EXISTENTIAL SCHEMA The Reconstruction Of Sacred Space With A New Qualitative Design Method
Francis Yang
This book contains the 5th year thesis project & exhibition of Francis Yang Carnegie Mellon University
CONTENTS 4 INTRODUCTION 4 Background 5 The new method 6 The crematorium project
8 DEFINITION 8 Worldview 10 Existential schema
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RESEARCH METHOD
12 Quantitative research 14 Qualitative research 16 Purely qualitative schema
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DESIGN METHOD
18 Typology - Meta-schema 20 Process
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DESIGN PROCESS
22 Overview 24 Stage1 - Spatial identity 26 Stage2 - Spatial character & order 30 Stage3 - Concrete experience
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THESIS EXHIBITION
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BIBLIOGRAPHY
Instructors
Mary-Lou Arscott Christine Mondor
Advisors
Hal Hayes Arthur Lubetz Kai Gutschow
BACKGROUND - Why do I want to do this thesis? My main motivation comes from my personal background - A crisis of identity during the age of rapid industrialization & westernization. For me, the living environment has the potential to help define life & inform us about our existence & identity, yet this potential is often ignored. By doing this thesis, I aim to address this issue by investigating the design methodology. Architecture can be design quantitatively & qualitatively. There seem to be an irreconcilable conflict between the qualitative and quantitative aspects in terms of architecture design, partly because they require different types of mindset which is sometimes incompatible with each other: The mindset of the artist & the mindset of the engineer.
Quantitatively, we considered architecture as something that can be objectively observed and measured, as the aggregation of different systems which aim to solve different types of problem. Qualitatively, we observe architecture as experiential realities in relation to the mind and body, as carriers of meaning and medium for communication.
THESIS Architectural design method can also be purely qualitative. By removing the quantitative mindsets from the qualitative investigation, we can build a stronger connection between the meaning and the form. In order to achieve this goal, in terms of qualitative design, the new method does not focus on the objective reality but rather on perceptual qualities, based on the 3 levels of perception: 1. Spatial identity; 2. Spatial character & order; 3. Concrete experience.
Design sequence
Perceptual sequence
The way we perceive implies potential design strategy
1 2 3
Core typologies INTRODUCTION
4
Spatial Identity Impression & Cognitive map Highest degree of abstraction
Spatial character & order Preliminary abstraction Character of path & place
Concrete Experience 100% detail Style / Expression / Tectonic strategy
THE NEW METHOD The existential schema is the purely qualitative design representation. Free from the objective reality, the new method enables a more additive & narrative oriented design process. Subsequently, the early stage of design will be able to focus more on the expression of the narrative, which will be used as a guide to find the potential in design.
Research Design
5
INTRODUCTION
THE CREMATORIUM PROJECT For the sake of developing the design method, I proposed to design a crematorium in Gifu, Japan. The site locates in a valley of cemetery, and already has a crematorium on it, but I assumed that it doesn't exist and planned to reconstruct the crematorium more based on the narrative of death. The typology of crematorium was chosen because of the rigors of its design in terms of both the qualitative and quantitative aspects: For crematorium, experience and technical performance are equally important. In a certain way, a crematorium can be considered as the combination of a temple and a factory.
Features of the site:
Valley | Forest | Cemetery | Pond
INTRODUCTION
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Meiso no Mori (Meditation Forest), Kakamigahara, Gifu, Japan
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INTRODUCTION
DEFINITION - Worldview The classical worldview The classical worldview is featured with the notion of the objectified world. This attitude assumes “an objective physical world independently existing out there. Knowledge and truth are ‘objective’, based upon a ‘reality’ beyond the self.” In the objective world, architecture exists as a detached being, and can be reduced to different relations and systems. In the 18th century, Imanual Kant pointed out that the so-called objective world is beyond our experience and is therefore unrecognizable. we only have access to the phenomena (defined by the black dash line on the right). However, before Husserl, the main difference between the two worldviews is whether it includes the subject or not, yet either way we still believe that the existence of things does not rely on a perceiving subject. “Things” do exist as phenomena, no matter we can perceive it or not. We accept things in the world and the world itself in the “manner of belief, experiencing them as being there, as true, as real.” (Sokolowski)
Life-world To challenge the "world-belief" mentioned above, Edmund Husserl proposes the idea of the life-world. Through this attitude, we perceive the world as it appears to us, without any preconceived idea, concept, and objectification. The life-world is “a universe of what is self-evident or given, a world that subjects may experience together.” Through this attitude, we suspend the judgement, give up asking what something is, but instead focus only on how it feels like. Through this attitude, we are able to remove quantitative mindset from the qualitative investigation in design and build a stronger connection between the meaning and the form.
DEFINITION
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9
DEFINITION
DEFINITION - Existential Schema
The 5 perspectives Abstract & Objectified
Concrete Self-centered
Perspective
Character / Purpose A mental construct to describe space (objectified / detached & simplified) Concrete physical world Help facilitate the thinking about Cognitive objective space (objectified / detached) Stable environmental A diverse and gradual construction that Existential schemata unite the cultural and mental aspects of space (Intersubjective*) Unstable egocentric Help to establish personal identity Perceptual experience (Subjective / egocentric) Direct context of physical Concept of space relate to concrete Pragmatic actions object & direct experience (Subjective / instinctive) (Existence, space, & architecture, Christian Norberg Schulz)
Abstract
Essence Pure relation
Existential Perspective According to Christian Norberg Schulz, architecture experience is subjectively defined, subjectively oriented, and is organized through subjective mental schemata of path, place & domain. In his book Existence, space, & architecture, he concludes that the traditional theories of spatial perception “either tended to leave the subject out by discussing abstract geometry, or have made them ‘enter’ by reducing space and architecture to impressions, sensations and studies of ‘effects’. In both cases space as an existential dimension, as a relation between the subject and the environment, has been forgotten.”
DEFINITION
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Schema A schema is: A mental structure of ideas A type of simplification A framework representing some aspect of the world A system of organizing and perceiving new information
Existential Schema In the new method, the designer distills the essential qualities of the conceived architectural experience and represents them in a qualitative format which is compatible with the quantitative constraints in design. Eventually, the design ideas from both aspects will be integrated morphologically. The existential schema is the qualitative representation of the subjective spatial perception. It represents the spatial characters which can indicate existential meaning through index (page 16). In terms of the crematorium project, both the purely qualitative schema (page 17) and the 6 schematic models (page 28~29) can be considered as the existential schema, because they do not directly represent the reality. However, while the purely qualitative schema contains little quantitative information, the 6 schematic models are influenced by the quantitative program (page 12) & quantitative site (page 13).
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DEFINITION
RESEARCH METHOD - Quantitative Quantitative Program - Crematorium
Week 3~5
Subject area: Categories / Sizing / Flow
Variance Variance of quantitative program provides room for adaptation & qualitative expression
Variance through induction - Precedent analysis Variance through deduction - Internal logic
Relation between different groups of user
Sequence & experience of one group of user
Variance of flow Possible combination A1, A2, A3, A4, A5, A6 B1, B2, B3, B4, B5, B6 C1, C2, C3, C4, C5, C6
Variance of size 1square = 1 square meter
RESEARCH METHOD
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(F)= Flexible size (V)= Can be vertically distributed 150+ = minimum size
Quantitative Site - Gifu, Japan Flow - circulation system
Week 6~7
Form - morphological system
Spatial perception of the site
Environmental system
Environmental perception • Mild temperature • Heavy rain during the summer
Master plan
Overlay - foundation of the master plan
The quantitative research of the site is characterized with the creation of patterns. This process is an objective reflection of the site condition, in terms of form, flow, and environment. The end result of this process will be a series of overlapping pattern and even the start of rough massing.
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RESEARCH METHOD
RESEARCH METHOD - Qualitative Week 4
Qualitative Program - General narrative of death & funeral rites Premises • Death in modern society: mechanized & inhumane • Dignity of death contributes to the dignity of life • All human are equal when facing death Representation: Schema 3 Tasks • • • •
Console the family & facilitate the healing process: provide emotional gravity to the events Representation: Schema 4 Rites of passage - acknowledgement & emotional closure: intensify the group bonding & strengthen the sense of belonging Facilitate the reflection on the subject of life & death Representation: Schema 2 Represent & sublimate the image of after life& dignify the death with a solemn setting Representation: Schema 1, 3, 4 & 5
Sources: • Caitlin Doughty, Smoke gets in your eyes • Encounter with death, Charles Fu • Interview with Yoko Tai
Purely qualitative schema Schema 1
Schema 2
Schema 3
Schema 1
Transition | partition | consolation Vegetation as barrier
Schema 2
Reflection | nothingness | life cycle Circular movement | concentric order
Schema 3
Partition | transition | gravity The individual & universal nature of death
RESEARCH METHOD
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Week 7~8
Qualitative Site - Narrative of death & funeral rites in Japanese culture • Death is not the end but part of life, there is no absolute distance between life & death • It is important to maintain the connection with the spirit of the deceased Features of Japanese funeral: • Household night vigil • Funeral ceremony takes place in Buddhist temple, before heading to the crematorium • Short farewell ceremony in the crematorium • The mourners witness the the final departure in the commital room Representation: Schema 4 • Cremation & enshrinement in Japan is an ancient tradition
The origin & connotation of cremation in Japan:
Sources: • Tetsuo Yamaori, Japanese’s View of Death and Life and Funeral Ceremonies • Interview with Yoko Tai
Purely qualitative schema
Schema 4 - Committal room
Schema 4
Metaphor of ascension From the reflection above, the casket looks like its ascending to a brighter space as it is moved into the crematory Metaphor of completeness The hemispherical space presents a metaphor of life & afterlife as 2 incomplete & inseparable parts of a greater whole Hierarchy of procession The casket proceeds through the central “bridge” while the mourners proceed along the sides
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RESEARCH METHOD
RESEARCH METHOD - Pure Qualitative Schema Representation of the narrative These models feature the creation of moment/ scenario based on the intuitive understanding of the narrative. These models are purely qualitative. Through the attitude of life-world, we are able to remove quantitative mindset from the qualitative investigation and represent the experience and qualities which have no foundation to the physical world. Paradox: whenever we try to represent the qualities, we quantify them.
Features Integrated - There is no clear boundary between research and design Narrative oriented - These representations are narrative oriented, therefore they present the most default state (e.g. simple platonic form & symmetry) for any other irrelevant aspects. Ambiguity - These representations are scaleless & vague because they do not directly refer to any specific condition. As a result, they allow ambiguous interpretation. Index - The form signifies the meaning through index. “An index denotes its object by virtue of an actual connection involving them.” An index is different from an icon because it doesn’t look like what it signifies, and it differs from a symbol because it is instinctive and does not rely on tradition. In conclusion, these representations are the very first rough translation that bridge the meaning & the form.
RESEARCH METHOD
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RESEARCH METHOD
DESIGN METHOD - Meta-Schema Core typologies of space
Based on my research & travel experience, I summarized 8 most common types of space, in terms of the most abstract level of spatial identity.
DESIGN METHOD
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The implication of this categorization is that when we iterate our design based on the different types of spatial identity, our design can be diversified in the most fundamental sense.
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DESIGN METHOD
DESIGN METHOD - Process Our spatial perceptions feature with the process of abstraction. We start from most of the details from short-term memory, end up with the formation and relation of path and place. My hypothesis: The way we perceive could potentially imply the way we design, with the design sequence being the opposite of the perceptual sequence.
DESIGN METHOD
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Implication In this case, the design process is not linear, and the purpose of mapping out this is more about bringing the awareness of the underlying structure of perception so that the designer knows all the possible direction to go. Even though, I do believe that during the whole design process, the designer should return to stage 1 for at least once to think about the design of the experience in terms of its spatial identity.
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DESIGN METHOD
DESIGN PROCESS - Overview - Documenting the genealogy STAGE 1 Spatial Identity
Impression & Cognitive map Highest degree of abstraction
Week 10
B1&2 - Diagram
STAGE 2 Spatial Character & Order Preliminary abstraction Character of path & place
Week 11
B1&2 - 1/1000 model
STAGE 3 Concrete Experience 100% detail Style / Expression Tectonic & technical aspects Based on Schema B1&2
Week 12
B1&2 - 1/200 Final model DESIGN PROCESS
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STAGE 1 Schema 1
Week 3
Schema 2:
Week 3
Schema 4 - Committal space
Week 5
Transition | partition | consolation
STAGE 2
Circular movement | concentric order
STAGE 3
These schemata might belong to either stage2 or stage3 and even stage 1, not depending on what they look like, but depending on what I take from them to the next design phase: such as the abstract character from S. 1 & S. 2, or the concrete experience from S. 4
Metaphor of ascension & completeness Hierarchy of procession
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DESIGN PROCESS
STAGE 1 Spatial Identity
Impression & Cognitive map Highest degree of abstraction
Week 10
Meta-schema Type Feature
Site experience
Narrative
Segmental
Shrine
Threshold
Centripetal
Partition
Respect & Reflection
Tranquilize
2
3
1
Site A: Lake zone
A1
Site B: Bottleneck
B1&2
Site C: Plain
C1
(water experience)
(linearity & dualist)
DESIGN PROCESS
Lake bridge
A2
Lake shrine
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N/A
B3
Distant shrine
Serialization
Sequential Corridor
Gorge
N/A
C3
Soothing path
?
Backstage Program / Support Path / Moving pattern Material Access Impression / Stimulus / Engagement Threshold / Partition / Beat
A1
A2
B1&2
B3
C1
C3
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DESIGN PROCESS
STAGE 2
Spatial Character & Order Week 11 A1 Lake Bridge Influenced by Schema 1
The lake as partitions & symbolizes gateway of the valley of death
B1&2 Distant Shrine
A composite narrative:
Influenced by Schema 1,2 & 4
The entry sequence features a broken path & narrowing tree line, leading people to the distant destination, where the monument-like commital room symbolizes the gateway to the afterlife & dominates the shrine space. The notion of homage is reinforced as people move through different programs around the shrine. B1&2 was chosen to be developed to the stage 3
C1 Serialization Influenced by Schema 1
The stratified spatial sequence symbolizes the journey to the after life
DESIGN PROCESS
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These 6 schemes were adjusted based on the quantitative program Experience
Diagram
A2 Lake Shrine Influenced by Schema 2
The concentric spatial order facilitates reverence & reflection The sky view gradually expands as people move along the circular path
B3 Gorge Influenced by Schema 3
The order of the mountain & the lake characterize the path The enshrinement experience is a metaphor for the burial in the mountain
C3 Soothing Path
The continuity & outwardness of the path dominates the spatial order, which encourages people to move on
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DESIGN PROCESS
STAGE 2
Spatial Character & Order
Character of path & place | 1/1000 model | Week 11 A1 Lake Bridge Influenced by Schema 1
B1&2 Distant Shrine Influenced by Schema 1,2 & 4
C1 Serialization Influenced by Schema 1
DESIGN PROCESS
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A2 Lake Shrine Influenced by Schema 2
B3 Gorge Influenced by Schema 3
C3 Soothing Path
29
DESIGN PROCESS
STAGE 3 Concrete Experience 100% detail Style / Expression Tectonic & technical aspects Based on Schema B1&2
DESIGN PROCESS
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DESIGN PROCESS
STAGE 3 Concrete Experience
Based on Schema B1&2 | 1/200 model | Week 12
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6
3
2
1
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Program
Funeral sequence
Staff area
Services
1. Entry 2. Oratory 3. Commital room 4. Waiting room (1~2 hr) 5. Enshrinement (0.5 hr)
6. Crematory 7. Control room 8. Storage 9. Office 10. Mortuary 11. Mechanical
12. Bathroom 13. Kitchen 14. Drop off area
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12
15. Cemetery
13 4
14 8
10
9
4 11
6 4
9
3 9
8
7
2
5
5 1 2
DESIGN PROCESS
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5
3 4
1/200 33
DESIGN PROCESS
PROJECT NARRATIVE
PRELUDE The experience starts from the oratory, where the farewell ceremonies take place. When the mourners pass through the oratories, the experience feels like crossing a boundary that separates the incoming "sacred space" and the exterior world, a boundary implied by the disconnected path, the narrowing tree line and the double arch above them.
ENTRY
After this, the long procession leads people to the distant destination, where the monument-like committal room dominates the shrine space. CLIMAX The committal space symbolizes the gateway to the afterlife, and it is in this space that the mourners witness the final departure of their deceased to the crematory. From the mirror reflection above, the casket looks like its ascending to a brighter space as it is moved into the crematory, and the hemispherical space presents a metaphor of life & afterlife as 2 incomplete & inseparable parts of a greater whole. CREMATION
DESIGN PROCESS
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WAITING EPILOGUE During the process of cremation, the mourners will be in the waiting room, where the unobstructed lake view & privacy facilitate the process of reflection and tranquilization. In the meantime, as people move through different programs around the shrine and maintain the visual connection with the "monument", the notion of homage is reinforced. When the cremation is finished, the mourners will be notified to go to the enshrinement room, where the enshrinement experience represents a metaphor for the burial in the mountain. Within 49 days after the cremation, the remain will be buried in the cemetery.
ENSHRINEMENT
BURIAL 35
DESIGN PROCESS
DESIGN PROCESS
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DESIGN PROCESS
DESIGN PROCESS
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DESIGN PROCESS
THESIS EXHIBITION Miller gallery, Carnegie Mellon University | Apr. 19th - Apr.25th, 2018
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BIBLIOGRAPHY THEORY OF THE DESIGN METHOD Method / Framework
Groat, Linda. Architectural research method, John Wiley & Sons, 2015 Hale, Jonathan. Building Ideas - An Introduction to Architectural Theory, Wiley, 2000 Reuter, Wolf. Architectural Design Methodology, China Architecture & Building Press, 2012
Spatial Composition
Ashihara, Yoshinobu. Exterior design in architecture, Van Nostrand Reinhold, 1975 Hanlon, Don. Composition in architecture, John Wiley & Sons, 2009 Unwin, Simon. Analysing architecture, Routledge Press, 2009 Zhu, Lei. Operation of space, Southeast University Press, 2015 Zevi, Bruno. Architecture as space, China Architecture & Building Press, 2006
Psychology
Anderson, John. Cognitive psychology, Worth Publishers, 2009 Lang, Jon, Creating Architectural Theory, Van Nostrand Reinhold, 1987 Lawson, Bryan. The language of space, China Architecture & Building Press, 2006
Phenomenology
Husserl, Edmund. The Crisis of European science, Northwestern University Press, 1970 Norberg-Schulz, Christian. Existence, Meaning and Architecture, Praeger Publisher, 1971 Rasmussen, Steen. Experiencing architecture, The MIT Press, 1964 Sokolowski, Robert. Introduction to phenomenology, Cambridge University Press, 1999 Stumpf, Samuel. A history of western philosophy, McGraw-Hill, 2007
THE CREMATORIUM PROJECT Typology / Narrative / Culture
Doughty, Caitlin. Smoke gets in your eyes, W. W. Norton & Company, 2015 Fu, Charles. Encounter with death, Peking University Press, 1991 Haviland, William. Cultural Anthropology, Thomson Press, 2006 Yamaori, Tetsuo. Japanese's Culture of Death in Folklore, Kōdansha, 1991
Precedents
Blundell Jones, Peter. Gunnar Asplund, Phaidon Press, 2006 Heathcote, Edwin. Monument Builder : Modern Architecture & Death, Wiley, 1999 Pallister, James. Sacred Spaces, Phaidon Press, 2015 Richardson, Phyllis. New Spiritual Architecture, Abbeville Press, 2004 43
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