of the station for the majority of the day. It will be important to address such a key contextual relationship with the design, as it will need to integrate into the already sustaining transportation hub. Not only is circulation crucial to this project, but the architectural language and history of the downtown area— which has already existed for many decades, affects this project as well. This site is located on one of the northern lots of the Walnut Historic District. With this project utilizing such a prominent site in not only the downtown area but also a historic district, the design must respect the current state of the context—in scale, materiality, integration, etc. However, the design will also need to be innovative, evocative, and inclusive among other things. The site location demands a high standard, as does the responsibility of designing sacred spaces. 25
Church Density & Historical Zones
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Zoning Context Map
Site
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Walnut Street Historic District Other Historical Areas
Central Business Zone Variety Business Zone
Current Religious Building Temporary Religious Location
Residence Zone 4 Residence Zone 5
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SITE ANALYSIS
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SCHEMATIC DESIGN In considering my foundational values for this design exploration, these being illumination and inclusivity, it seemed proper to begin the design there. Derived from the site analysis, it was apparent that there were two notable areas in which pedestrian traffic and vehicular routes were focused around. These were the ‘Congested Zones’ located on Pg. 27. Those crucial zones were where I located the entrances into the processional space, thus beginning the idea of inclusivity. Conceptually I wanted to show the distinction between the ‘Sacred and the Profane’ in the design. The sacred being the sanctuary and the profane being the processional spaces. Early schematic designs show the simplicity of the distinction—the profane represented as a rectilinear mass and the sacred form bending and folding upwards to distinguish itself. The other notable item from the site analysis was the west edge of the site adjacent to the MITS bus station. As I furthered design development, this west edge was an important facade and connector, along with the two entrances.
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Massing Iterations // 1—‘Verticality’ Parti // 2—‘Inclusivity by Ease of Access’ Parti // 3—Further Development
1
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While these individual Parti models failed to take any real spatial orientations into consideration, they were good to express the essence of the initial Pati ideas being Verticality—Image 1 and Inclusivity by Ease of Access—Image 2. At the end of the process, I realized that I valued all of the partis and knew that a fully fleshed out scheme in which any of the ideas were to be omitted, truly wouldn’t succeed in all of the ways that I believe it could. As I continued to develop the scheme from the partis and the physical models—shown on Pg. 30—the folded roof planes began to take shape as the system in which I would represent my concept. The triangulation could easily be manipulated to ascend to the highest point of the sanctuary—representing verticality, and likewise could regulate the transition to the orthogonal profane volume—more on this Pg. 28 & 31. One critique that I received at early reviews was that the language of the folded planes shown in Image 3 seemed to veer further from the idea of inclusivity, especially due to the exterior form appearing to not be welcoming. The other question was how the ‘light forms’ would treat the daylight as it was brought into the space—as it highlighted my lack of attention to the interior. To redirect course, I reverted back to the simplicity of the ‘sacred vs profane’ idea and scaled back some of the folded planes to better emphasize the distinction in volumes. I begun to look at how light was being received into the spaces and how the structural wood system of the planes provided an intriguing language that would also reveal itself in moments through the building, but ultimately be on full display in the sanctuary. For ‘light forms’ response, see Pg. 32. 29
EARLY CONCEPT MODELS
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// Processional Space Sketch // W Section Congested Zone
Congested Zone
Processional Space
As I began to spatially layout the processional form, it was clear that an indirect path into the sanctuary would be most powerful, and integrating a ‘thick and heavy’ material like board formed concrete for the processional spaces would help convey a heavier/contemplative mood for the individual as they move through the profane. It also provides an excellent opportunity to further this idea through daylight’s relationship with the rough material, as well as the deep punctures that are required for light to penetrate the spaces.
Sanctuary Outreach
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As the plan began to take shape from the sacred vs profane volumes and the processional concrete walls—the outreach program responded by activating the west facade and creating a circulation loop around the central meeting and kitchen spaces. The concept of Inclusivity was the guiding driver for the spaces, and while the Outreach programs were still nested along the processional journey, this was to provide gathering spaces for all people and show that everyone is on the same spiritual journey. The sanctuary was raised 6’ to eliminate exterior distractions, thus the processional space as well as circulation around the outreach ascends gracefully and thematically. See Pg. 40 for Plan This section sketch shows the concrete walls bearing the wood framed roof panels, this is advantageous as the structure will seem to float in the sanctuary. The wood structural system of the roof acts similarly to the light, in that it is a visual link to the sanctuary as users get brief glimpses of the wood members on the underside of the roof throughout their journey. 31
DAYLIGHTING STUDY
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This was a pivotal study that I conducted in order to gain a better understanding of the daylighting on the site and how to best receive it into the building. Triangulated and tall massings that I had previously designed had little grounding from the actual effects of the sun’s path. I began by focusing on quarterly times of day—January, April, July, and October at 9am, 12pm, and 5pm. This allowed me to focus on these crucial times of day when church goers would be utilizing the spaces the most. From these ‘receptive angles’ of where the sunlight was hitting the site at certain times of the day and year, I began to extrude simple folded planes accordingly. Each mass was responding to its certain time of day. As well as from previous design schemes, the ability to easily manipulate these forms provided the inspiration for using triangulated geometries. The forms could be pulled upward in order to reach up and over surrounding buildings to receive daylight—when necessary for interior conditions. This study was the groundwork for continuing the building’s massing and to eventually incorporate the overall design of the roof forms.
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EVENING July
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LIGHT STUDY MODELS
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To finalize and study the effectiveness of various lighting strategies, I built light study models to test physically. In images 1 and 2, I was looking at the effectiveness of a diffusing addition to the oculus, but ultimately deemed it was not helpful to the overall quality of light. Additionally, I analyzed the wall connection between the entrance processional corridor and the sanctuary. Here in images 3 and 4, I was looking at glazing slits that I had punctured the wall with.
1
3
In these models, showing the interior of the sanctuary, I was studying the lighting effects of different skylight strategies at approximately—1: 5pm, 2: 6pm, 3: 9am, and 4: 12pm. The lighting quality was mostly what I had hoped for during these crucial times of program use. However for the final design I made tweaks to these conditions as well as implemented the cross design which would later be seen in images 1 and 2—evening hours.
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DESIGN SOLUTION
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PROGRAM & CIRCULATION DIAGRAM
Key Sacred (Sanctuary) Outreach (Homeless Shelter) Profane (Processional Space) Primary Circula�on Path— Through Main Program
PROGRAM
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CIRCULATION
SITE PLAN
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FIRST FLOOR PLAN S-E1
1 S-N2
Key
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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
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Load Bearing Concrete Wall Overhead Roof Form Sec�on Cuts
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Processional Corridor Personal Storage / Display AV Room Sanctuary / Place of Worship Men’s Restroom Women’s Restroom Storage Egress Exit Pastoral Office Outreach Shower / Restroom Mul�-Use Mee�ng Room Kitchen Shelter Room Outreach Shelter Entrance Outreach Exterior Space
LOWER FLOOR PLAN S-E1
S-N2
Key 1 2 3 4 5 6 7
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Storage Administra�on / Offices Informal Space Nursery Classroom Mechanical Room Large Storage Load Bearing Concrete Wall Sec�on Cuts
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// Exterior - East Facade
The East facade is one of the most viewed areas along busy Walnut St. The intentions of the site design were to break up the continuous concrete paving which exists everywhere in downtown Muncie—and replace it with permeable pavers along with pockets of green space that buffer the edges of the building nicely. It also provides green exterior views for those inside and plenty of seating options for those outside. Here the reflection pool can be seen below the large sanctuary window. // Exterior - NE Corner Entrance ‘Public’
The first of two main entrances along the processional corridor axis—this is the ‘public’ of the two, compared to the ‘intimate’ on the NW corner. Here, oversized doors and little glazing speaks to the public and larger entrance as well as the beginning of the processional journey. You’ll notice split ramps that lead up to the doors, beginning the upward ascent to the sanctuary even at the site level. Also, here is a perfect viewpoint to see the contrast of sacred concrete vs profane concrete. 42
// Processional Space 1
As you enter the NE public entrance, you immediately are immersed into the profane volume. The processional journey has begun. You’ll notice the texture of the board formed-pigmented concrete, the segmented ramps compressing the corridor, and the overall darker quality of light—as well as mood. // Skylight Detail
There are a series of skylight openings or ‘slits’ throughout the processional space as well as other places in the building like the outreach program. They do allow some light in, however they visually connect you to the roof panel and wood structure many feet above you. You catch a glimpse of the bending form ascending to the sanctuary. 43
// Processional Space 2
As you continue up the corridor, you notice various seating spaces that have been carved out of the concrete mass. These have been detailed with wood to soften the experience to sit and meditate, pray, read, or talk with others. There is also a form seeming to come through the ceiling. // Punctured Skylight Detail
Underneath this skylight opening, you can see more clearly that it is a roof panel along with the wood structure bending into the profane space. This is another moment that shows the overhead roof, however here it presents itself more emphatically— representing the actual geometry and movement of the roof form more clearly. The daylight it brings in after noon is also notable since it is some of the most direct light in the processional space. 44
// Processional Space 3
Further along the corridor, you see another skylight moment, however you also see it is connected to a vertical glazing slit which visually connects to the raised sanctuary— where this journey will eventually lead to. You also take note of the series of artificial lights that further the contemplative rhythm of the space, along with a window opening that is visible—which shows the depth and thickness of the concrete wall similar to the seating spaces. // Processional Space 4—NW Entrance
At this point, you are near the end of the corridor and clearly see the other ‘intimate’ entrance. However, you know that there is a turn coming since it starts to appear along with a much brighter space in the distance which is the outreach space. 45
// Processional Space 5
Now the intimate entrance door is more in sight along with the turn in the corridor. The journey seems to continue upward and the outreach opening further shows the sheer mass of the processional walls as it is carved out for the entrance. More skylight openings are also seen. // Processional Space 6—Final Ascent
A curious moment unfolds after turning the corner to see further revealing of the ceiling form and structure. A vertical glazing slit gives one final glance into the sanctuary. The upward ascent also has inclined to the steepest portion at 1:12 ADA standards, prior to reaching the +6’ floor change. The larger opening to the left leads into the sanctuary while the smaller to the right leads to or from the outreach—depending on where the journey was started from. 46
// Processional Space 7
A first glimpse into the sanctuary can be seen, however one final bend through the concrete form must be done. Noticable changes can be seen ahead. // Processional Space 8
Here an opening to the left reveals a personal storage area. But what is up ahead is approaching quickly now—vast differences in many ways are apparent. 47
// Sanctuary 1
Finally you have reached the sanctuary. To the left you notice the profane mass and various glazing openings—where you have came from. The floor material in the sanctuary is a sudden change to a polished, lighter concrete. And you now see part of the roof form and structure rising above the profane. // Sanctuary 2
Here the entire roof and wood structure is revealed to you. It is noticeably taller and more fragmented than what the brief moments led you to believe. You also see the singular instance of a timber column coming down into the middle of the sanctuary—resolving the structure at its peak. Immediately you notice the overall brighter light quality and mood of this space. 48
This is the culmination of all design methods and concepts. Nothing is hidden or concealed at this point in the journey. Procession, Light, Materiality, and Verticality are seen fully. Here you see the cross of Christ and are welcomed—regardless of race, sex, age, social status, or what your journey looked like—to stay, rest, and find hope in Him.
// Sanctuary 3
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// Sanctuary 4
A slightly earlier time of day can be seen here in the form of the cross from evening daylighting. The much smoother sacred concrete can be clearly seen here. The spatial organization of the sanctuary aimed to be as simple and pragmatic as possible to allow for the roof, structure, materials, lighting effects and other methods to be at the forefront of interest.
// Sanctuary 5
Again, an earlier daylighting time is shown here—approx. before noon. The pastor speaks from the slightly raised and minimal platform. One of the most notable things from this view is the contrast in materials. You can still see the profanedark pigmented concrete wrap around the border of the sanctuary. Compared to the white painted gypsum board ceiling finish and warm ash wood details. 50
// Sanctuary Glass Floor Detail
Here is an excellent view of a singular moment where the concrete floor is cut in place of glass. This was mainly to detract from any thought that the roof panel/ structure is bearing on the floor—when in fact like all the other roof panels, they are bearing on the concrete walls below and in this case also to the right and left. The glass floor also brings diffused light into the lower level nursery and creates a defined line of where an appropriate walking path is in relation to the ceiling/roof panel. // Sanctuary 6
This view of the sanctuary shows morning light coming in from the east. Outside and below is the reflection pool and various trees/vegetation. Circulation around the entire sanctuary is important for saftey reasons but also to allow procession and movement around the space to continue. This view also shows the ceiling panels well which consist of SIPs—structurally insulated panels. For more on structure see Pg. 61. 51
// Exterior - SW Corner
The SW corner, is a real gem that not everyone will see. Here the edge of the west facade interacts nicely with the MITS bus station and a few administration parking spots remain which feed into the one way alley shown to the right of the image—adjacent to the building directly to the south. The south facade is covered with metal screens to protect the various means of egress releasing onto the south edge of the site. And maybe best of all, a perfect viewpoint to see the roof form fold and ascend toward the point of the steeple. // Exterior - NW Corner / MITS Station
Here is view directly next the MITS bus station overhang. You can see the connection to the site on the NW corner as well as planters that act as safety barriers. The further away you are from the site, the more of the roof form you see—and the more intrigued you may be to visit. 52
// Exterior - West Facade / Exterior Space
The full connection of the west facade and exterior space to the MITS bus station is visible here. Each outreach/homeless shelter room has a private balcony that overhangs next to the outdoor space. The exterior space is a raised public platform with seating and shade from nearby vegetation to give the homeless and others a chance to gather outside.
// Exterior - NW Corner Entrance ‘Intimate’
The NW corner holds the second entrance along the processional corridor axis. This entrance however is an intimate/private entry—which can be used by anyone but is intended for those using the outreach programs. The opposite entrance is the public/ceremonial entrance. Here however, with a smaller door and threshold along with wood materials and human scaled glazing—the emphasis is on the individual. There is also more seating at the steps of the entrance and on the north facade. 53
// Outreach / Intimate Entrance
At the interior of the intimate entrance, the apex of the processional corridor can be taken in. You can look down towards the other entrance where some have come from, but you can also look up and ahead to where you are headed. The sense of floor elevation, scale, material, and lighting change is unlike anywhere else in the building. // Outreach Lobby Entrance
Here is a simple view into the outreach lobby from the final ascent of the processional space. The stark contrast from the profane concrete and the light material palette of the outreach space certainly provokes curiosity, but above all—welcoming. 54
// Outreach Shelter Room
A view of one of the outreach shelter rooms shows the modest size, yet meticulous care to detail and aspiration for creating a modern/luxurious experience for those staying overnight. The profane concrete continues through the west facade revealing itself to the tenants, along with the skylight opening to the ceiling above giving a glimpse into both the profane and the sacred. The exterior balcony is a warm invitation to nature and community, but the shelter room simultaneously provides safety and peace. // Outreach Circulation
Here you are standing in the middle of the upward outreach ramp towards the sanctuary. You are given a glimpse into the sanctuary as well as above to the ceiling and structure. There are several skylight moments throughout the outreach spaces that bring light in and remind the users of the call to the sacred. To the left is the large meeting room space which serves as the hub for the outreach spaces and the church as a whole. To the right are ash wood slats that protect and detail the stairway opening that leads to the lower level. 55
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The differences in floor elevations and connections between various spaces can be examined very well through this section. The raised sanctuary is notable, as the processional space ascends and wraps up to the point of revelation at the entrance to the space. Another note worthy item is the
load bearing concrete walls, which support the roof panels and wood structure which is embedded into the concrete walls, similarly to floor joists bearing onto a foundation. In this case, the concrete walls continue down past grade to act as the foundations for the building.
East Section 1 / S-E1 57
North Section 1 / S-N1 58
Note the light vault above the outreach spaces as it brings daylight in from the SW corner skylight, and through to the sanctuary. The goal for the lighting of the sanctuary was to be primarily diffused lighting with select direct effects, this vault helps achieve that diffused quality. As the light overpasses the outreach
program, it sprinkles light downward into those spaces. The series of ramps that brings a user from +4’ off of grade to +6’ and level with the sanctuary space is visible directly in front of the meeting space. Additionally, this section shows the effective west facade activation between the shelter rooms and the site.
The overall goal for the design of the processional space was to create a ‘contemplative rhythm’. This was achieved through the series of ramps, openings for windows, openings for seating and storage, and also artificial lighting fixtures. The space above the ceiling acts in the same way that
the light vault above the outreach program does. It is sealed from the outside elements be allows the transfer of light. This section wonderfully shows the relation and poetry between the incredible roof structure and the processional space below that only sees glimpses of it.
North Section 2 / S-N2 59
AXONOMETRIC DIAGRAM SITE
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COMPLETE STRUCTURE
ROOF PANELS
HVAC SCHEME
WOOD STRUCTURE
FLOORS
LOAD BEARING WALLS
FOUNDATIONS EMBEDDED
1 2 3 4 5 6 7 8
1
2
1 2 3 4 5 6 7 8
1 Floor to Roof Panels Detail
2 Roof Panels to Founda�on Wall Detail
1 2 3 4
1
Neolith Cladding 1/2” Vapor Barrier Timber Roof Joist 2x6 SIP - Struct. Ins. Panel 2 OSB Sheathing 1/2” Rigid Insula�on 5’’
5 6 7 8
Gypsum Board 5/8” Laminated Glass 1’’ Structural Support Bar Concrete Floor 8”
2 3 4
SIP - Struct. Ins. Panel 2 OSB Sheathing 1/2” Rigid Insula�on 5’’ Vapor Barrier SIPs Joint - Foam Sealant Neolith Cladding 1/2”
5 6 7 8
Timber Roof Beam 4x10 Reinforced Concrete Wall 14” Rigid Insula�on 4” Anchor Tieback to Reinforcement
Structural Section Detail 61
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LIGHT
PROCESSION
MATERIALITY
VERTICALITY
REFLECTIONS If I were to completely redo this project, from research to design, I know that the results would be completely different. This is partly due to me having learned so much over the past year, but more so to communicate that this is not a complete exploration by any means. The research and precedent analysis aspect could consume a person for years, let alone all of the avenues that it would open for design exploration. I hope that this thesis has stirred up thoughts and inspiration for others to dig and create further. There are a few things that I would change or dedicate more time to if I had the chance. One of these would be the simple method of research. I would spend much more time in books and writings, soaking up different perspectives before I even use a pen. While I was satisfied with the amount of research I put in at the time, looking back now it could have easily been ten times the amount, and to a much greater depth. Another change I would make is my dedication to artificial lighting. Originally I had plans to study and explore more alternatives for artificial lighting. However, with anything I was caught up in many other aspects of the design and research. A few things in this realm that I think would be a
nice touch would be designing overhead lighting fixtures for the sanctuary and the processional space. They would give a nice sense of scale to those interior spaces and could further distinguish the two conceptual spaces with different fixtures. With the depth of this artificial lighting, studying the effects at night and producing perspectives showing the outpouring of light would be excellent. A change that would not come easy to me, would be implementing color into the design. Through research and visitation, I’ve seen really nicely done sacred spaces that incorporate color—Steven Holl’s St. Ignatius Chapel is a great example. However, in that instance I felt his conceptual backing with St. Ignatius’ colorful bottles allowed for a relatively simple implementation into the design. For me however, I really value representing the simplistic and true nature of materials, and simply pasting color on a few walls doesn’t do it for me. There is something powerful to me about the earth tones neutral that are brought out in such a design. So maybe with more time and nurturing I could bring myself to incorporate color, it would just be difficult. Finally, I would document my process better. A simple and yet time consuming task during the process to actually do. 63
CONCLUSIONS
I wanted to end the thesis exploration with powerful images of models and a perspective, in hopes that my efforts to emphasize these methods in sacred design would come full circle. Overall, this thesis project and process was super engaging for me but also challenging and stretching at times. Because I am passionate about my faith and relationship with God, that definitely has affected how I’ve approached this subject and strove for a rewarding and glorifying project and design. The difficult part, was finding my way through difficulties of researching and designing for specific religious means—which is always tricky. Part of my idea to include the homeless and less fortunate was a way of communicating that the design wasn’t only for Christians—or even homeless people, but everybody. I understand that there will be those who think it would have been best for me to pursue a program use that was less rigid, like designing an ambiguous religious space—a shared sacred space, welcoming all beliefs and religions. I understand the concern, as I have been mulling over the idea of inclusivity. However, my convictions and faith-based pursuit led me this direction and my hope is that it would still be engaging and beneficial to all—whether for spiritual or educational use.
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BIBLIOGRAPHY Bermúdez Julio Cesar, and Randall Ott. Transcending Architecture: Contemporary Views on Sacred Space. Washin gton, D.C.: The Catholic University of America Press, 2015. Falconer, Robert. “Blessed Are the Consumerists: TheIdeology of Contemporary Mega Church Architecture.” Conspectus (The Journal of the South African Theological Seminary) 24 (September 2017): 65–103. Feireiss, Lukas, and Robert Klanten. Closer to God: Religious Architecture and Sacred Spaces. Berlin: Gestalten, 2010. Pallister, James. Sacred Spaces: Contemporary Religious Architecture. London: Phaidon, 2015. Roberts, Nicholas W., and Stephen A. Kliment. Building Type Basics for Places of Worship. New York: John Wiley & Sons, 2004. White, James F. Protestant Worship and Church Architecture: Theological and Historical Considerations. Eugene, OR: Wipf and Stock Pub., 1964.
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FIGURE LIST & CREDITS Fig. 1. November 10, 2019. https://media.cntraveler.com/photos/56f19f9069f9eca70b101554/master/pass/cathedral-of-laon- france-cr-getty.jpg Fig. 2. November 10, 2019. https://www.diarioinviaggio.it/2015/01/09/cose-belle-di-milano/. Fig. 3. January 24, 2020. https://stevenholl.sfo2.digitaloceanspaces.com/uploads/projects/project-images/PaulWarchol_ Seattle_142BE04PW_WH.jpg Fig. 4. January 24, 2020. https://stevenholl.sfo2.digitaloceanspaces.com/uploads/projects/project-images/PaulWarchol_ Seattle_97-040-34B_WV.jpg Fig. 5. February 10, 2020. https://www.interactiongreen.com/wp-content/uploads/2017/12/Church-of-the-light- tadao-ando-3. jpg Fig. 6. February 10, 2020. https://1.bp.blogspot.com/-p5h3rKT9gOs/UqZ-zx2MLnI/AAAAAAAAAAk/bz9ehsKDI5I/s1600/ Ando,Church+of+the+light+2.JPG Fig. 7. February 10, 2020. https://archello.s3.eu-central-1.amazonaws.com/images/2013/03/08/1-copy-3.1506069852.8976.jpg Fig. 8. December 8, 2019. https://divisare-res.cloudinary.com/images/c_limit,f_auto,h_2000,q_auto,w_3000/v1500971155/ pbwvowbkn7evh4ucscc6/peter-zumthor-rasmus-hjortshoj-coast-bruder-klaus-feldkapelle.jpg Fig. 9. December 8, 2019. https://i.ytimg.com/vi/UVDwu3mumS4/maxresdefault.jpg Fig. 10. December 8, 2019. https://i.pinimg.com/originals/a3/08/15/a30815add3feec83d604158d3614cc03.jpg Fig. 11-13. September 26, 2019. https://www.archdaily.com/797151/church-st-ana-urbis. *Figures without credit label have been created by author. 67
