Joanna Brindise - The Section of Routine by Joanna Brindise

THE SECTION OF ROUTINE

Joanna Brindise Architecture Thesis 2015-2016

La Sierra | Medellin | Colombia

Virginia Tech College of Architecture & Urban Studies 2015-2016

THANK YOU

Mom, Dad, Doreen, Andres, 이모 Elizabeth Grant, Primary Advisor

CONTENTS

01 | PRELUDE Architecture as Visual History Space through the Collage Perspective Precedence through the Collage Perspective Collective Ideas through Collage Ambiguity of Context 10 | STUDY OF SITE Medellin, Colombia The Legacy of Pablo Escobar Comuna 8 < La Sierra Home, Work & Third Place 23 | STUDY OF UNBOUND CIRCULATION Thesis Statement Narrative of User Unbound Circulation The Enclosure of Circulation Circulation & Dwelling Section of Existing Routine Local Building Materials 39 | CIRCULATION THROUGH A PEDESTRIAN BRIDGE Initial Sketches Pedestrian Circulation Proposal Circulation Above + Dwelling Below Bridge Proposal 51 | NODES ON THE PEDESTRIAN BRIDGE Opportunity Sanitation Transportation Gondola Station + Apartments 61 | THE THIRD SPACE Vertical Church Stations of the Cross Church as Beacon Church as Identity 71 | CIRCULATION THROUGH A VERTICAL CHURCH Vertical Church Circulation Section of the Stations of the Cross Stations I - VII The Expression of the Stations Church on Site Section of the Third Place

PRELUDE Architecture as Visual History Precedence through the Collage Perspective Space through the Collage Perspective The Individual and the Collective Ambiguity of Context

ARCHITECTURE AS VISUAL HISTORY

Architecture becomes one of the longest testaments to visually document the nature of our development as a society. Technological discoveries, the routine of people, the development of land, and the environment are all narrated through the developed spaces of architecture. The progression of architecture through time impacts the users based on their current needs and the transition between new growth with the surrounding context. New construction in dense areas cannot consider the design of only itself but how it connects with overall urban fabric.

Transition of Chicago through Time

SPACE THROUGH THE COLLAGE PERSPECTIVE

Space derived from the collage perspective narrates the transition from the past to its present. By identifying different elements and characteristic traits that define the space from different points of time, the perspective and definition that created the quality of the space, at its specific point in time, is highlighted for comparison. Through these perspectives we are able to understand the change in program, material, techniques, and user density to see what become the sustainable elements, to keep the best and improve the mediocre. Through the use of collage, the blur of time is not defined and the elements that are similar match up to the hard lines that structure the space however the details start to fade or develop. The use of technology, material science and construction methodology have changed the opportunities of architecture. Utilizing these opportunities within our generation will be critical to acknowledge the connection of the past with the future.

Neues Museum

Antwerp Train Station

PRECEDENCE THROUGH THE COLLAGE PERSPECTIVE

Carlos Scarpa’s Castelvecchio and Michelangelo’s Santa Maria delgi Angeli exemplify the architect’s idea to transition an old space connected to site and time-specific context and transform it for today. Scarpa’s thoughts were translated through sketches that framed specific views to describe a choreographed experience of the user. These views capture different perspectives of the highlighted statue, delivering views from all angles and at different scales. The thoughtfulness of the progression of this choreography is developed through the transition spaces from one vantage point to the next. Designing stairs that require a specific movement and considering space in between from narrow to wide hallways, allow the user to experience a narrated space describing the piece of art. Michelangelo’s Dicleation Baths transformed into Santa Maria delgi Angeli, (church). The progression of this change is expressed through parallel types of documentation. From hand drawings to photographs, representing architecture through multiple medias expresses the change of the building through time.

Michaelangelo’s Dicleation Baths Expressing the change of the Baths by means of representation through history

Scarpa’s Castlevecchio Perspectives from Scarpa’s sketch with photos of the built spaces

COLLECTIVE IDEAS THROUGH COLLAGE Through collage, separate thoughts are able to come together to unfold a larger idea. Materials, density, context and framed views were separate ideas that I wanted to tie together as foci of my initial studies. Materials found in the urban fabric tend to find a heavily repeated material that prove to stand work through time. However in many places, the common materials are the ones that are the easiest to mass-produce without questioning local resources or other methodology. As growth demands more and more of the footprint available on a site, finding ways to replicate residential units while keeping them independent from each other becomes difficult.

Multiple Ideals in One Frame

Context, and its importance of it relates to the height of the user and the vantage points they are located at. A person on the street may see up to fifteen to twenty feet of the facade in detail, along with the context horizontal to this may be of one language. However what if the facade twenty feet above the ground to the top of the building is a different language where this view is only apparent from the exposures from other buildings at that height (looking out the window of another tower). How is context derived from the userâ&#x20AC;&#x2122;s perspective?

AMBIGUITY OF CONTEXT

Context responds to both physical and non-physical elements that may influence or become disregarded by the new. Examples of physical elements include the considerations of the existing roads, buildings, topography, where non-physical elements include weather, culture, political structure, and economic constraints. When arbitrarily drawing facades imitating older architectural ornament but fully articulating the ornament on the entire facade, does the ornament remain beautiful? Are domes beautiful purely in an aesthetic or because of the structural success from its time of construction? â&#x20AC;&#x153;Responding to the contextâ&#x20AC;? is so open-ended that it is necessary to be specific about what parts of the context you want your designs to relate to from the specific site.

11 Ambiguity of Context on Facade

1,600,0003,200,000

6,400,000

9,600,000

Meters 12,800,000

STUDY OF SITE Medellin, Colombia The Legacy of Pablo Escobar Comuna 8 < La Sierra Home, Work & Third Place

MEDELLIN < COLOMBIA

Named the most innovative city in the world in 2013, Medellin is the capital of Colombiaâ&#x20AC;&#x2122;s mountainous Antioquia province. With temperate weather conditions, Medellin has been nicknamed as the Garden of Eden. Along the river you find most of the new downtown area, including government, corporate, art, and shopping districts. The informal settlements ring the downtown at a thirty degree slope where the infrastructure subsides. Surrounding the valley of downtown on the slope are sixteen comunas (neighborhoods). Commonly, the higher on the mountain the comuna is from downtown, the more rural and dangerous. This is caused by the lack of infrastructure to get to these areas, and obversely, tend to be trapped there by that same lack of infrastructure.

ROAD 1 ROAD 2 ROAD 3 RAILWAY

BUILDINGS PARKS WATER

THE LEGACY OF PABLO ESCOBAR

Political context in Medellin, Colombia cannot be explained without the legacy of Pablo Escobar that still haunts the area. As kingpin and druglord leader, Escobar destructed the safety of everyday lives. As he had many who worked for him, including members of the church, his power heavily reigned over the lower class. His strength even through the religious network exemplifies his influence over the people. Not knowing who to fear more between the police and the gorillas (involved persons of the drug war), many could not better their own living standards from their surroundings because lives were at stake. For architecture this questions how can you save the destructed and abandoned? With a history of violence, how can transformed spaces within Colombia change its reputation and neglect?

“A SPACE TO JOIN TOGETHER, IN FREEDOM AND DIGNITY”

MEDELLIN: THE MOST DANGEROUS CITY IN THE WORLD

TRANSFORMATION WITHOUT RAGE

OGETHER, IN FREEDOM AND DIGNITY” “A SPACE TO JOIN TOGETHER, IN FREEDOM AND DIGNITY”

CONTEXT: THE ABURRA VALLEY

“People who say that a beautiful building doesn’t improve education don’t understand something critical... The first step towards quality education is the dignity of the space. When the poorest kid in Medellin arrives in the best classroom in the city, there is a powerful message of social inclusion.” “People who say that a beautiful building doesn’t improve education don’t understand something critical... The first step towards quality education is the dignity of the space. When the poorest kid in Medellin arrives in the best classroom in the city, there is a powerful message of social inclusion.”

WITHOUT RAGE TRANSFORMATION WITHOUT RAGE

COMUNA 8 < LA SIERRA

Modern metrocables link the city to surrounding barrios and offer sweeping views of the Aburrรก Valley below. The metrocables were designed in response to those living on the thirty degree slope of the valley who were unable to leave their immediate surroundings. Some of the largest impacts were the increase of attendance of students going to school, attention to medical emergencies, and opportunities for employment.

0 1,600,0003,200,000 6,400,000

Having explored and visited various sites of unplanned urban developments in Medellin, there is not only a sense of the physical aspects of the sites, but also the local perception and ideals to consider. In the current condition, the government combats the unmanageability of the communities by imposing an organization via thoughtless social housing. Entire communities are relocated and then razed to make room for other developments. Locals feel that they are being moved to a disconnected environment of social housing to live where before they appreciated the activity and dense sense of community of the slums.

9,600,000 Meters 12,800,000

HOME, WORK & THIRD PLACE: Apartment, Cafe Employee, Church

Home, Work & Third Place

This series of spaces deliver a routine to everyday lives. series of spaces deliver How do you recreateThis the section of routine?

a routine to everyday lives. How do you recreate the section of routine?

In community building, the third place is the social surroundings separate from the two usual social environments of home (“first place”) and the workplace (“second place”). The community building, the third

place is the social surroundings separate from the two usual social environments of home (“first In community building, the third place is the social surroundings separate from the two usual social environments of place”) and the workplace (“second place”). home (“first place”) and the workplace (“second place”). In his influential book The Great Good Place, Ray Oldenburg argues that third are important book for civil The society, democraInplaces his influential Great Good Place, Ray Oldenburg argues cy, civic engagement, and establishing feelings of a sense of that the third places are important for civil society, democracy, place. Oldenburg calls one’s “first place” the home and those that one lives with. The “second place” is and the workplace, civic engagement, establishing feelings of a sense of place. where people may actually spend most of their time. Third Oldenburg calls one’s “first place” the home and those that one places, then, are “anchors” of community life and facilitate and foster broader, lives more with.creative The interaction. “second place” is the workplace, where people may

actually spend most of their time. Third places, then, are “anchors” of the community life and facilitate and foster broader, more creative interaction. HOME | WORK | THIRD PLACE

STUDY OF UNBOUND CIRCULATION Thesis Statement Narrative of User Unbound Circulation The Enclosure of Circulation Circulation & Dwelling Section of Existing Routine Local Building Materials

THESIS STATEMENT â&#x20AC;&#x153;We are what we repeatedly do.â&#x20AC;?

-Aristotle

This thesis focuses on the study of universal circulation through a series of drawings. The aim is to suggest new organization of circulation and an introduction to public spaces in informal density growth. The section of routine is derived from the analysis of how people move through the spaces of home, work and the third space. Circulation: Movement to and fro or around something, especially that of fluid in a closed system. - Oxford Dictionary As most of the world lives in informal settlements, it is critical to evaluate what may be the most effective way to first, understand the existing conditions and second, understand how to transition from the existing to progressive ideas that may involve a larger body of cooperation. One of the largest conflicts to development in informal settlements is the organization to create shared space, often leaving these areas dense of only homes and work space. Often, home and work may be in the same space, therefore it is not unreasonable to infer that these residents are not leaving far from that area leaving the atmosphere feeling stagnate. This thesis aims to analyze the routine through the narrative of a slum resident. The current qualities of site and atmosphere that are critical components of the identity of the area. This connection may ease the transition of development of current and future ideals.

NARRATIVE OF USER

Slum living is most often an inescapable cycle where families are constantly struggling to keep up with basic necessities for living. The idea of work, home and the third place, specifically in Medellin, Colombia, is reduced to being only one space split between home and work. The most common residential unit is a one story thirty-by-thirty-meter brick house. Most residents build their own house, gradually as income becomes available as the most common occupation is as a merchant, selling a range of goods from convenient stores items to clothing. Without the third place, neutral ground, the area will continue to progress towards chaotic disorganization and distant relations. Some of the largest considerations for development based off of residential perspectives are not the development of residential units, but the access to the shared places.

UNBOUND CIRCULATION

Circulation on a thirty degree slope is difficult for an area that is limited to walking. The movement on a sloped path must not only consider horizontal organization between buildings but also vertical interruptions. This series studies the movements of paths for residents to gather in open spaces and move from one level to the next. The organization for movement and separation from dwelling is critical to give back shared spaces to the residents. As these areas of dwelling and areas of movement become two separate parts, the users in the comunas are introduced to a third space.

THE ENCLOSURE OF CIRCULATION

When developing an organization and separation of spaces between dwelling and movement, enclosure is not limited to either or. By analyzing the movement of the user, it may determine at what points enclosures are necessary. From the commute from home to work or to the gondola station, enclosure may mark the third spaces for rest. The introduction of enclosure in conjunction of the path allows visual separation between dwelling and movement.

Combining the PLATFORM and ENCLOSURE for a framed path. DWELLING: Open platform at higher elevation CIRCULATION: Enclosed space

Combining the PLATFORM and ENCLOSURE for a framed path. DWELLING: Enclosed and joined with circulation CIRCULATION: Enclosed space

Combining the PLATFORM and ENCLOSURE for a framed path. DWELLING: Open platform, second level CIRCULATION: Open platform, first level

Combining the PLATFORM and ENCLOSURE for a framed path. DWELLING: Open platform at higher elevation CIRCULATION: Narrow platform

Combining the PLATFORM and ENCLOSURE for a framed path. DWELLING: Open space without rigid platform CIRCULATION: Narrow platform

LOCAL BUILDING MATERIALS

Guadua is a Neotropical genus of thorny, clumping bamboo in the grass family, ranging from moderate to very large species. Physically, Guadua angustifolia is noted for being the largest Neotropical bamboo. From a utilitarian perspective, Guadua is the most important American bamboo. Due to its quality, the genus has been widely used for house construction along the inter-Andean rivers of Colombia and in coastal Ecuador. Recent earthquakes in Colombiaâ&#x20AC;&#x2122;s coffee zone demonstrated this when many houses built in the 1930s survived, while modern houses collapsed.

Guadua is a Neotropical genus of thorny, clumping bamboo in the grass family, ranging from moderate to very large species. Physically, Guadua angustifolia is noted for being the largest Neotropical bamboo. From a utilitarian perspective, Guadua is the most important American bamboo. Due to its quality, the genus has been widely used for house construction along the inter-Andean rivers of Colombia and in coastal Ecuador. Environmentally, Guadua is more effective at removing carbon dioxide from the atmosphere than most other tropical forest; ongoing studies in Colombia have now been coordinated by the Environmental Bamboo Foundation. Recent earthquakes in Colombiaâ&#x20AC;&#x2122;s coffee zone demonstrated this when many houses built in the 1930s survived, while modern houses collapsed.

CIRCULATION + DWELLING

Circulation, dwelling, and the relationship between them introduce an organization to existing structures and a transition to the developing neighborhood. By designating structure to the existing spaces, designing the way the user moves from one space to the other allows a larger scheme for future development. The shared third spaces now arise from multiple opportunities from the existing and planned for the developing.

SECTION OF EXISTING ROUTINE

Collage and Sketch Section of framed views of the movement of a user through the site

CIRCULATION THROUGH A PEDESTRIAN BRIDGE Initial Sketches Pedestrian Circulation Proposal Circulation Above + Dwelling Below Bridge Proposal

INITIAL SKETCH IDEAS With increasing density in the city one of the most obvious solutions is to move up. With the focus to combat the thirty-degree slope for pedestrians, many early iterations of the pedestrian bridge included leveling the platform for users to walk on. Leveling out a platform for pedestrians will add speed and efficiency, and access to the routine of the user.

E MOUNTAINS: Through the use of skyways, platforms, paths and bridges can new be devloped to inform new construction from an informal and unplanned settlement pment of a reorganized socail housing complex.

ENCLOSURE AND PATHS

CITY ON THE MOUNTAINS: Through the use of skyways, platforms, paths and bridges can new urban spaces be devloped to inform new construction from an informal and unplanned settlement to the development of a reorganized socail housing complex.

PEDESTRIAN CIRCULATION FOR DENSITY ORGANIZATION

PEDESTRIAN CIRCULATION PROPOSAL

Introducing a pedestrian bridge moves the levels of the circulation off of the sloped ground yet provides a way to connect with existing buildings on the site. The structure of the bridge also holds various utility lines of water, sewage, power, internet, and phone lines. By incorporating utilities onto the pedestrian structure, the placement of the pedestrian bridge not only allows movement of the residents, but also provides a framework for future communities to build off of. In addition to the bridge itself, various nodes, or access points, allow users specific ways to access each of the utilities, be water, electricity, communication, or internet.

Downtown Medellin <

CIRCULATION ABOVE + DWELLING BELOW

As the pedestrian bridge connects to the gondola station, this proposal allows possibilities for commuting to more areas. This gives the user the opportunity to travel to other communas and downtown within a dayâ&#x20AC;&#x2122;s travel. As the circulation is divided from the dwelling, the ground level is given back to the merchants, and they are able to transport themselves, and sometimes also their goods, more comfortably and efficiently.

PEDESTRIAN CIRCULATION PROPOSAL This application explores the building of a bridge, utility lines, and nodes of access using locally abundant materials such as guadua. Making use of local material, and thus labor furthers the ideals behind a bridge where the skills and motivations of the community are celebrated. This idea can be translated to communities with other materials and skills.

PEDESTRIAN BRIDGE

NODES ON THE PEDESTRIAN BRIDGE Opportunity Sanitation Transportation Gondola Station Apartments

OPPORTUNITIES

LIBRARY | INTERNET CAFE Access to education and opportunity

SANITATION

BATHROOM Access to hygiene and sanitation

TRANSPORTATION

STAIRS Access to transportation and efficiency

GONDOLA STATION + APARTMENTS

GONDOLA STATION Utilizing guadua as a flexible building material, the structure of the guadua bends to provide shade for the user at the gondola station. A repeated element is used to create a field of symbolic forest much like the forests that surrounds the mountains.

APARTMENTS To lessen the footprint of residence, two levels of apartments are stacked to create a transitional change that allows the users to gain a courtyard as an introduction to private third spaces. By promoting subtle changes to the current organization and building, the opportunity to gain different types of spaces can be achieved.

URCH

7 is the symbolic number e, and the Holy Spirit. It is ands for perfection. There aments, seven gifts of the en deadly sins, seven n sorrows of Our Lady.

noramic photographs e alter, dome and ceiling, series on the back wall llel views for the public to n multiple floors, creating or a less amount of people. ore intimate and chapel e.

The Third Space Vertical Church Stations of the Cross Church As Beacon Church as Identity

VERTICAL CHURCH

Considering what program could be appropriate for the third space was crucial, as unclaimed space can be taken advantage of or not maintained. As most of the population is Catholic, the program of a church was an optimistic way to introduce third spaces. Located off of the gondola station, this church is the first program applied to the third space. As a sacred space, this allows an introduction to a space that is not first or second space (home and work, respectively).The idea of the vertical church was developed in response to the lack of footprint to build upon due to density. This change in typology as compared to other churches (horizontal in plan) considered what the core necessary elements of a church that marry them with this new context.

STATIONS OF THE CROSS

The Stations of the Cross are a series of fourteen pictures or carvings representing successive incidents during Jesus’ progress from his condemnation by Pilate to his crucifixion and burial, before which devotions are performed in some churches. As the Stations of the Cross are usually reflections upon art depictions, the idea of this chapter of the thesis is to narrate the Stations of the Cross by designing parallel atmospheric spaces of the perspectives of Christ through architecture. Within this proposal, a series of spaces translates the emotional reflection of the Stations of the cross and transition from one station to the next into a architectural experience. The spaces respond to the human form, how the person moves in the space and how the light is represented in the room to narrate to the user the emotions from Christ’s perspective.

VERTICAL CHURCH Seven Floors: 7 is the symbolic number of charity, grace, and the Holy Spirit. It is the term that stands for perfection. There are seven sacraments, seven gifts of the Holy Spirit, seven deadly sins, seven joys, and seven sorrows of Our Lady. Like vertical panoramic photographs that connect the alter, dome and ceiling, connecting the series on the back wall allows the parallel views for the public to be separated on multiple floors, creating more spaces for a less amount of people. This offers a more intimate and chapel like atmosphere.

CHURCH AS BEACON

Considering the surrounding chaotic context, it was important to propose an idea of a third place that would relate to this language. The independent structure of the Stations come and how it comes together as one church is very much like the independent homes that come together to create an in the neighborhoods. The chaos of the church section during the day through the screen reflects the housing fabric.

CHURCH AS IDENTITY

Circulation through a Vertical Church Vertical Church Circulation Draft of the Stations of the Cross Stations I - VII The Expressions of the Stations Church on Site Section of the Third Place

VERTICAL CHURCH CIRCULATION

A series of different stairs were developed for the transition from one station to the next. The progression through the stations maintains a balance between the understanding and empathy of Christ’s sacrifice and reflection of oneself through Christ’s perspective. The stairs vary to create lightness, heaviness, strength and specific perspectives to parallel to the weight that Christ experienced at different points. Through the means of material and structure, the stairs may demand focus on what is in front of you or time to sit for reflection.

Circulation This thesis explores how circulation through the series of spaces in parallel perspectives to the series of events of the Stations of the Cross, the progression of Jesus’ sacrifice can be experienced through architecture. Emotions derived from the stations of the cross developed the atmosphere and perspective of Christ on his movement to the cross. Spaces developed based on the human form, how the person moves in the space and how the light is represented in the room to offer emotion to parallel Christ’s perspective. A series of different stairs were developed for the transition from one station to the next. The progression through the stations must maintain a balanace between the understanding and emphathy of Christ’s sacrifice as well as reflection of oneself thorugh Christ’s perspective. The stairs vary to create lightness, heaviness, strength and specific perspectives to transition between what may paralell to the weight that Christ moved through. Through the means of mateiral and structure, the stairs may demand focus to what is in front of you or time to sit for reflection.

SECTION OF THE STATIONS OF THE CROSS Drafted perspectives to generate spaces for the Stations of the Cross.

As the Station of the Cross reflect the path of Christ successive incidents during Jesus’ progress from his condemnation by Pilate to his crucifixion and burial, the separation of spaces were designed with the intension of the best parallel emotion of Christ. 1. BLAME 2. WEIGHT 3. FIRST DEFEAT 4. COMFORT 5. HOPE 6. PAIN 7. SECOND DEFEAT 8. BETTERMENT 9. THIRD DEFEAT 10. NAKED 11. PAIN 12. DEATH 13. EMPTY 14. HEAVEN As the progression of Christ’s path go back and forth with scenes of action (the odd numbered stations) and the transition between (the even numbered stations), the emotions of the scenes of action are articulated though the enclosures and the transitions are articulated by the stairs.

Station One: Jesus Is Condemned to Death Pontius Pilate condemns Jesus to death. Station Two: Jesus Carries the Cross Jesus willingly accepts and patiently bears his cross.

I 77

Station Three: Jesus Falls the First Time Weakened by torments and by loss of blood, Jesus falls beneath his cross. Station Four: Jesus Meets His Sorrowful Mother. Jesus meets his mother, Mary, who is filled with grief.

II 79

Station Five: Simon of Cyrene Helps Jesus Carry the Cross Soldiers force Simon of Cyrene to carry the cross. Station Six: Veronica Wipes the Face of Jesus Veronica steps through the crowd to wipe the face of Jesus.

III 81

Station Seven: Jesus Falls a Second Time Jesus falls beneath the weight of the cross a second time. Station Eight: Jesus Meets the Women of Jerusalem Jesus tells the women to weep not for him but for themselves and for their children.

IV 83

Station Nine Jesus Falls the Third Time Weakened almost to the point of death, Jesus falls a third time. Station Ten: Jesus Is Stripped of His Garments The soldiers strip Jesus of his garments, treating him as a common criminal.

V 85

Station Eleven: Jesus Is Nailed to the Cross Jesusâ&#x20AC;&#x2122; hands and feet are nailed to the cross. Station Twelve: Jesus Dies on the Cross After suffering greatly on the cross, Jesus bows his head and dies.

VI 87

Station Thirteen: Jesus Is Taken Down From the Cross The lifeless body of Jesus is tenderly placed in the arms of Mary, his mother. Station Fourteen: Jesus Is Laid in the Tomb Jesusâ&#x20AC;&#x2122; disciples place his body in the tomb.

VII 89

THE EXPRESSION OF THE STATIONS

CHURCH ON SITE

As the church becomes a station of the gondola line, those in surrounding comunas are able to take the gondola to this station. The entrance of the vertical church on the top floor, the main entrance, allows access from the gondola station for the user to attend the church individually. It also allows users who want to attend for self reflection through the stations, to attend service, as each station acts as a chapel connected to a larger atrium to bring the church to one collective. As the church becomes a destination on the gondola map, and as the gondola line expands, having other users from different comunas attend this church is a reasonable expectation once commuting up the mountain is not an obstacle.

Medellin | Colombia

Add screen design on vellum before section drawing

SECTION OF THE THIRD PLACE

Connecting the Stations of the Cross in the vertical church demonstrates how individual each station is from the other. The spaces and transitions are able to narrate a parallel perspective of what Christ might have been going through. By introducing the Stations not as art, but as architectural spaces, the sense of understanding and level of reflection becomes exponential as the user physically moves through difficult spaces where genuine empathy can be evoked.