SHELTER.
A SPACE THAT DELIGHTS IN THE TACTILE. The shelter creates a space that is at once open to its context and a separate space. Made of materials well known to ocean-faring, the shelter seeks to blend in with it's environment, taking its inhabitant's sensory perception with it. Each of the panels, or planes, is a taught textile, reminiscent of durable sail material. With these sail like panels shifting to create the shelter, the inhabitant can be protected without the disturbance of other senses. The sounds, smells and taste can easily penetrate the thin barrier, and the feel of the sand, stone and shell [or water] beneath one’s feet is maintained. What is as important as those sensory experiences is the tactile, the allowance of breezes, fog, sea spray to interact with the shelter, creating a unique space for personal and social meditation. This project was originally invisioned as a personal entry for the Guggenheim SHELTER competition, but put on hold to be researched later in a theory class as a response to a "phenomena of place" paper topic, and finally realized [drawn and rendered] post undergrad thesis.
concept.
CLOSED SAILS. When the sails are closed, the shelter becomes a mostely private space encouraging inward views and interaction. Light, sounds and scents still penetrate the canvas enclosure but the wind, fog and sea spray are screened. The private space would become an ideal place for personal meditation or the gathering of friends. The space is intimate while still maintaining contact with the surrounding context. When the tides begin to rise and interact with the structure, the space embraces isolation immersing the inhabitant in the ocean environment. OPEN SAILS . When the sails are open, the shelter becomes a transparent part of the context, merely a platform as respite from the sand, waves and direct sun rays, but still capable of casual interaction. The senses are continualy immersed in the activities and climate. With open sails, the semi-public space maintains oceanfront views while providing for seating and a workspace for the inhabitant.
people ocean
wind fog+mist
people ocean
light sounds smells
wind fog+mist
light sounds smells
views
beach
beach
closed sails
open sails
outline of open sails outline of closed sails
Imagery of the shelter at different locations along the beach and in different environments
the sails.
Rendering of sail movement from interior
Image of mechanical movement and connection
Physical model of sail movement about column
pivot line: edge of column
maximum movement of the sail-can be adjusted at varying increments depending on sun angle or wind direction
push or pull bar to move sails
MECHANISM. The design for the opening mechanism is taken from the concept of the row boat paddle as well as the bar used in ballet classes. When the two forms are combined with a hinge the simple maneuvering of the bar to one side or the other the sail panels are pressed open or closed.
EARLY SKETCHES.
Fog penetrating the panels (top) and site section (bottom) Panels folding around the space-axonometric drawing (right)
Study models: looking at the shifting of panels and amount of enclosure needed at this location
Phenomenology and the notion of place
Loss of sight in a downpour of fog The place is a beach—easily identifiable without eyesight, but more memorable when created in the imagination through the other senses. Located on the central coast, this beach narrowly stretches between the cliff-like dunes on one side and the low, rocky tide pools that meet the ocean. When standing on this beach, your senses are overwhelmed. Your bare feet are met with warm, smooth pebbles and shells pieces. The wind brings with it all the smells associated with the beach; salt, sand, seaweed, sun, along with knowledge that the water is cold, but clean. The pungent taste of salt is inescapable. Though smell, taste and touch define the place a beach, it is the sense of hearing that creates the specific atmosphere—the knowledge that this beach is narrow with the sound of waves from the ocean, but also the quick resonance off the steep sandy cliffs. The sound of the waves is not a loud crashing, but a slow, washing over the low rocks, filling the crevices and creating tiny pools. Even the sound of the waves reaching the pebble beaches at some points along the waters edge is specific to this porous, narrow beach. To be trapped in a downpour of fog in this place—to be without sight—enhances the phenomena of its experience. A shelter, which simultaneously celebrates the downpour and protects the inhabitant, would embrace the impact on all senses, but delight in the tactile sound, touch, smell and taste. The loss of one’s sight is a humbling experience. However, in a highly tactile place—such as the ocean side—sight is unnecessary, and therefore, the ideal contextual space is one which continues to allow vision’s handicap while enhancing and allowing the other sensual experiences. A space that delights in the tactile. A continued visual confusion. To conceal the location to the eyes, a series of panels can be placed at varying angles, with a 360-degree rotation around the center of the shelter. To enhance the downpour, each of the panels can be offset, allowing the fog to actually penetrate the shelter—although in diluted amounts. Each of the panels, or planes, is a taught textile, reminiscent of durable sail material. With these sail like panels shifting to create the shelter, the inhabitant can be protected from the fog; in addition, the panels are so thin, that there is very little disturbance of the other senses. The sounds, smells and taste can easily penetrate the thin barrier, and the feel of the sand, stone and shell beneath one’s feet is maintained.
To apply Norberg-Schulz’s assessment of Heidegger’s definition of dwelling to this situation in this place, the idea of outside already being a form of inside becomes very important. Heidegger defines dwelling as “the way in which humans are ‘on’ the earth” but then goes on the say “but ‘on the earth’ already means ‘under the sky’” furthermore, Norberg-Schulz states, “when man is capable of dwelling, the world becomes an inside”. In relation to the envisioned space, the atmosphere created by the specific situation of the waterfront, the rocks, the beach and then the cliffs already creates and inside. To inhabit that inside is to be aware of all the sensual experiences associated with that place. This shelter, serves the purpose not of recreating the atmosphere of that inside—but to rob the inhabitant of one of the sensual experiences associated with that place. Therefore forcing them to experience this place with a new depth that extends beyond the superficial and narcissistic experience offered by a visually dominated inhabitance. In a place that can be overwhelmingly stimulating, it is common to rely on the eyes to take in the visual impact, or beauty, but this acceptance of information, or data, is merely cursory compared to the experiential data that can be offered through the other senses. It is the intent of this space to bring a new recognition of place and situation through the enhancement of the natural phenomenon of fog. Projects that use a similar approach in different locations are the Wind and Water Café in Binh Vuong Vietnam by Vo Trong Nghia and the Wall House in Chile by FAR. The Wind and Water Café uses a means other than natural phenomena to enhance the non-visual sensual experience—it uses material. Through the intricate bamboo work that encloses a massive space, the inhabitant is robbed of the beauty of the actual location surrounding the project, but experiences it through the sound, smell, taste that wafts through the porous enclosure while using the natural touch of the bamboo to remind the inhabitants of the specific location. In contrast, the Wall House allows for more outward sight lines, but creates an enclosure around the physical boundaries of the house to enhance and confine the attributes of the atmosphere of its specific location. Enhancing a sensual experience through the confusion of one sense may seem counterproductive. However, when looking at the quality of data produced by each sense, it is the eye that distances us from the essence and spirit of the place (Pallasmaa). The other senses allow a part of that spirit of place to inhabit us. They are tactile, we feel them collide and inhabit our bodies in the form of sensual experiences. The collective quality of those experiences is how we experience a space. To place an inhabited shelter in a sensually exorbitant space requires some direction of the mind as to how to experience the space— what are the most important qualities of experience. In this place, this space informs the body to experience without the mind.