G E RU I CH E N G spatia l m etam or ph osis P r at t i nst i t u t e I NT 4 0 2 - 05
1
CONTENTS 0 1 STA R T E R S
0 2 r e p r es e n tat i o n s
0 3 p r o g r a m / us e r
04 site/context
0 5 d es i g n st r at e g y / mat e r i a ls / m e t h o ds an
e x p l o r at i o n
on
scale,
light,
m at e r i a l i t y
in
r e l at i o n
to
the
human
body.
o n t h e e l e m e n t s t h at t r a n s c e n d t h e b o d y t o wa r d s a s p i r i t u a l e n l i g h t e n m e n t .
0 6 a p p e n d i c es 3
01 S TA R T E R S
6
6
7
9
T H ES I S Q U EST I O N
T H ES I S STAT E M E N T
C O N C E P T D I AG R A M S
A B ST R A CT 5
statement
ADRIFT ES AG T S
LU CK
OCEAN E AG
E BL GI N TA IN RE TU U F
FE LI
LOST
CH
AC CU RA CY PR OB AB IL IT GA MB LE
DIRECITION
COM PAS S
ANCE GUID
MAP
of
contingency
REFORM
sense
GR AD ES
ever-shifting
RULES
an
and fluidity as these elements change over time. Featuring
a
non-denominational
ING FIX
mirrors
KEN BRO
of space to the proportion of a body, the project
AU TH O RIT Y
earth and ethereal light. By manipulating the scale
B E TR AY AL
through the elements of the buoyant body, inorganic
DO UB T
spaces powerfully inform and alter user experiences
SUCCESS
physical
FAI LU RE
how
PATTERN S
explore
CO N J OI NE D
will
INS E
Metamorphosis
UNCERTAINTY
PE RA AMB I G UI TY
Spatial
IND EF
CE AN
URITY OBSC
spirituality?
CH OIC E
GER DAN
and
NITY TU R PO OP
N RE ILD CH
Y
ILY M FA
Q
E PR
induce
actively
the
ME TA MUT M AB OR ILI TY P CHA NG E
E TIV NA R TE Y AL ILIT SIB S PO
FEA R
nature
of
TH PA
ITE IN
passively
elements
D DE VI DI
RISK
and
spiritual
VE LO
body
do
space
PREDICTION
how
a
CLOUDS R IS RO ER OS FOG L& H IA TR ION TIT BLUR PE ION RE CIS
and
makes
E BL
What
TRANSFO RMA TIO N
IONS OPT
contemplation
environment, this project will offer a space where people of all beliefs intersect and be transformed by their experience. It is created in a way that the space can become a dynamic and contingent procession, inducing a sense of metamorphosis in its inhabitants. Located in a shifting district - the
The
uncertainty
project. -
The
Mutability
design
of
word -
spaces l i n k-
is
the
Uncertainty
Metamorphosis
development.
inspiration
How
is
should
of
this
thesis
-
Choice
-
the
central
concept
spaces
Change of
metamorphosize
Meatpacking, the site suggests how the form, structure
to
and substance are metamorphosed through time.
should spaces undergo to adjust to different program needs?
embrace
contingencies?
What
kind
of
metamorphosis
7
abstract
This
p ro j e c t
addresses
the
transformations
of users in conjunction to spatial variations in m a t e r i a l i t y , l i g h t a n d p ro g r a m . A s i m i l a r i d e a i s ex p l o r e d i n t h e u r b a n p u b l i c p a r k H i g h l i n e .
environment
T h e H i g h l i n e p ro j e c t i s i m p o r t a n t t o m y t h e s i s
users
because it is a space that’s been transformed
program
t h ro u g h h i s t o r y , p ro m o t i n g a t i m e l y p r i n c i p l e o f e v e r- s h i f t i n g n a t u r a l l i g h t , m a t e r i a l a n d p ro g r a m . I t s ex i s t e n c e b ro u g h t a n e w h o r i z o n t o t h e w e s t
fo r m
s i d e o f N e w Yo r k C i t y , a n d d e - f a m i l i a r i z e d u s e r s
p h ys i c a l c h a n g e
m e ta p h y s i c a l c h a n g e
f ro m t h e c i t y- s c a p e . M y s i t e i s 6 7 5 H u d s o n S t r e e t . I a m wo r k i n g w i t h t h i s s i t e b e c a u s e t h e site is located in the busy district of Meatpacking
s u b s ta n c e ria
te m
te
Sys
l
district, where its 200 years of history underwent
ma
structure
a m e t a m o r p h o s i s . I w i s h t o ex p l o r e t h e t h e i d e a of metamorphosis within the triangular site, b r i n g i n g t h e b u s t l i n g c o m m u n i t y to q u i e t e r i n t e r i o r p ro g r a m s . M y p ro g r a m i s a n o n - d e n o m i n a t i o n a l
e n v i r o n m e n ta l c h a n g e
c o n t e m p l a t i o n s p a c e t h a t f e a t u r e s p ro c e s s i o n paths, meditation areas, gallery, library and o f f i c e s . I a m wo r k i n g w i t h t h i s p ro g r a m b e c a u s e contemplation brings forth metamorphosis of t h e m i n d . I w i s h t o ex p l o r e e l e m e n t s t h a t i n d u c e c o n t e m p l a t i o n . A s i m i l a r p ro g r a m w a s o b s e r v e d at
ˌ M E TA M O R PH OS I S /medəˈmôrfəsəs/ noun. A complete change of form, structure, or substance, as transformation.
Ro t h ko
Chapel,
which
used
artworks
to
p ro j e c t a f e e l i n g o f s a c r e d n e s s f o r a l l v i s i t o r s . B y wo r k i n g w i t h t h i s p ro g r a m a n d s i t e , I h o p e t o c r e a t e a s p a c e t h a t r e s o n a t e s w i t h t h e e v e rshifting physical and mental states of people.
9
Concept model- metamorphosis of a 2D plane. A piece of paper, with
many
controlled
cuts,
creases,
and
rotating
motions,
will undergo a change in form, dimensionality and structure.
11
02 R E P R E S E N TAT I O N S
14
15
16
17
the idea
the uprising
t h e va u lt
t h e e vo l u t i o n 13
In
accomplishing
changing
and
the
eternal
ever-
form
of
sacred structures in real material: First,
the
struggle
between
the organic (the body) and the inorganic (the mineralized earth). The
body
is
buoyant,
organic,
erect, vertical and is freed into the
light.
The
earth,
on
the
contrary, is heavy, solid, inorganic, unfathomable.
The
earth
then
creates the vault, burying the body once more, the surface of depth becomes a cave. For the second time the body shatters the earthly fetters and frees himself forever into light. This is the evolution, the metamorphosis of body freed from
the
earthly
confines
and
rise into the light of spirituality. It is the sublime landscape that separate a “world” from the “other world”. The landscape is an “open form”.
The
Habitual
structure
T h e f i r s t u p r i s i n g c r e at e d t h e b o d y . I t s b u o y a n t f o r m c o n t r a d i c t s f o r t h e f i r s t t i m e t h e d u m b h e av i n e s s o f t h e e a r t h , i t s ta l l g r o w t h t h e e a r t h ’ s u n fat h o m a b l e d e p t h s .
ends on the threshold, and the structure
which
continues
on
is
symbolical
the
threshold.
15
The
body
earth,
on
is the
buoyant,
organic,
contrary,
is
e r e ct ,
h e av y ,
vertical
solid,
and
inorganic,
is
freed
into
u n fat h o ma b l e .
the The
light. earth
The then
c r e at es t h e va u lt , b u r y i n g t h e b o d y o n c e m o r e , t h e s u r fac e o f d e p t h b e c o m es a c av e .
For
the
himself freed
second forever
from
the
time into
the light.
e a r t h ly
body This
c o n f i n es
s h at t e r s is
the and
the
e vo l u t i o n , rise
into
e a r t h ly
fetters
and
the
m e ta m o r p h o s i s
the
light
of
of
f r e es body
spirituality.
17
The Secular Spirituality of Tadao Ando Kenneth Frampton
I d e a o f t h e B o d y : T h e i n s e pa r a b i l i t y o f b o d y - b e i n g t h at c at e g o r i c a l ly t r a n s c e n d s t h e s p l i t b e t w e e n b o d y a n d s o u l t h at s e e m s t o b e s o c e n t r a l t o t h e i n d i v i d u a l i s t i c e t h o s o f m o n o t h e i s m . T h e “ h e r e a n d n o w ” i n w h i c h t h e d i s t i n c t b o d y i s p l a c e d i s j u x ta p o s e d a g a i n s t t h e “ t h e r e ” , w h i c h i s t h e s u r r o u n d i n g s pa c e . T h e w o r l d a r t i c u l at e d b y t h e b o d y i s a v i v i d , l i v e d - i n s pa c e .
T h e b o d y a r t i c u l at e s t h e w o r l d , a n d t h e b o d y i s a r t i c u l at e d b y t h e w o r l d . W h e n “ I ” r e c o g n i z e t h e s pa c e a s va s t , e m p t y a n d g r a n d , “ I ” r e c o g n i z e t h e b o d y a s s o m e t h i n g s m a l l , f u l l a n d l i m i t e d . W h e n “ I ” p e r c e i v e t h e m at e r i a l s t o b e c o l d a n d h a r d , “ I ” r e c o g n i z e t h e b o d y a s s o m e t h i n g wa r m a n d s o f t . T h e b o d y i s i n a c o n s ta n t d y n a m i c r e l at i o n s h i p w i t h t h e w o r l d . A l l t h e pa l pa b l e e l e m e n ts ( t h e f i v e e l e m e n ts t h at a p p e a r i n m y t h e s i s ) o f n at u r e i m p i n g e u p o n b o t h t h e b o d y a n d t h e b u i lt f o r m . S p i r i t u a l i t y i n a c o s m o g o n i s t s e n s e i s m o r e p r o f o u n d ly g r o u n d e d i n n at u r e .
19
03 program
22
23
24-25
26-29
p r o p o sa l
d i ag r a m
d e ta i ls
p r e c e d e n ts
30-31
32
34
36
c o n c e p ts
diptych-light
d i p t y c h - wat e r
diptych-earth 21
contemplation programs Contemplation
spaces
are
a
new
kind
of
proposed Program DIAGRAM
environment
in
which
anyone can contemplate in their own way - walking, standing, sitting, reading, looking, listening... Contemplation spaces fulfill the diverse needs of a global community. The challenge is to create a space that becomes
a
bridge
while
still
retaining
functionality.
An
important
step is to identify different programs where people can contemplate.
PROCESSION RAMP
PROGRAM REQUIREMENTS I N V I TAT I O N S PA C E I n v i t e s v i s i t o r s i n t o t h e b u i l d i n g t h ro u g h d i f f e r e n t t h r e s h o l d s
MEDITATION / CONTEMPLATION HALL
PROCESSION Contemplation passages into the main meditation space.
GARDEN
M E D I TAT I O N S PA C E Main point of interest. Must have natural light qualities, create a sense of serenity with scale.
PASSAGES
GARDEN A c o n n e c t i o n p o i n t b a c k t o t h e o u t s i d e wo r l d - p a r t i a l l y o u t d o o r.
G A L L E RY S e c o n d a r y p ro g r a m . R e q u i r e s n a t u r a l l i g h t a n d a r t i f i c i a l l i g h t .
GALLERY
L I B R A RY S e c o n d a r y p ro g r a m . R e q u i r e s n a t u r a l l i g h t , s e a t i n g a r e a a n d
LIBRARY OFFICES
auditorium seating for events.
CAFE S e c o n d a r y p ro g r a m .
OFFICES
ATRIUM SPACE
HORIZONTAL + VERTICAL
UPPER LEVELS
UPPER LEVELS
ENTRANCE
S e c o n d a r y p ro g r a m .
23
program details PROCESSION RAMP
L I B R A RY
- Circulation for entrance - sq footage: 300-350 - spatial adjacencies: exterior space & passages - main activities: welcomes visitors into the space. Guides the circulation downwards to the main interior space. - daylight/electric: completely natural light from the outside through breezeblocks. - initial idea of atmosphere: inviting, friendly, still exterior- no clear boundaries, nor completely public- a sense of privacy while open. - details/ materials: concrete / sand composite breezeblocks
- occupancy: 30-50 - sq footage: 1000-1200 - spatial adjacencies: Auditorium, Gallery, Offices - main activities: library containing literature regarding contemplation, spirituality, body and soul. Include auditorium seating, coffee table seating and small cafe for relaxing and reading in this area. - daylight/electric: mostly electric for personal reading areas; comfortable brightness for reading and relaxing - details/materials: sound absorbing materials, wood, concrete. - initial idea of atmosphere: quiet, private, inviting, integrated - furniture/ fixture/ equipments: coffee tables and chairs; large book cases; casual sofas; auditorium seating
GARDEN - occupancy: 1-5 - sq footage: 200-300 - spatial adjacencies: Passages, Meditation Hall, Exterior. - main activities: garden includes plants that grow indoors. Possibly include a reflection pond for nature appreciation and contemplation. Mainly for relaxing, and meditating. - details/ materials: requires possible UV lamps for plant growth. - daylight/electric: maximum amount of natural sunlight as possible. - initial idea of atmosphere: quiet, serene, include sounds of nature.
M E D I TAT I O N H A L L - occupancy: 30 - sq footage: 1000-1200 - spatial adjacencies: Garden, Gallery, Prayer room - main activities: large open area that allow users to stand, sit or move around and contemplate. Occasionally hosts classes on meditation and yoga. - daylight/electric: access to some natural sunlight; dimmable electric light washing the walls/ ceilings/ floors, dark ambience - details/ materials: concrete, rammed earth, glass, mirror. - initial idea of atmosphere: quiet, serene, a play on natural light to signify the change of time. Overall dark but not gloomy. - furniture/ fixture/ equipments: storage for pads on the floor, yoga mats, incense.
G A L L E RY - occupancy: 30-100 - sq footage: 2000 - spatial adjacencies: Library, Meditation Hall. - main activities: circulating art/cultural exhibitions featuring contemplation related artworks, sculptures etc. Mostly abstract work that have a “sense� of sacredness and spirituality. - details/ materials: hard surfaces to hang artworks (concrete). - daylight/electric: maximum amount of natural sunlight; spotlights for artworks - initial idea of atmosphere: quiet, serene, welcomes the public. - furniture/ fixture/ equipments: spotlights for artworks, pedastal for sculpture displays. Moveable partitions for special curatorial works
PA S S A G E S - sq footage: 500-1000 - spatial adjacencies: All other programs - main activities: Vertical and horizontal circulation through the whole space. - daylight/electric: each passage should have its own unique natural lighting effect. Some electrical light might compensate for late night uses. - details/ materials: concrete - initial idea of atmosphere: personal, quiet, long walkways with light variations.
25
program case studies The Rothko Chapel is an interfaith sanctuary, a non-denominational chapel, a center for human rights — and a one-man art museum devoted to 14 monumental paintings by abstract expressionist Mark Rothko. The interior serves not only as a chapel, but also as a major work of modern art. For the past four decades, the chapel has encouraged cooperation between people of all faiths — or of no faith at all. “You walk into this chapel and you know, now, that it has been sanctified by the prayers of the people. There is something you feel in the chapel that tells you it is a holy space.” The octagonal geometry of the space is inspired from mandalas and the skylight from Roman churches.
rothko chapel h o ust o n , t e x as / john & dominique de menil / 2016 / ~10,000 sqft
Seed, John. “At the Rothko Chapel: Art, Meditation and Reverence.” The Huffington Post. June 29, 2012. Accessed November 20, 2017. https:// www.huffingtonpost.com/john-seed/ art-meditation_b_1627635.html.
27
program case studies People meet in this room, in a center of stillness surrounded by silence. Non of the symbols accustomed in meditation is used; instead, a common language of solidity is found in the middle of the space, symbolizing light and spirit. In the center of the room is a block of iron ore, polished on the top and illuminated from above by a single spotlight. This block was the only symbol in the Room. Hammarskjöld described it as “...a meeting of the light, of the sky, and the earth... it is the altar to the God of all.... we want this massive altar to give the impression of something more than temporary...”. Those who come to the room fill the void with what they find in their center of stillness.
u n m e d i tat i o n r o o m
FOCAL POINT
n e w yo r k , n y / Dag H a m ma r s k j ö l d l / 1957 /
CENTER
~500 sqft
“DAG HAMMARSKJÖLD: The UN years ...” United Nations. Accessed December 10, 2017. http://www.un.org/ Depts/dhl/dag/meditationrooam.htm.
29
program concepts
Metamorphosi s
is
a
l i ne ar
p ro c e s s
of
be co m i ng.
Thi s
model and di ag ram spe ak abo ut the l aye rs of c hange that ha ppens
in
in fo rmati on
the as
proce s s . one
Ove ral l ,
ex p e ri e nc e s
i t’s
an
ad d i ti o n
of
new
the
“othe rne s s � .
In
the
end, the form b ecome s a co m p os i te of al l the ad d i ti o ns .
31
program concept development
DIPTYCH: C O N C E N T R AT I O N & L I G H T
T h e ro o m of li g ht b r i n g s n at ura l li g ht i nto t h e da r k sp a ce t h ro ug h t h e g la s s m at e r i a l. G la s s i s a m at e r i a l t h at co n ce ntrates a n d d i s pe rs e s li g ht li k e n o ot h e r m at e r i a ls . T h e a m o unt of li g ht s e nt t h ro ug h t h e g la s s ro d s ch a n g e s by th e m in ute .
33
program concept development
DIPTYCH: M OV E M E N T & WAT E R
T h e ro o m of wat e r i s a b o ut fr e e -flow i n g m ov e m e nts, just l ik e th e h um a n m i n d s . H ow ev e r , w h e n t h e r e’s a d e st i n at i o n o r ta r g et, wate r w i ll g o t h ro ug h a ll o bst a cle s to flow towa rd s t h at a pex . Wate r f lows co nt ro lle d o r un co nt ro lle d , b ut i s a lways s h i ft i n g by th e seco n d.
35
program concept development
DIPTYCH: TRANSITION & EARTH
The
ro o m
Ea r t h
is
seasons, It
of
earth
sy m b o li z e s
t ra n fo r m e d , d e pe n d i n g
co nt a i n s
the
on
d e fo r m e d the
memories
ch a n g e and
its
p hysica l
r e fo rm ed
organisms of
of
t h at
it
i n o r g a n ic
fo r m .
th ro ug h co nta cts. co nte nts.
37
PROCESSION OF ROOMS L E F T- R I G H T Each of the three materials studied above evolve and metamorphose in their unique units of time. The earth changes by the season, t h e l i g h t b y t h e h o u r a n d t h e w a t e r b y t h e s e c o n d . To g e t h e r , t h e i r state of change become a vessel that supports contemplation. T h e b o d y i s t h e n i n t ro d u c e d i n t o t h i s v e s s e l t h ro u g h a p ro c e s s o f entering,
interpreting,
evaluating,
transcending
and
continuing.
39
04 site
42
43
44
47
r e q u i r e m e n ts
h i st o r y
a n a lys i s
d i ag r a m s 41
H I ST O R Y O F M E AT PA C K I N G D I ST R I CT
site requirements
1. Access to natural sunlight- most contemplation related structures require sunlight as part of t h e c e r e m o n i a l r o u t i n e o r s e n s e o f s p i r i t u a l i t y. 2.
Sound
proofing-
blocking
off
street
noises. Meditation spaces, library and gallery spaces 3.
should
Open
entrances from
all
be
to
in
the
towards different
the
quietest
area.
community-
the
public,
junctions
many
welcoming
of
the
c i t y.
4. Located conveniently for subway access, vehicle 5.
access
Maximum
and
Capacity
walking
access.
for
general
the
public - can house at least 100 people, but still
keep
the
space
relatively
personal.
6. Safe environment - 24 hours of security 7.
Set
in
district for
the
middle
and
people’s
of
provides busy
a
busy a
everyday
business sanctuary routine.
8. Located in a district that welcomes and
1840
1870
1900
1960
1980
1990
2000
Greek R e v i va l St y l e r es i d e n c es . H e av y i n d u st r y such as iron w o r ks a n d
m u lt i - fa m i ly dwellings, internal i n d u st r i a l i z at i o n . ma r k e ts o p e n n i n g up for regional produce.
home to 250 s l a u g h t e r h o u s es a n d p l ac k i n g p l a n ts . m i x t u r e o f ma r k e t p l ac es a n d m e ta pac k i n g r e l at e d act i t i v i t i es .
decline due to c o n ta i n e r i z at i o n , advent of s u p e r ma r k e ts , and frozen f o o ds . n i g h tc l u b s and other e n t e r ta i n m e n t a n d l e i s u r e o p e r at i o n s c at e r i n g t o g ay clientele emerged.
center for drug dealing, p r o st i t u t i o n , a n d b ds m s u b c u lt u r e , pa r t i c u l a r ly i n vo l v i n g t r a n s s e x u a ls . ov e r a dozen sex clubs under control o f t h e ma f i a o r s u b j e ct t o n y p d p r o t e ct i o n r ac k e ts .
h i g h - e n d b o u t i q u es c at e r i n g t o yo u n g p r o f es s i o n a ls a n d h i p st e r s o p e n e d . N i g h tc l u b s , r esta u r a n ts a n d bars flourished. N Y ma g a z i n e c a l l e d t h e d i st r i ct “ n e w yo r k ’ s m o st fa s h i o n a b l e neighborhood.”
o p e n i n g o f t h e f i r st segment of high line pa r k a n d t h e o p e n i n g of whitney museum at t h e s o u t h e r n m o st entrance to the h i g h l i n e c o m p l e t e ly transformed the d i st r i ct i n t o a b u st l i n g h i g h - e n d r e ta i l , d i n i n g a n d r es i d e n t i a l a r e a , “ m e ta m o r p h o s i s . ” o n ly 6 m e at pac k e r s r e ma i n e d in the area.
accepts change - a district that metamorphose. 9.
High
tourists
traffic all
area around
with the
lots
of
world.
43
site analysis 675 Hudson Street. The building sits on an island of Meatpacking district; it’s a building that has undergone many changes of programs, including storage, market place, LGBT clubs, church, education facility etc. It’s 5-storey with a basement. The current program is residential on the top 5 floors, restaurants/bars on the first floor, bar/club space in the basement. It’s at the junction of 4 busy streets- 13th, 14th, Hudson and 9th Ave. This building is selected for this project because of its prime location in the district as well as its particular geometry that allows for program requirements.
site plan + shadow study of site
CHELSEA MARKET
Av en u
e
St
et
WHITNEY MUSEUM
re
Av en
ue
et
h
on St reet Huds
th
re
9t
13
St
h
th
9t
14
45
Threshold
at
the
acute
corner
of the building is an ideal place for entrance. Upon entering the tight threshold of around 5’, one would
experience
metamorphosis widens
and
movements.
as
allows There
the
linear
the
space
for
other
are
many
existing entrances into the building; yet
this
particular
threshold
has the most contrast with both the
exterior
and
the
interior.
47
LIGHT
sight
49
sound
t e m p e r at u r e
51
05 d e s i g n s t r at e g y
54
58
66
72
st r at e g i es
p r o p o sa ls
d es i g n d e v e l o p m e n t
renderings 53
design strategies
V
E
R
S
H
A
P
T
L
E
C
I
I
N
I
G
E
N
T
R
A
L
F
M
A
T
E
T
N
I
O
T
N
55
P
L
V
C
P
A
O
I
R
A
L
C
U
S
N
U
L
S
E
M
A
T
A
I
E
O
G
N
E
57
first proposal - columns of light
59
second proposal - lanscape
61
63
third proposal- procession
ground floor plan
65
design development
The
design
programs
for that
contemplating.
a
contemplation
allow My
for
definition
space
different of
features ways
contemplation
of is
the action of observing thoughtfully at something for a long time where they begin to think deeply about subjects like life, death and time. Therefore t h e s p a c e s h o u l d e n h a n c e s u c h c o n t e m p l a t i o n . To v
67
A . D es c e n d e n c e - a n t i c i pat i o n
C
b . pas sag e - p r e pa r at i o n
D
c . pas sag e - i n t e r p r e tat i o n
G B
d. vertex- cleansing
E
F
A
offices + study rooms
e . pas sag e - e va l u at i o n
l5
f. entrance- submission
p r i vat e st u dy ro o m s a n d of f i c e space fo r fa c i li ty use and p u b li c use
g . o p e n s pac e - c o n t i n u at i o n
library
l4 li b ra r y s p a c e f eat u r i n g a c af e, lo u n g e a r ea , a u d i to r i u m s eat i n g a n d ev ent s p a c e.
gallery
l3 ballery space with circumambulating circulation, featuring a permanent sculpture installation of spiritual objects.
gallery
l2 g a ller y s p a c e w i t h s eat i n g s a n d v i ew i nto t h e s u n k en g a rd en on lev el -1 .
a
b
c
d
e
natural light through procession
f
a
b
c
d
e
f
sound reflectivity through procession
filtration
L1 t h i s ex t er i o r lev el att ra c t s v i s i to rs a n d f i lt ers c rowd s co m i n g f ro m a ll d i r ec t i o n s towa rd s a s i n g le t h r es h o ld .
procession p a s s a g e way of s p i r i t u a l q u i et i n g and awa k en i n g t h ro u g h f i lt er ed n at u ra l li g ht , ex t er i o r g a rd en a n d d o u b le h ei g ht s p a c e.
contemplation atrium at r i u m w i t h co lu m n s of li g ht , f eat u r i n g a p r i vat e m ed i t at i o n space w i t h n at r u a l a n d a r t i f i c i a l li g ht r ef lec t i n g o n a m i r ro r ed co n e s u r fa c e. L3 , L4 , L5 h av e t h r es h o ld s t h at lo o k i nto t h e at r i u m .
L-1
at r
69
office textile
fourth floor
wood seating shelfing
fifth floor office carpet
terrazzo counter
concrete partition
concrete accent
second floor
third floor concrete furniture exterior floor
rammed earth concrete floor
material board
basement
first floor
71
Walking towards the island that this building sits on, surrounded by heavy traffic and hordes of tourists, the building invites and filter the bustle at the same time. The ground level is completely exterior, allowing the sense of entering a threshold. The sand composite breeze blocks that delineates the entrance allow light to penetrate in defined forms.
A. entry Descendence
73
B. Passage- Preparation
D. vertex- cleansing
A ramp descents into the basement floor. Visitors are slowly enveloped by the earth with light above head. The passage immediately turns a corner and another corner, creating the sense of anticipation. Walking through the passage ways, the pattern of light changes and slowly progress away from the exterior bustle. The different textures of the concrete symbolize the earth.
At the end of this passage way is a garden; this is the apex that reconnects with the exterior one last time. The last passage before entering the core is dark , rendered by the different textures of concrete and the ethos of footsteps.
75
F. entrance- submission
G. open space- continuation
Finally after a process of walking contemplation, the core space appears- a six story atrium with glass columns that transfer light, and a more private mirrored space that reflects light in 360 degrees. This is a space that automatically desires looking up. The only source of light is natural, and it’s rendered through glass, mirror and concrete.
The mirrored cone shaped space is also occupiable artificial light bulbs inside the cone, reflected and refracted by the mirror creates an illusion of infinity.
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gallery floor
library floor double height space
If visitors would like to fu rther explore the space, they can enter the upper floors direction from the staircase in the core, as well as a staircase outside of the procession. The programs of the upper floors include two levels of gallery spaces, a library level, auditorium seating for events and gathering, a level of private study/ meditation rooms and back of hou se offices. These prog rams all support the idea of contemplation.
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81
06 appendices
84
88
98
104
supplement
r es e a r c h
c as e st u d i es
p r e c e d e n ts 83
85
87
research alain de botton
st e v e n h o l l
temple for atheists
parallax - elastic horizons
Rather than attack religion, De Botton said he wants to borrow the idea
“Science remains essentially mysterious, yet our daily scientific and
of awe-inspiring buildings that give people a better sense of perspective
phenomenal experiences shape our lives; experience sets a new frame
on life.
from which we interpret what we perceive.” Steven Holl, in the chapter
“Normally a temple is to Jesus, Mary or Buddha, but you can build a
Elastic Horizons, enlights the intrinsic relationship between spatial
temple to anything that’s positive and good,” he said. “That could mean
perception and science’s spatial discovers. From the intergalactic space to
a temple to love, friendship, calm or perspective. Because of Richard
the space-time of the Earth, Holl traces the malleable qualities of the idea
Dawkins and Christopher Hitchens atheism has become known as a
of space. He questions, “how elastic are our minds? How far can we stretch
destructive force. But there are lots of people who don’t believe but
them?” Out fundamental understanding of spaces and our experiences
aren’t aggressive towards religions.”
have expanded in the twenty-first century as we evolve with the universe.
De Botton has insisted atheists have as much right to enjoy inspiring
Holl values human experiece as the essential factor in creating a space.
architecture as religious believers. ”The dominant feeling you should get
Holl, Steven. “Elastic Horizons.” Parallax. 10-22. Basel ; Boston ; Berlin: Birkhäuser, 2001.
will be awe – the same feeling you get when you tip your head back in Ely cathedral,” he said. “You should feel small but not in an intimidated way.” Botton, Alain De. “Alain de Botton plans temples for atheists.” Dezeen. October 30, 2012. Accessed November 14, 2017. https://www.dezeen.com/2012/01/25/alain-de-botton-plans-temples-for-atheists/.
K at i e day THE CONSTRUCTION OF SACRED SPACE IN THE URBAN ECOLOGY On one city street, ordinary space becomes holy ground- all without the assistance of the architectural forms that normally demarcate space as being sacred. Often unsassuming buildings can become holy ground within their context. Buildings are adapted and readapted to new uses over time; space and the meaning of space is contested within these ongoing social changes. What becomes “scared” is not constructed as over-against the secular/profane but in fact in relationship, or negotiation, with it. The high sense of sacred created through human agency identified with the people rather than the place. The building becomes shell for sacred activity; its sacredness is therefore derivative of the human experience it shelters. Day, Katie. “The Construction of Sacred Space in the Urban Ecology.” CrossCurrents 58, no. 3 (2008): 426-40. doi:10.1111/j.1939-3881.2008.00037.x.
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b e at r i z c o l o m i n a & ma r k w i g l e y
h a r u k i m u r ak a m i
a r e we h u ma n - t h e m i r r o r o f d e s i g n
m e n w i t h o u t wo m e n - s a m s a i n l o v e
In Mirror of Design, the author compares archaeology to design. Design
“He woke to discover that he had undergone a metamorphosis and
is a process that reinvents the future, whereas archaeology reveals the
become Gregor Samsa.”
past. Design is a form of projection, to shape something rather than find it, to invent somehting and think about the possible outcomes of that
A tribute or a sequel to Kafka’s “The Metamorphosis”, Murakami’s short
invention. “Design always presents itself as serving the human but its real
story Samsa in Love unfolds with a creature waking up to find itself
ambition is to redesign the human”.
transformed into a human. Learning to maneuver the human body, Samsa stumbled as he tries to explore the house he woke up in on two
Everthing in this world is designed, from the technology, biodiversity, flow
legs. He finds standing on two legs unnatural and unstable. He finds
of information to the atmosphere... DESIGN HAS BECOME THE WORLD,
himself naked and realized that human body has no means of self-
and “The human might be the only species to have systematically
defense. The story then takes a turn into a love story and Samsa falls in
designed its own extinction”. Beatriz Colomina and Mark Wigley offered a
love with a hunchbacked young woman whom he finds attractive and
close exploration of the intimate relationship between human and design,
knowledeable. Samsa, for the first time in his human life, experienced
how design has reached deep into our bodies and brains. Design has
sexual attraction and decides that being human isn’t such a ridiculous
became the way we ask questions and thereby continuously transform
proposition.
ourselves. “Our self-image is multiple and ever-shifting, as if we look into a vast multifaceted mirror in which the surfaces keep moving.
This rather odd story almost depicts an user experience in an unfamiliar space-- stumbling around unknown environments, discovering the
“The history of design is therefore a history of evolving conceptions of
best way to integrate and fit in-- and eventually conform. An unfamiliar
the human. To talk about design is to talk about the state of our species.
situation creates possibilities and potential for spatial perceptions that engages the phenomenological dimensions.
Colomina, Beatriz, and Mark Wigley. “The Mirror of Design” Are we human ?: notes on an archaeology of design. 9-20. Lars Muller Publishers, 2016.
Murakami, Haruki, Philip Gabriel, and Ted Goossen. Samsa in Love. In Men without Women , 186212. Alfred A. Knopf, 2017.
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Andrew Crompton multifaith spaces: god leaves the building Multifaith spaces are a new kind of sacred environ- ment in which anyone can pray whatever their religion. What is the architecture of this new type of universal sacred space? In order not to be meaningful in an inappropriate way they use banal materials, avoid order and regularity, and are the architectural equivalent of ambient noise. The results are sufficiently anti- architectural to suggest that architecture depends upon a particular culture for its existence. Are these blank white rooms even architecture at all? Why is it so difficult to transcend different faiths and create places that are sacred for all? There will be at least nine of them: Christianity; Islam; Judaism; Hindu- ism; Sikhism; Buddhism, Jainism, Baha’I, Zoroastrianism. From time to time Taoism and Shinto appear, as do Native American religions; Pagans; Druids; Adventists; Humanists— not to mention people of no faith who are some- times represented by a blank space. Other religions, sects and cults are uncountable. Difficulties with saying nothing remind us of John Cage’s noiseless Four minutes, thirtythree seconds of 1952. The composer, who treated silence and ambient noise as the same thing, described his work as being for any instrument.37 It could equally well be called multi-instrumental.
Crompton, Andrew. “The architecture of multifaith spaces: God leaves the building.” The Journal of Architecture 18, no. 4 (2013): 474-96. doi:10.1080/13602365.2013.821149.
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observational research
concert space for public
the high line Ma n h at ta n , w est s i d e length: 21km dat e : 2 0 0 9 - 2 0 1 5 e l e vat i o n : 3 0 f t
private cutouts -personal gallery
23rd street lookout
grafitti wall and amphitheater https://ipekakin.wordpress.com/2016/04/20/urban-space-case-study-the-highline-ny/
The High Line was originally built in 1934 as part of a massive infrastructure project called the West Side Improvement. Train traffic began to decrease in the 1950s and stopped altogether in 1980. The High Line’s design is a collaboration between James Corner
people-watching theater
Field Operations, Diller Scofidio + Renfro, and planting designer Piet Oudolf. The design is inspired by the landscape that grew on the High Line during the 25 years after the trains stopped running.
tunnel lookout
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d e m o g r a p h i c s / h u ma n act i v i t i es
p h e n o m e n o l o g y st u d i es cars trucks
ambient sounds
20 photographing 1 2 wa l k i n g w h i l e l o o k i n g at p h o n e 9 wa l k i n g w h i l e l i st e n i n g t o m us i c
people walking past
10 sitting
children crying
1 3 sta n d i n g a n d l o o k i n g
alone
line
ave 10th
fast
high
20 min people-watching - human activities people talking closeby
10 min sound recording @ 23rd street
couple
48% 20% 32% group
slow
walking speed Scanned by CamScanner
Scanned by CamScanner
typology of resting areas’ privacy
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case studies c i st e r n e r n e x sa m b u i c h i St e v e n h o l l & v i t o ac c o n c i
Sambuichi operates with what he calls the volatile materials of the place: the movements of the wind, the water and the light, and these phenomena are central to the architect’s work with the underground spaces. The exhibition in the Cistern takes the form of a total installation, where the contingencies of nature will in this undergournd resevoir. The cistern becomes its own effective energy sculpture, as an isolated cycle of water, light, air, plants and humans becomes an underground landscape discovered by visitors, between contrasts of unbearable darkness and fields illuminated from above.
TIME DIAGRAM OF THE CISTERNERNE The Cisternerne installation is extermely site-specific as well as time based. It depends greatly on the environment of Copenhagen. Since the entire underground resevoir is lit only by natural light coming from coves and skylights, the hours of operation is completely depended on Copenhagen’s sunlight hours; and since the city is so high on latitude, the hours vary from 3 hours per day during winter times to 9 hours per day during summer times. The interior space is contingent upon the environment.
Photo & Info from: “Current exhibition.” Current - Cisternerne. Accessed October 15, 2017. https:// www.cisternerne.dk/en/what-s-on/exhibition/current.html.
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case studies D1 Kindergarten and Nursery
Classrooms are not provided partitions; it’s been planned that furnitures
H I B I N O S E K K E I + Yo u j i n o S h i r o
are carried out instead of classrooms. It is completely free to change the shape and area of the classes. Children buy furnitures at the time of
FIRM: HIBINOSEKKEI+Youji no Shiro
admission to the kindergarten and bring back their home at the time of
TYPE: Educational › Nursery
graduation. This system makes furniture in the kindergarten be updated
YEAR: 2015
annually, and also keeps the interior clean. Because it is also possible to
SIZE: 3000 sqft - 5000 sqft
change the shape every time to update, furniture itself has variability. Also, in order to be able to open all the joinery, they can use the entire interior
Flexibility: Flexibility is sought in the facility. In accordance with the
of the building as semi-outdoor space when the courtyard/basin is open.
curriculum of the day, classrooms can be changed to the shape and scale optimal form. By creating a high degree of freedom space with variability, the bulding provides an environment that can adapt to a variety of educational curriculum. The roof of atrium is operable, which creates a basin with the rain that falls in the atrium. In winter, this basin will be frozen and can be used as a skating rink. It’s a playground that transforms in itself to provide different programs for different needs.
“D1 Kindergarten and Nursery / HIBINOSEKKEI Youji no Shiro.” ArchDaily. June 23, 2015. Accessed September 20, 2017. https://www.archdaily.com/645730/d1-kindergarten-and-nursery-hibinosekkeiyouji-no-shiro.
open e d u c at i o n area
cafeteria group area
open e d u c at i o n area
basin outdoor activity area
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case studies st o r e f r o n t f o r a r t a n d a r c h i t e ct u r e St e v e n h o l l & v i t o ac c o n c i
In 1994, Steven Holl collaborated with Vito Acconci on the design of the facade for the StoreFront for Art and Architecture in Manhattan. The interactive dynamic of the gallery argued for an inside-out facade, which addresses insular art and turns it out to the public street. Hinged walls rotate on both axes, which allows some to become tables and benches. The space can be exact and then suddenly transforms into dynamic combinative space. It can be severe or easygoing. When the facade is closed, it takes the typological form of a triangular slice of shop front. When it is open, it becomes drawn into the city outside. The three-dimensional volume can be disposed towards the four dimensionalwith changes in time.
“Storefront for Art and Architecture news and exhibitons.” Dezeen. Accessed September 20, 2017. https://www.dezeen.com/tag/storefront-for-art-and-architecture/. Holl, Steven. “Hinged Space.” Parallax. 234-243. Basel ; Boston ; Berlin: Birkhäuser, 2001.
closed s pa c e 75sqm
p r i vat e s pa c e
t h o r o u g h fa r e s pa c e
open/public s pa c e 189sqm 103
prescedents c h a p e l o f r e c o n c i l i at i o n PRIVATE SPACE OF WORSHIP
ALTAR
S EN EC TR ON AN D CE
OR PIP GA E N
b e r l i n , g e r ma n y / r u d o l f r e i t e r ma n n / 2 0 0 0 / ~ 3 0 0 0 s q f t
PRIVATE SPACE OF WORSHIP
WAITING AREA
The Chapel of Reconciliation is erected at the
ENTRANCE
same location of Reconciliation Church before it was destroyed on the border of the Berlin Wall in 1985. The rammed earth is reused from the destroyed church remains. The program is simple: an cage-like public access zone that connects extensively with the exterior; and within, an enclosed interior that incorporates the use of natural skylight. The two irregular concentric ovals create various in-between spaces that can be used for different activities. Gray, Lucas. “The Chapel of Reconciliation.� Talkitect | architecture, art, and design. Accessed December 14, 2017. http://www.talkitect.com/2008/11/blog-post.html.
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Moveable platform down to crematory
prescedents
3
C h a p e l o f t h e h o ly c r o s s
8
Turku, finland / Pekka Pitkänen / 1967 / ~7,000 SQFT 4
5
6
7 2
1 1. Entrance canopy / walkway / flower display 2. Lobby- seats & sofas, reception 3. Main Chapel - altar, row seating, mezzanine seating, access to outdoor 4. Private Chapel- altar, row seating, access to outdoor 5. Access to basement- employee only, crematory 6. Reception Area 7. Stair leading up 8. Private offices
The Chapel of the Holy Cross manipulates natural light to indicate the different programs and uses of its many open spaces. The light shines on the areas where activities happen- the skylight in the main crematorium points towards where the body of the deceased is placed. Light also washes the side walls where flowers and prayers are located. The
back-of-house
programs
such
as offices are also accessible, but are located in inner core areas where light doesn’t change as much.
HIERARCHY OF PRIVACY & USAGE
HIERARCHY OF CIRCULATION
Moloney, Luke. “The Turku Chapels // Finland.” Yellowtrace. January 27, 2014. Accessed November 2, 2017. https://www.yellowtrace.com.au/the-turku-chapels-finland/.
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prescedents B r u d e r k l a us f i e l d c h a p e l Mechernich / Peter Zumthor / 2007 / ~200 sqft
PERSONAL ENTRANCE
AL N O IP S R PE ORSH E W PAC S
The Chapel is built to house only a few people at a time. The only source of lighting is from the opening above, which during rainy days will fill the basin with water. The chapel is built by casting concrete over a wooden struction in a cone shape, and burning the wood away after the concrete cures. Its triangular threshold, burnt walls and irregular form on the inside contrasts with its rigid exterior. “Bruder Klaus Field Chapel / Peter Zumthor.” ArchDaily. January 26, 2011. Accessed November 2, 2017. https://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor.
CONNECTION TO AIR RAIN SKY NATURE HEAVEN CONNECTION FROM EARTH GROUND REALITY
109
prescedents H o us e o f P sy c h i at r i c s
RECEPTION
FACILITIES+TEAM
rehabilitation
facilities
are
PATIE
Modern
synonymous with the prison system,
PATIENTS WARD
FAC ILI
PATIEN TIES+TEAM TS WAR D
FACILITIES+TEAM
RECEPTION
PATIENTS WANR TS WARD D
YER
COMMUN FO ITYPATIENTS W
PATIENTS WARD
ARD
B o r å s v , S w e d e n / w h i t e a r k i t e ct e r / 2 0 1 3 / ~ 1 2 0 , 0 0 0 s q f t
PATIENTS WARD
FAC ILI
PATIEN TIES+TEAM TS WAR D
in the way in which they function by
isolating
individuals
from
the
general public in order to rehabilitate them. However, the exact opposite is
accomplished
as
the
1. RECEPTION 2. COMMON AREA - RESTING AREA 3. TEAM AREA - NURSE & DOCTORS ON DUTY 4. SINGLE UNIT PATIENT WARDS 5. CARE UNITS
isolated
institutional atmosphere only delays rehabilitation
and
consequently
creates patients that come to be a replication of their environment. The idea of the project is to create a clinic that has the dignity of a public building than a closed “institution”. The space is designed with a goal of creating a free and open atmosphere, to avoid any associations with force and power. The
building
adapts
the
existing
greenery and sloping terrain so that the interior is integrated within nature.
111 “Inspiring sustainable ways of life.” White Arkitekter. Accessed October 25, 2017. http://en.white. se/projects/house-of-psychiatrics/.
prescedents Mag g i es C a n c e r C a r i n g C e n t e r A b e r d e e n , U n i t e d K i n g d o m / S n ø h e t ta / 2 0 1 3 / ~ 8 , 0 0 0 s q f t
Maggie’s Centres seek to provide ‘the architecture of hope’. Nestling in the row of trees marking the course of the Westburn, the Maggies center enjoys views across the fields and ample sunlight from the south and west. The Maggies Cancer Caring Center is not a treatment center, but a place where individuals can meet, connect and receive help and guidance. The space is defined by inarguably positive qualities: light, space, openness, intimacy,
views,
connectedness
to
nature – the opposite of a standardissue
hospital
environment.
The
structure plays on the idea of a sheltered interior, where the outer shell provide a buffer from the exterior to the interior and brings a sense of protection.
113 “Maggies Cancer Caring Center / Snøhetta.” ArchDaily. October 13, 2013. Accessed October 25, 2017. https://www.archdaily.com/437008/maggies-cancer-caring-center-snohetta.
prescedents Pa m e l a B u x t o n Open-plan, open minds
r i v e r s a n d t i d es a n d y g o l ds wo r t h y
“Flexibility is the big issue, for example ensuring that there are shared computers for pupils, access to design and technology facilities, possibly
Andy Goldsworthy creates an igloo out of driftwood collected from the
a science area and good access to storage space for learning resources
beach. When the tide comes in, the wooden structure begins to float and
and pupils’ work. Another request was to find an alternative to endless
then drift to the sea in a slow swirl. But Goldsworthy is not attached to his
corridors and instead provide open spaces that could be used for display
art: “It feels as if it’s been taken off into another plane, another world... It
and learning. Readily accessible but semi- enclosed outside spaces would
doesn’t feel at all like destruction.” Andy Goldsworthy uses the familiar
help to make outdoor teaching possible. “One that wasn’t monolithic, but
objects--driftwood, to create an unfamiliar scenario-- patterns and the tide
instead had different areas with different identities.” Pupils raised four areas
disrupting the patterns. The control factor here is the river, which changes
they were keen to see improved: access to more outdoor spaces, sports
the pile of wood and disrupts the spatial formation. This piece of installation
facilities, less crowded circulation areas and lunchtime arrangements.
art work speaks more dearly to my water/ ink diagram, where the control factor comes from the environment metamorphosizes the curated space.
Buxton, Pamela. “Open-plan, open minds - Pamela Buxton takes us on a tour of the blueprints for the RSA Academy in Sandwell, West Midlands.” EconBiz. January 01, 1970. Accessed Octorber 15, 2017. https://www.econbiz.de/Record/open-plan-open-minds-pamela-buxton-takes-us-on-a-tourof-the-blueprints-for-the-rsa-academy-in-sandwell-west-midlands-buxton-pamela/10007748196.
Ebert, Roger. “Rivers & Tides: Andy Goldsworthy Working With Time Movie Review (2003) | Roger Ebert.” RogerEbert.com. March 14, 2003. Accessed December 14, 2017. https://www.rogerebert. com/reviews/rivers-and-tides-andy-goldsworthy-working-with-time-2003.
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bibliography Botton, Alain De. “Alain de Botton plans temples for atheists.” Dezeen. October 30, 2012. Accessed November 14, 2017. https://www.dezeen.com/2012/01/25/alain-de-bottonplans-temples-for-atheists/. “Bruder Klaus Field Chapel / Peter Zumthor.” ArchDaily. January 26, 2011. Accessed November 2, 2017. https://www.archdaily.com/106352/bruder-klaus-field-chapel-peterzumthor. Colomina, Beatriz, and Mark Wigley. “The Mirror of Design” Are we human ?: notes on an archaeology of design. 9-20. Lars Muller Publishers, 2016. Crompton, Andrew. “The architecture of multifaith spaces: God leaves the building.” The Journal of Architecture 18, no. 4 (2013): 474-96. doi:10.1080/13602365.2013.821149. “Current exhibition.” Current - Cisternerne. Accessed October 15, 2017. https://www.cisternerne.dk/en/what-s-on/exhibition/current.html. “D1 Kindergarten and Nursery / HIBINOSEKKEI Youji no Shiro.” ArchDaily. June 23, 2015. Accessed September 20, 2017. https://www.archdaily.com/645730/d1-kindergarten-and-nursery-hibinosekkei-youji-no-shiro. “DAG HAMMARSKJÖLD: The UN years ...” United Nations. Accessed December 10, 2017. http://www.un.org/Depts/dhl/dag/meditationroom.htm. Day, Katie. “The Construction of Sacred Space in the Urban Ecology.” CrossCurrents 58, no. 3 (2008): 426-40. doi:10.1111/j.1939-3881.2008.00037.x. Holl, Steven. “Elastic Horizons.” Parallax. 10-22. Basel ; Boston ; Berlin: Birkhäuser, 2001. Holl, Steven. “Hinged Space.” Parallax. 234-243. Basel ; Boston ; Berlin: Birkhäuser, 2001. Moloney, Luke. “The Turku Chapels // Finland.” Yellowtrace. January 27, 2014. Accessed November 2, 2017. https://www.yellowtrace.com.au/the-turku-chapels-finland/. Murakami, Haruki, Philip Gabriel, and Ted Goossen. Samsa in Love. In Men without Women , 186-212. Alfred A. Knopf, 2017. Seed, John. “At the Rothko Chapel: Art, Meditation and Reverence.” The Huffington Post. June 29, 2012. Accessed November 20, 2017. https://www.huffingtonpost.com/john-seed/ art-meditation_b_1627635.html. “Storefront for Art and Architecture news and exhibitons.” Dezeen. Accessed September 20, 2017. https://www.dezeen.com/tag/storefront-for-art-and-architecture/.
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