DESIGN PROCESS & SOLUTION

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.

Massing Iterations // 1—‘Verticality’ Parti // 2—‘Inclusivity by Ease of Access’ Parti // 3—Further Development

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.

29 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.

EARLY CONCEPT MODELS

Congested Zone Processional Space Congested

Zone

Outreach Sanctuary

N

// Processional Space Sketch // W Section

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.

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.