THESIS by Josiah Haskell

THESIS ADVISOR | Gerard Damiani DATE | Spring11

THESIS

introduction

ADVISOR | Gerard Damiani DATE | Spring11

Last summer, I was fortunate to have the opportunity to travel to Nepal. The local architecture struck me with a certain level of authenticity that I feel is missing from most contemporary and modern buildings. My thesis is an exploration and expression of regionally and culturally specific architecture. Analysis and design proposals for this thesis seek to prove the legitimacy of the following statements: Architecture is an expression of our wonder with the physical environment and human nature. Architecture is the opposition and harmony of natural and cultural systems. Architecture identifies with place through its regional and cultural specificity. As a means of exploring these statements, a site was chosen near Tansen, Nepal for the design of a school. The architecture of a school in this setting should express an appropriate relationship between the physical and the human- the natural and the cultural- the local and the global. Initial studies explored the ways that the local culture inhabits the landscape. I found the habitation of the landscape to be closely linked to the regionâ&#x20AC;&#x2122;s topography, water supplies, and solar access. Indigenous pathways, argriculture, and building methods all reflect a local understanding of the place. Given the rural nature of the site, I chose to further analyze an example of a rural Nepali house to gain a deeper understanding of how the indigenous culture relates to the landscape and its materials. The ways in which materials are appropriated in traditional buildings is analyzed from Levi-Straussâ&#x20AC;&#x2122; structuralist perspective. Through this anthropological framework, I suggest that building materials communicate cultural messages through a process of opposition, mediation, and transformation. The indigenous cultureâ&#x20AC;&#x2122;s use of localized materials (stone, clay, wood, bamboo, and grass) mediates the characteristics of these materials as both raw/natural and refined/cultural. I found the symbolic meaning of stone and clay and the means of mediating these materials- the roof form- are essential elements in defining architecture specific to Nepali culture. The use of raw, regional materials, the properties of these materials, and the resulting architectural form and spatial layout communicate essential messages in Nepali culture which would have to influence my design for a school.

THESIS

SURFACE

LIGHT MUSUEUM

ARTS CAMP

GREEN HOTEL LAWRENCEVILLE OTHER WORK

Tansen, Nepal

PLACE: 1 KM

130

120

Tansen Tansen Tansen Tansen

Pittsburgh Pittsburgh Pittsburgh Pittsburgh

GLOBAL GLOBAL GLOBAL GLOBAL

CONTINENT CONTINEN CONTINENT CONTINEN

Ta Ta

SITE

A HILLTO 0m

110

1000

900

ACE: ACE: TOPOGRAPHY TANSEN, NEPAL “ITC“ITSTREA SEE “IT “ITSEEM SEEM SEE D

TOPOGRAPHY

1 KM 1 KM 1 KM 1 KM

AA AA

1 KM

FRINGE FRINGE FRINGE FRINGE JUHA JUHA JUHA JUHA

BB BB

A B

AAHILLTOP HILLTOP AAHILLTOP HILLTOP

SITE

BBTOWN TOWN BBTOWN TOWN

CCSTREAM STREAM CCSTREAM STREAM

DDVALLEY VALLEY DDVALLEY VALLEY

topography (Google Maps, Rhino, Adobe Illustrator)

TANSEN, NEPAL “IT SEE

ACE:

THESIS

KM 11KM

1 KM

“IT SEEM FRINGE FRINGE JUHAN JUHA

SURFACE

BB TOWN TOWN

C STREAM

DD VALLEY VALLEY

ARTS CAMP

AA HILLTOP HILLTOP

LIGHT MUSUEUM

SITE

1 KM 1 KM

1 KM

N BA

UR 1300 m 1200 m

A A

SITE

RURA L 1100 m

B B

1000 m

access (Google Maps, Rhino, Adobe Illustrator)

-3 M -3 M

GREEN HOTEL LAWRENCEVILLE OTHER WORK

C STREAM ACCESS ACCESS

CCSTREAM STREAM

DDVALLEY VALLEY

1 KM 1 KM

1 KM

N BA

UR 1300 m 1200 m

-3-3MM

SITE

RURA L 1100 m

1000 m

URBAN

BUILDING BUILDINGS TYPES 1 KM 1 KM

URBAN URBAN

URBAN URBAN buildings (Google Maps, Rhino, Adobe Illustrator)

RURAL RURAL

VERANDAH, ‘PIRHI’

BACK,COURTYARD ‘KARESO’

THESIS

COURTYARD

SURFACE

CATTLE SHED

-3 M

LIGHT MUSUEUM

ARTS CAMP

CATTLE SHED

RURAL

OUTHOUSE

COURTYARD

GREEN HOTEL LAWRENCEVILLE OTHER WORK

RURAL**

VERANDAH, ‘PI

RURAL*

ANALYSIS: RURAL NEPALI ARCHITECTURE PLAN OF RURAL NEPALI H WHAT MAKES LOCAL ARCHITECTURE AUTHENTIC? WATER LINE

-2 M

CATTLE SHED

SCALE:COMMUNICATE? 1/4” = 1’-0” WHAT CULTURAL MESSAGES DOES TRADITIONAL ARCHITECTURE HOW?

SIS: RURAL NEPALI ARCHITECTURE

AKES LOCAL ARCHITECTURE AUTHENTIC? CTURE COMMUNICATES CULTURAL MESSAGES THROUGH THE USE AND PROCESSING OF M

MEDIATION

BOTH NATURAL

WATER LINE

CATTLE SHED

TRANSFOR

MATERIALS MUST BE RECONCILED AS BOTH SUBJECT TO THE ELEMENTS AND AS SYBVERANDAH, ‘PIRHI’ OUTHOUSE OLIC OF THE COURTYARD PERMANECE OF CULTURE

THROUGH MEDIATI RIAL PARADOX, SY BACK, ‘KARESO’ ARIES ARE DEFINED

WATER LINE

TION

UPPER TERRACE

COURTYARD

RURAL**

VERANDAH, ‘PIRHI’ THRESHOLD

BACK, ‘KARESO’

SECTION OF RURAL NEPALI HOUSEsection of a rural Nepali house (Rhino, Adobe Illustrator) SCALE: 3/8” = 1’-0”

STONE AND CLAY ARE USED FOR THE MOUND AND ENCLOSURE ELEMENTS. STONE IS COLLECTED FROM NEARBY FIELDS AND DEBRIS OF DILAPIDAT HOUSES AND WALLS. STONES ARE SIMPLY STACKED WITH THE USE OF CLAY MORTAR. UNSKILLED LABORERS CAN PERFORM THIS PROCESS.

SITING

OPPOSITION

MEDIATION FOUNDATION

“THE PLATFORM ON THE FACADE AND ON THE SIDES, A LITTLE MORE THAN ONE METRE ABOVE THE LEVEL OF THE COURTYARD, IS THEN MASONED; THIS IS USED AS THE FLOOR OF THE VERANDAH AND IS CALLED ‘PIRHI’. TWO OR THREE SMALL STEPS LEAD TO THE THRESHOLD.” (Gaborieau, 41)

MATERIALS MUST BE RECONCILED AS BOTH SUBJECT TO THE ELEMENTS AND AS A SYMBOL OF THE PERMANENCE OF CULTURE

MATERIALS AS A PART OF BOTH NATURE AND CULTURE

“THE RECTANGULAR HOUSE IS KEPT AS FAR BACK AS POSSIBLE NEAR THE SLOPE OF THE UPPER TERRACE; ITS LONGITUDINAL FACADE FACES THE COURTYARD WHICH STRETCHES IN FRONT TILL THE EDGE OF THE LOWER TERRACE AND EXTENDS AS FAR AS POSSIBLE TO THE SIDES.” (Gaborieau, 34)

UPP

ER T

-1 M

HOUSE

THESIS

VERANDAH, ‘PIRHI’ THRESHOLD

SECTION OF RURAL NEPALI HOUSE SCALE: 3/8” = 1’-0”

SURFACE

STONE AND CLAY ARE USED FOR THE MOUND AND EN HOUSES AND WALLS. STONES ARE SIMPLY STACKED

ARTS CAMP GREEN HOTEL LAWRENCEVILLE OTHER WORK

THE WATER E AND THE NAL SPACE, L PARTS.”

LIGHT MUSUEUM

SITING

SECTION

SCALE: 3/8” = 1’-0

WATER LINE

STORAGE? SION, WOOD-FRAMED OPENINGS AND FLOOR STRUCTURES REPRESENTC MORE ORDERED RECOUR T YAR SERTED INTO THE LESS REFINED STONE MASONRY. D PILLAR, ‘THAM’

ASSEMBLY OF A RURAL NEPALI H

TION OF RURAL NEPALI HOUSE

ROUGH-CAST CLAY BAMBOO LATHING, ‘CIRPAT’ FLOOR JOISTS, ‘DALIN’ BEAM, ‘MIDAL’ CAPITAL, ‘METH’

RBAN BUILDINGS)

3/8” = 1’-0”

section of rural a Nepali house (Rhino, Adobe Illustrator)

PILLAR, ‘THAM’

KITCHEN ROOF STRUCTURE

REC-

TRANSFORMATION MEDIATION OF THE MATERIAL PARAFRAMING DOX DEFINES CULTURALLY SYMBOLIC

ROUGH-CAST CLAY STONE MASONRY

DETAIL OF VERANDAH FRAMING

BOUNDARIES UPPER GIRDER, ‘NAS’

FRAMING

DETAIL OF VERANDAH FLOOR

FIRST FLOOR

UPPER GIRDER, ‘NAS’

“ F T J R A

AND CLAY ARE USED FOR THE MOUND AND ENCLOSURE ELEMENTS. STONE IS COLLECTED FROM NEARBY FIELDS AND DEBRIS OF DILAPIDATED OCESSING E AND PROCESSING OF MATERIALS. OFSTONE MATERIALS. HOUSES AND WALLS. STONES ARE SIMPLY STACKED WITHWITH THE USE MORTAR. UNSKILLED LABORERS CANCAN PERFORM THISTHIS PROCESS. HOUSES AND WALLS. STONES ARE SIMPLY STACKED THE OF USECLAY OF CLAY MORTAR. UNSKILLED LABORERS PERFORM PROCESS. SITING FOUNDATION FOUNDATION GROUND SITING TRANSFORMATION TRANSFORMATION FOUNDATION GROUNDFLOOR FLOOR SITING

VERANDAH, ‘PIRHI’ COURTYARD THRESHOLD COURTYARD THRESHOLD

VERANDAH, ‘PIRHI’

UPP

ER TEUPPER RRA TERR CE ACE

BOUNDARIES BOUNDARIES

STORAGE?

ROUGH-CAST CLAY CLAY ROUGH-CAST

STONE MASONRY STONE MASONRY 35 TO 50 CM 35THICK TO 50 CM THICK

“THE LIMIT OF THE HOUSE “THEISLIMIT THE LINE OF THE FORMED HOUSEBYISTHE THEWATER LINE FORMED BY THE WATER WHICH FALLS FROM THE WHICH ROOF.FALLS BETWEEN FROMTHIS THE LINE ROOF.AND BETWEEN THE THIS LINE AND THE WALLS OR THE THRESHOLD WALLSSTRETCHES OR THE THRESHOLD THE EXTERNAL STRETCHES SPACE, THE EXTERNAL SPACE, ‘BAHIRA’, OF THE HOUSE.‘BAHIRA’ IT IS DIVIDED , OF THEINTO HOUSE. UNEQUAL IT IS DIVIDED PARTS.” INTO UNEQUAL PARTS.” COUR COU THE VERANDAH: ‘PIRHI’ THE VERANDAH: ‘PIRHI’ T YAR RT YAR D D THE BACK: ‘KARESO’ THE BACK: ‘KARESO’ (Gaborieau, 46) (Gaborieau, 46)

WATER LINE

AND EXTENDS AS FAR AS POSSIBLE TO THE SIDES.” (Gaborieau, 34) SIDES.” (Gaborieau, 34)

“ONCE“ONCE THE PILLARS AND FRAMEWORK ARE IN THE PILLARS AND FRAMEWORK ARE IN PLACE,PLACE, THE GROUND FLOORFLOOR MAY MAY BE FILLED THE GROUND BE FILLED WITH WITH STONES WITHWITH A MUD COATING SO THAT STONES A MUD COATING SO THAT IT REACHES THE SAME LEVELLEVEL AS THE IT REACHES THE SAME AS VERANTHE VERANDAH FLOOR.” (Gaborieau, 41) 41) DAH FLOOR.” (Gaborieau,

WATER LINE

“THE PLATFORM ON THEON FACADE AND ONAND THEON THE “THE PLATFORM THE FACADE SIDES, SIDES, A LITTLE MORE THAN A LITTLE MORE ONE THANMETRE ONE METRE ABOVE ABOVE THE LEVEL THEOFCOURTYARD, IS THE OF LEVEL THE COURTYARD, IS THEN MASONED; THIS IS THIS USEDISASUSED THE AS FLOOR THEN MASONED; THE FLOOR OF THE OF VERANDAH AND ISAND CALLED ‘PIRHI’.‘PIRHI’. THE VERANDAH IS CALLED TWO ORTWO THREE STEPS LEAD THETO THE OR SMALL THREE SMALL STEPSTOLEAD THRESHOLD.” (Gaborieau, 41) 41) THRESHOLD.” (Gaborieau,

“THE RECTANGULAR HOUSE IS KEPT AS FAR

“THE RECTANGULAR HOUSE IS KEPT AS FAR BACKTHE AS POSSIBLE NEAR THE SLOPE THE OF THE THROUGH MEDIATION THROUGH OF MEDIATION MATEOFNEAR THETHEOFMATEBACK AS POSSIBLE SLOPE UPPER TERRACE; ITS LONGITUDINAL FACADE FACADE UPPERSYMBOLIC TERRACE; ITS LONGITUDINAL RIAL PARADOX,RIAL SYMBOLIC PARADOX, BOUNDBOUNDFACES THE COURTYARD WHICH STRETCHES IN FACES THE COURTYARD WHICH STRETCHES IN FRONT TILLFRONT THE EDGE OF THE LOWER TERRACE TILL THE EDGE OF THE LOWER TERRACE ARIES ARE DEFINED ARIES ARE DEFINED AND EXTENDS AS FAR AS POSSIBLE TO THE

VERA VER NDA ANDA H H

SECTION OF RURAL SECTION NEPALI OF RURAL HOUSE NEPALI HOUSE SCALE: 3/8” = 1’-0”

SCALE: 3/8” = 1’-0”

THOUGH SIMPLE THOUGH IN THEIR SIMPLE EXPRESSION, THEIR WOOD-FRAMED EXPRESSION, WOOD-FRAMED OPENINGS AND OPENINGS FLOOR STRUCTURES AND FLOOR REPRESENT STRUCTURES MORE REPRESENT ORDEREDMORE REC- ORDERED RECASSEMBLY OF AINRURAL NEPALI HOUSE ASSEMBLY OF A RURAL NEPALI HOUSE TAGULAR ELEMENTS TAGULAR WHICH ELEMENTS ARE INSERTED WHICHINTO ARE THE INSERTED LESS REFINED INTO THESTONE LESS REFINED MASONRY. STONE MASONRY.

UPPER TERRACE UPPER TERRACE

PILLAR, ‘THAM’

PILLAR, ‘THAM’ ROUGH-CAST CLAY BAMBOO LATHING, ‘CIRPAT’ FLOOR JOISTS, ‘DALIN’ BEAM, ‘MIDAL’ CAPITAL, ‘METH’

BRACE

MORTISE AND TENON?

ROUGH-CAST CLAY BAMBOO LATHING, ‘CIRPAT’ FLOOR JOISTS, ‘DALIN’ BEAM, ‘MIDAL’ CAPITAL, ‘METH’

LINTEL MORTISE AND TENON

PILLAR, ‘THAM’

ROUGH-CAST CLAY

STONE MASONRY

WOOD PLANKS

(A DIFFERENT DETAIL IS OBSERVED IN URBAN BUILDINGS) (A DIFFERENT DETAIL IS OBSERVED IN URBAN BUILDINGS)

DETAIL OF OPENING JOINT

SO’

BACK, ‘KARESO’

DETAIL OF OPENING JOINT VERTICAL SUPPORT STONE MASONRY

OPENINGS OPENINGS OPENINGS

VERTICAL SUPPORT STONE MASONRY

“ALL OPENINGS HAVE A FRAME “ALL MADE OPENINGS OF FOUR HAVE A FRAME MADE OF FOUR PIECES OF WOOD JOINED WITH PIECES TENONS OF WOOD AND JOINED WITH TENONS AND MORTISES. THE FRAME IS FITTED MORTISES. IN THETHE MAFRAME IS FITTED IN THE MASONRY AT THE TIME OF THE CONSTRUCTION SONRY AT THE TIME OF OF THE CONSTRUCTION OF THE WALLS.” (Gaborieau, 41)THE WALLS.” (Gaborieau, 41)

DETAIL OF VERANDAH FRAMING

UPPER GIRDER, ‘NAS’

FLOOR JOISTS, ‘DALIN’

ROOF TAKES ITS PARTICULAR HIPPED-GABLE FORM. THE IN ORDER PRESERVE THE WALLS AND THEIR CULTUR IN ORDEROF TOTHE PRESERVE THE WALLS AND THE ENTIRETOPERIMETER HOUSE. THE ROOF ASSUM ROOF PARTICULAR FORM. TH ROOF TAKES ITSHIPPED-GABLE PARTICULAR HIPPED-GA OF THETAKES WALLS’ITSMATERIALS. THE ENTIRE PERIMETER OF PERIMETER THE HOUSE.OF THETHE ROOF ASSUT THE ENTIRE HOUSE. OF THE WALLS’ OF MATERIALS. THE WALLS’ MATERIALS. ROUGH-CAST CLAY ROUGH-CAST CLAY

CAPITAL, ‘METH’ PILLAR, ‘THAM’

...THE FINE CLAY CAN BE OBTAINED FROM ...THESPECIFIC FINE CLAY SPOTS CANIN BE OBTAINED FROM SPECIFIC SPOTS IN THE FIELDS...THE USE OF COW-DUNG PREVENTS THE FIELDS...THE CRACKING USEOF OF COW-DUNG PREVENTS CRACKING OF MIDDLE PURLIN, ‘KUM BASI’ THE PLASTER BECAUSE IT CONTRACTS THEONPLASTER DRYING.BECAUSE CRACKS IT CONTRACTS ON DRYING. CRACKS WILL DEVELOP IF COW-DUNGRIDGE IS NOT USED WILL DEVELOP IN THE‘DHURI REQUIRED IF COW-DUNG IS NOTPURLIN, USED IN THE REQUIRED PURLIN, BASI’ RIDGE ‘DHURI BASI’ QUANTITY. QUANTITY.

LOWER PURLIN, ‘DATI BASI’ MIDDLE PURLIN, BASI’MIDDLE PURLIN, ‘KUM BASI’ (Gajurel and Vaidya, 91) (Gajurel and‘KUM Vaidya, 91) LOWER PURLIN, ‘DATI BASI’LOWER PURLIN, ‘DATI BASI’

NDA

H RAFTERS, ‘BYALSI’

RAFTERS, ‘BYALSI’

SECTION OF RURAL NEPALI HOUSE SCALE: 3/8” = 1’-0” SECTION OF SECTION RURAL NEPALI HOUSE OF RURAL NEPALI HOUSE SCALE: 3/8” = 1’-0”

KITCHEN ROOF STRUCTURE KITCHEN ROOF STRUCTURE

SENT MORE ORDEREDMORE REC- ORDERED RECCTURES REPRESENT .LAR, ‘THAM’ PILLAR, ‘THAM’ ROUGH-CAST CLAY BAMBOO LATHING, ‘CIRPAT’ FLOOR JOISTS, ‘DALIN’ BEAM, ‘MIDAL’ CAPITAL, ‘METH’

DETAIL OF VERANDAH FLOOR

STONE MASONRY

FIRST FLOOR FIRSTFLOOR FLOOR FIRST FIRST FLOOR DETAIL OF VERANDAH FLOOR

CONSOLES, ‘TWAKAL’

BAMBOO LATHING

UPPER GIRDER, ‘NAS’

DETAIL OF VERANDAH FLOOR

“THE FLOOR CONSISTS OF TWO ELEMENTS. FIRSTLY, A LATHING OF SMALL LOGS, ‘CIRPAT’. THE LOGS ARE ARRANGED TIGHTLY ON THE “THE FLOOR CONSISTS TO OF“THE TWOFLOOR ELEMENTS. JOISTS PERPENDICULAR THEM...THEN THE CONSISTS OF TWO ELEMENTS. FIRSTLY, A LATHING OF SMALL LOGS,AOF ‘CIRPAT’ ROUGH-CAST CONSISTING OF LAYER MUD . OF SMALL LOGS, ‘CIRPAT’. FIRSTLY, LATHING THE LOGS ARE ARRANGED TIGHTLY ON THE ABOUT 20 CM THICK.” (Gaborieau, 41) ARE THE LOGS ARRANGED TIGHTLY ON THE JOISTS PERPENDICULAR TOJOISTS THEM...THEN THE PERPENDICULAR TO THEM...THEN THE ROUGH-CAST CONSISTING ROUGH-CAST OF LAYER OF CONSISTING MUD OF LAYER OF MUD ROUGH-CAST CLAY ABOUT 20 CM THICK.” (Gaborieau, 41)CM THICK.” (Gaborieau, 41) ABOUT 20 BAMBOO LATHING, ‘CIRPAT’

UPPER GIRDER, ‘NAS’

FLOOR JOISTS, ‘DALIN’

ROUGH-CAST CLAY MAKING CLAYROUGH-CAST PLASTER: CLAY 1. COW-DUNG, 1 PART BAMBOO LATHING, ‘CIRPAT’BAMBOO LATHING, ‘CIRPAT’

BEAM, ‘MIDAL’ LOWER GIRDER,‘DALIN’ ‘NAS’ FLOOR JOISTS,

FLOOR JOISTS, ‘DALIN’

BEAM, ‘MIDAL’ LOWER GIRDER, ‘NAS’

2. BLACK CLAYS OR YELLOW CLAYS, 2 PARTS 3. HUSKS, 2 PARTS

ATTIC FLOOR ATTIC FLOOR ATTIC FLOOR ROUGH-CAST CLAY

BAMBOO LATHING, ‘CIRPAT’ ROUGH-CAST CLAY

MAKINGOF CLAY PLASTER: MAKING CLAY PLASTER: METHOD APPLICATION:

1. COW-DUNG, 1 PART IS USED ON 1. THE COW-DUNG, 1 PART BEFORE THE MUD-PLATER FLOOR, THE BARE 2. BLACK CLAYSGIVEN OR YELLOW CLAYS, 22.PARTS BLACK CLAYS OR YELLOW FLOOR IS FIRST A ROUGH COATING OF CLAY. WHEN THE CLAYS, 2 PARTS 3. HUSKS, 3. HUSKS, 2 PARTS IS CLAY LAYER2ISPARTS HARD AND DRY ENOUGH, THE MUD-PLASTER METHOD OF APPLICATION: APPLIED...WHEN THE FIRST COATING OF MUD-PLASTER IS METHOD OF APPLICATION: BEFORE MUD-PLATER USED ON THE FLOOR, THE BARE DRY ANDTHE HARD ENOUGH, AIS SECOND COATING THE IS USED ON THE FLOOR, THE BARE BEFORE THECALLED MUD-PLATER FLOOR IS FIRST GIVEN A ROUGH COATING FINE COATING IS APPLIED. THIS COATING IS:OF FLOOR IS CLAY. FIRSTWHEN GIVENTHE A ROUGH COATING OF CLAY. WHEN THE IS HARD DRY ENOUGH, MUD-PLASTER 1.CLAY FINELAYER PLASTIC CLAY,AND 1 PART CLAYTHE LAYER IS HARD ANDISDRY ENOUGH, THE MUD-PLASTER IS THE FIRST COATING OF MUD-PLASTER IS COATING OF MUD-PLASTER IS 2.APPLIED...WHEN COW-DUNG, 1 PART APPLIED...WHEN THE FIRST DRY AND ENOUGH, A SECOND CALLED THE ...THE FINE HARD CLAY CAN BE OBTAINED FROM SPECIFIC SPOTS IN A SECOND COATING CALLED THE DRYCOATING AND HARD ENOUGH, FINEFIELDS...THE COATING IS APPLIED. THIS COATING IS: CRACKING THE USE OF COW-DUNG PREVENTS OF THIS COATING IS: FINE COATING IS APPLIED. 1. FINE PLASTIC CLAY, 1 IT PART THE PLASTER BECAUSE CONTRACTS ON DRYING. CRACKS 1. FINE PLASTIC CLAY, 1 PART 2. COW-DUNG, WILL DEVELOP IF1 PART COW-DUNG IS NOT2.USED IN THE REQUIRED COW-DUNG, 1 PART ...THE FINE CLAY CAN BE OBTAINED...THE FROMFINE SPECIFIC QUANTITY. CLAYSPOTS CAN BEINOBTAINED FROM SPECIFIC SPOTS IN THE FIELDS...THE USE OF COW-DUNG PREVENTS CRACKING OFCOW-DUNG PREVENTS CRACKING OF FIELDS...THE USE OF (Gajurel and Vaidya, 91) THE THE PLASTER BECAUSE IT CONTRACTS DRYING. CRACKSIT CONTRACTS ON DRYING. CRACKS THE ON PLASTER BECAUSE WILL DEVELOP IF COW-DUNG IS NOTWILL USED IN THE REQUIRED DEVELOP IF COW-DUNG IS NOT USED IN THE REQUIRED QUANTITY. QUANTITY.

ROUGH-CAST CLAY

BAMBOO LATHING, ‘CIRPAT’BAMBOO LATHING, ‘CIRPAT’

VERANDAH STRUCTURE

ROUGH-CAST CLAY

ONE MASONRY

VERANDAHVERANDAH STRUCTURESTRUCTURE

UGH-CAST CLAY

BAMBOO LATHING

FRAMING FRAMINGFRAMING FRAMING

PILLAR, ‘THAM’

GH-CAST CLAY

NE MASONRY

CONSOLES, ‘TWAKAL’ KITCHEN ROOF STRUCTURE

SENT MORE ORDERED SCALE:REC3/8” = 1’-0”

LLAR, ‘THAM’

ROOF

RAFTERS, ‘BYALSI’

VERA

GH-CAST CLAY LATHING, ‘CIRPAT’ LLAR, ‘THAM’ R JOISTS, ‘DALIN’ AM, ‘MIDAL’ PITAL, ‘METH’ UGH-CAST CLAY O LATHING, ‘CIRPAT’ R JOISTS, ‘DALIN’ EAM, ‘MIDAL’ LAR, ‘THAM’ PITAL, ‘METH’

LATHING,TERMS ‘CIRPAT’ BAMBOO LATHING, ‘CIRPAT’ “THERE BAMBOO ARE NO GENERAL TO DESCRIBE THE ROOF OF THE HOUSE AS A WHOLE; ONLY MAKING CLAY PLASTER: MAKING CLAY THE ELEMENTS ARE DESIGNATED: THEPLASTER: LARGE 1. COW-DUNG, 1 PART 1. COW-DUNG, 1 PART “THERE ARE NO GENERAL TERMS TO DESCRIBE SIDES ARE CALLED ‘PAKHO’ , THE SMALLER “THERE ARE NOONE GENERAL TERMS TO DESCRIBE 2. BLACK CLAYS OR YELLOW CLAYS, 2 PARTS 2. BLACK CLAYS OR YELLOW CLAYS, 2 PARTS THE2 PARTS ROOF OF THE HOUSE AS WHOLE; ‘SIKHUWA’; ‘DHURI’ SIGNIFIES THE THEA2ROOF OF ONLY THE HOUSE AS A WHOLE; ONLY 3. HUSKS, 3. HUSKS, PARTS RIDGETHE ELEMENTS ARE DESIGNATED: THE LARGE POLE AND THE MEANING IS EXTENDED TO THE ELEMENTS ARE DESIGNATED: THE LARGE METHOD OF APPLICATION: METHOD OF APPLICATION: BEFORE THE MUD-PLATER IS USED ON BEFORE THE FLOOR, THE MUD-PLATER THE BARE IS USED ON THE FLOOR, THE BAREONE SIDES ARE CALLED ‘PAKHO’ , THE SMALLER ONE COVER THE INHABITED HOUSE; ‘DATI’ THE SIDES AREARE CALLED ‘PAKHO’ , THE SMALLER FLOOR IS FIRST GIVEN A ROUGH COATING FLOOR OF IS CLAY. FIRST WHEN GIVEN THEA ROUGH COATING OF CLAY. WHEN THE ‘SIKHUWA’; THE RIDGEEAVES WHICH‘DHURI’ EXTENDSIGNIFIES BEYOND THE WALLS.” ‘SIKHUWA’; ‘DHURI’ SIGNIFIES THE RIDGECLAY LAYER IS HARD AND DRY ENOUGH, CLAY THELAYER MUD-PLASTER IS HARD AND IS DRY ENOUGH, THE MUD-PLASTER IS POLE AND THE IS EXTENDED TO (Gaborieau, ANDTHETHE MEANING EXTENDEDIS TO APPLIED...WHEN THE 41) FIRST MEANING COATINGAPPLIED...WHEN OFPOLE MUD-PLASTER ISFIRST COATING OF IS MUD-PLASTER DRY AND HARD ENOUGH, A SECOND DRY COATING AND HARD CALLED ENOUGH, THE A SECOND COATING CALLED THETHE COVER THE INHABITED HOUSE; ‘DATI’ THE HOUSE; ‘DATI’ ARE COVER THEARE INHABITED FINE COATING IS APPLIED. THIS COATING IS:COATING IS APPLIED. THIS COATING IS: EAVES WHICH EXTEND FINE BEYOND WALLS.” EAVES THE WHICH EXTEND BEYOND THE WALLS.” 1. FINE PLASTIC CLAY, 1 PART 1. FINE PLASTIC CLAY, 1 PART (Gaborieau, (Gaborieau, 2. COW-DUNG, 1 PART 41) RIDGE PURLIN, 2. COW-DUNG, 1 PART41) ‘DHURI BASI’

WATER LINE

STORAGE?

BEAM, ‘MIDAL’

WATER WATER LINE LINE

VERANDAH, ‘PIRHI’

STORAGE?

LOWER GIRDER, ‘NAS’

BEAM, ‘MIDAL’

ROOF ROOF

VERANDAH STRUCTURE

OLDVERANDAH, ‘PIRHI’

STORAGE?

ROUGH-CAST CLAY

LOWER GIRDER, ‘NAS’

VERANDAH STRUCTURE

ROUGH-CAST CLAY

VERANDAH, ‘PIRHI’

WATER LINE

WATER WATER LINE LINE

“ONCE THE PILLARS AND FRAMEWORK “ONCE THE ARE PILLARS IN AND FRAMEWORK ARE IN PLACE, THE GROUND FLOORPLACE, MAY BE THEFILLED GROUND FLOOR MAY BE FILLED WITH STONES WITH A MUD WITH COATING STONES SO THAT WITH A MUD COATING SO THAT IT REACHES THE SAME LEVELIT AS REACHES THE VERANTHE SAME LEVEL AS THE VERANDAH FLOOR.” (Gaborieau, 41)DAH FLOOR.” (Gaborieau, 41)

DETAIL OF VERANDAH FLOOR

“THE FLOOR CONSISTS OF “THE TWO FLOOR ELEMENTS. CONSISTS OF TWO ELEMENTS. FIRSTLY, A LATHING OF SMALL FIRSTLY, LOGS, A‘CIRPAT’ LATHING . OF SMALL LOGS, ‘CIRPAT’. THE LOGS ARE ARRANGED THE TIGHTLY LOGSON ARETHEARRANGED TIGHTLY ON THE JOISTS PERPENDICULAR TO THEM...THEN JOISTS PERPENDICULAR THE TO THEM...THEN THE ROUGH-CAST CONSISTING OFROUGH-CAST LAYER OF MUD CONSISTING OF LAYER OF MUD ABOUT 20 CM THICK.” (Gaborieau, ABOUT41) 20 CM THICK.” (Gaborieau, 41)

ARBY D DEBRIS FIELDS OF AND DILAPIDATED DEBRIS OF DILAPIDATED M RSTHIS CAN PROCESS. PERFORM THIS PROCESS.

GROUND FLOOR FLOOR GROUND GROUND FLOOR

DETAIL OF VERANDAH FLOOR

IN ORDER TOFIRST PRESERVEFLOOR THE WALLS AND THEIR CULTUR FIRST FLOOR

FRAMINGFRAMING FRAMING

(Gajurel and Vaidya, 91) (Gajurel and Vaidya, 91)

construction sequence of a rural Nepali house (Rhino, Adobe Illustrator)

RIDGE POLE, ‘ ’ RIDGE POLE, ‘ ’

RIDGE POLE, ‘ ’

OF THE WALLS’ MATERIALS. OF THE WALLS’ MATERIALS.

ROOFROOFROOF

WATER LINE

THESIS

“THERE ARE NO GENERAL TERMS“THERE TO DESCRIBE ARE NO GENERAL TERMS TO DESCRIBE THE ROOF OF THE HOUSE AS ATHE WHOLE; ROOFONLY OF THE HOUSE AS A WHOLE; ONLY THE ELEMENTS ARE DESIGNATED: THETHE ELEMENTS LARGE ARE DESIGNATED: THE LARGE SIDES ARE CALLED ‘PAKHO’, THESIDES SMALLER ARE ONE CALLED ‘PAKHO’, THE SMALLER ONE ‘SIKHUWA’; ‘DHURI’ SIGNIFIES‘SIKHUWA’; THE RIDGE-‘DHURI’ SIGNIFIES THE RIDGEPOLE AND THE MEANING IS POLE EXTENDED AND THE TO MEANING IS EXTENDED TO COVER THE INHABITED HOUSE; COVER ‘DATI’ ARE THETHE INHABITED HOUSE; ‘DATI’ ARE THE EAVES WHICH EXTEND BEYONDEAVES THE WALLS.” WHICH EXTEND BEYOND THE WALLS.” (Gaborieau, 41) (Gaborieau, 41)

RIDGE PURLIN, ‘DHURI BASI’ RIDGE PURLIN, ‘DHURI BASI’ MIDDLE PURLIN, ‘KUM BASI’

MIDDLE PURLIN, ‘KUM BASI’

LOWER PURLIN, ‘DATI BASI’

RAFTERS, ‘BYALSI’

PINNED JOINT RIDGE PURLIN, ‘DHURI BASI’ STONE CAPITAL RAFTER, ‘BYALSI’ BAMBOO STRAP JOINT LATHING MIDDLE PURLIN, ‘KUM BASI’ BAMBOO STRAP JOINT GRASS THATCH

LOWER PURLIN, ‘DATI BASI’

CONSOLES, ‘TWAKAL’

BAMBOO LATHING

ROUGH-CAST CLAY

ROUGH-CAST CLAY BAMBOO LATHING, ‘CIRPAT’

TRADITIONAL THATCH ROOFING ON SMALL STRAW STORAGE STRUCTURE

CORRUGATED SHEET METAL ROOFING

RIDGE POLE, ‘ ’

CORRUGATED SHEET METAL ROOFING

ONCE THE WALLS ARE MEDIATED THROUGH THE PROTECTION PROVIDED BY THE ROOF FORM, THEY ARE TRANSFORMED INTO A SYMBOL. THE WALLS BECOME ONE ELEMENT BOTH VISUALLY AND SYBOLICALLY THROUGH THEIR FINISHING- A PLASTER MIXTURE CONSISTING OF CLAY, LIME, AND COW DUNG IS APPLIED TO BOTH THE INTERIOR AND EXTERIOR SURPROTECTION FROM THE OUTSIDE WORLD, THE DS ROUGHLY 50 CM OVER THE WALLSFACES AROUND OF THE WALLS.

CTION BECAUSE OF THE NATURAL PROPERTIES

PINNED JOINT URLIN, ‘DHURI BASI’ STONE CAPITAL RAFTER, ‘BYALSI’ MBOO STRAP JOINT LATHING PURLIN, ‘KUM BASI’ MBOO STRAP JOINT GRASS THATCH

FINISHINGS FINISHING

“PLASTERING THE WALLS OF THE VILLAGE DWELLINGS IS DONE BY USING THE MATERIALS LOCALLY AVAILABLE. THE VILLAGE HOUSES ARE GIVEN A PAINTING OF RED AND WHITE CLAYS MAKING THEM LOOK CONSPICUOUS. THE INNER WALLS OF THESE HOUSES ARE GIVEN A THIN COATING OF RED CLAY ON THE LOWER PORTIONS TO A HEIGHT OF 3 FEET OR SO, WHEREASONCE THE THE UPPER PORTIONS ARE WALLS ARE MEDIATED THROUGH THE PROTECTION PROVIDED BY THE ROOF GIVEN A WHITE PAINTING USING WHITE CLAY FORM, THEY ARE TRANSFORMED INTO A SYMBOL. THEPLASTER WALLS BECOME ONE ELEMENT BOTH RED CLAY PLASTER WHITE CLAY LOCALLY AVAILABLE.” (Gajurel and Vaidya, VISUALLY AND SYBOLICALLY THROUGH THEIR FINISHING- A PLASTER MIXTURE CONSISTING 91-92)

OF CLAY, LIME, AND COW DUNG IS APPLIED TO BOTH THE INTERIOR AND EXTERIOR SURFACES OF THE WALLS.

FINISHING

PURLIN, ‘DATI BASI’

DITIONAL THATCH ROOFING LL STRAW STORAGE STRUCTURE

ALLY REFERRED TO IT IS SOMETIMES AS ROOF; BUT THIS THE THATCH OR ROOF...THE THATCH AND TIED INTO BE FIXED TO LATHWORK IN A SINGLE NG, IF PROPERLY PLETE PROTECTION NSOON RAINS. THE TEND OUT BY APM FROM THE WALLS FROM THE OWN.” (Gaborieau,

IABLES AND CONCCOMPANIED THE PAST, GUIDANCE IS VELOPMENTS. FOR FS HAVE ALREADY RRUGATED SHEET IT IS ALREADY THE ATERIAL. IT HAS T IS NOW A CON-

ETAL

TRADITIONAL THATCH ROOFING ON SMALL STRAW STORAGE STRUCTURE

WHITE CLAY PLASTER

RED CLAY PLASTER

THESIS

WHITE CLAY PLASTER

analysis conclusions

INSTRUCTOR | Gerard Damiani DATE | Spring11

Having examined the symbolic function of materials in rural Nepali architecture, the following questions must be addressed: What is the value of understanding building materials in Nepali architecture from a structuralist perspective? And, what are the implications of this perspective for an architectural design in this context? The value of analyzing building materials from a structuralist approach is that it offers a way of interpreting cultural messages, rather than promoting the preservation or rejection of traditional architectural methods. This approach becomes important when searching for authenticity in the design of a school in the context of rural Nepal. Instead of asking: “Is a modern design at odds with its vernacular context?”; we can ask: “What message does the materiality of the architecture communicate?”

GREEN HOTEL LAWRENCEVILLE OTHER WORK

RIDGE POLE, ‘ ’

91-92)

“BY OBSERVING THE VARIABLES “BY AND OBSERVING CON- THE VARIABLES AND CONSTANTS THAT HAVE ACCOMPANIED STANTS THAT THE HAVE ACCOMPANIED THE CHANGES OF THE RECENT PAST,CHANGES GUIDANCE OFISTHE RECENT PAST, GUIDANCE IS OBTAINED FOR FUTURE DEVELOPMENTS. OBTAINED FOR FUTURE DEVELOPMENTS. FOR EXAMPLE, SO MANY ROOFS HAVE EXAMPLE, ALREADY SO MANY ROOFS HAVE ALREADY BEEN COVERED WITH CORRUGATED BEEN COVERED SHEET WITH CORRUGATED SHEET METAL IN DHANKUTA THAT IT ISMETAL ALREADY IN DHANKUTA THE THAT IT IS ALREADY THE DOMINANT ROOFING MATERIAL. DOMINANT IT HASROOFING MATERIAL. IT HAS BECOME A TRADITION. IT IS BECOME NOW A ACONTRADITION. IT IS NOW A CONSTANT.” (Dobereiner, 95) STANT.” (Dobereiner, 95)

ATTIC FLOOR ATTIC FLOOR ATTIC FLOOR BAMBOO LATHING, ‘CIRPAT’

91-92)

ARTS CAMP

OUTSIDE WORLD, THE R THE WALLS AROUND NATURAL PROPERTIES

CONSOLES, ‘TWAKAL’

“THE ROOFING IS SPECIFICALLY“THE REFERRED ROOFING TO IS SPECIFICALLY REFERRED TO AS ‘CHANU’ OR ‘CHANA’; IT ISAS SOMETIMES ‘CHANU’ OR ‘CHANA’; IT IS SOMETIMES INCORRECTLY TRANSLATED AS ROOF; INCORRECTLY BUT THISTRANSLATED AS ROOF; BUT THIS TERM ONLY DESIGNATES THETERM THATCH ONLYORDESIGNATES THE THATCH OR SLATE USED TO COVER THE ROOF...THE SLATE USED THATCH TO COVER THE ROOF...THE THATCH IS DRIED BEFOREHAND ANDIS TIED DRIEDINTO BEFOREHAND AND TIED INTO BUNDLES WHICH HAVE TO BE FIXED BUNDLES TO LATHWHICH HAVE TO BE FIXED TO LATHING. FIVE MEN CAN DO THIS WORK ING.INFIVE A SINGLE MEN CAN DO THIS WORK IN A SINGLE DAY...THE THATCH ROOFING, DAY...THE IF PROPERLY THATCH ROOFING, IF PROPERLY MAINTAINED, OFFERS COMPLETE MAINTAINED, PROTECTIONOFFERS COMPLETE PROTECTION TRADITIONAL THATCH ROOFING ON SMALL THE STRAW STORAGE STRUCTURE AGAINST THE HEAVY MONSOON AGAINST RAINS.THE THEHEAVY MONSOON RAINS. HOUSE EAVES, WHICH EXTENDHOUSE OUT BY EAVES, AP- WHICH EXTEND OUT BY APPROXIMATELY 50 CM PROXIMATELY FROM THE 50 CM FROM THE WALLS...PROTECT THE WALLSWALLS...PROTECT FROM THE THE WALLS FROM THE WATER THAT TRICKLES DOWN.” WATER (Gaborieau, THAT TRICKLES DOWN.” (Gaborieau, 45) 45)

“PLASTERING THE WALLS OF “PLASTERING THE VILLAGE THE WALLS OF THE VILLAGE DWELLINGS IS DONE BY USINGDWELLINGS THE MATERIIS DONE BY USING THE MATERIALS LOCALLY AVAILABLE. ALS THE LOCALLY VILLAGE AVAILABLE. THE VILLAGE HOUSES ARE GIVEN A PAINTINGHOUSES OF REDARE ANDGIVEN A PAINTING OF RED AND WHITE CLAYS MAKING THEM LOOK WHITE CONSPICUCLAYS MAKING THEM LOOK CONSPICUOUS. THE INNER WALLS OF THESE OUS. HOUSES THE INNER ARE WALLS OF THESE HOUSES ARE GIVEN A THIN COATING OF REDGIVEN CLAY AONTHIN THE COATING OF RED CLAY ON THE LOWER PORTIONS TO A HEIGHTLOWER OF 3 FEET PORTIONS OR TO A HEIGHT OF 3 FEET OR SO, WHEREAS THE UPPER PORTIONS SO, WHEREAS ARE THE UPPER PORTIONS ARE GIVEN A WHITE PAINTING USING GIVEN WHITE A WHITE CLAY PAINTING USING WHITE CLAY WHITE PLASTER LOCALLY AVAILABLE.” (GajurelLOCALLY and Vaidya, AVAILABLE.” (Gajurel and CLAY Vaidya,

LIGHT MUSUEUM

ROOFING ROOFING ROOFING

FINISHINGFINISHING

SURFACE

RAFTERS, ‘BYALSI’

PINNED JOINT RIDGE PURLIN, ‘DHURI BASI’ STONE CAPITAL RAFTER, ‘BYALSI’ BAMBOO STRAP JOINT LATHING MIDDLE PURLIN, ‘KUM BASI’ BAMBOO STRAP JOINT GRASS THATCH

ONCE THE WALLSONCE ARE THE MEDIATED WALLSTHROUGH ARE MEDIATED THE PROTECTION THROUGH THE PR FORM, THEY ARE TRANSFORMED FORM, THEY AREINTO TRANSFORMED A SYMBOL. THE INTOWALLS A SYMBOL. BECOM VISUALLY AND SYBOLICALLY VISUALLY AND THROUGH SYBOLICALLY THEIR FINISHINGTHROUGH THEIR A PLASTER FINI OF CLAY, LIME, AND OF CLAY, COW DUNG LIME, IS AND APPLIED COW DUNG TO BOTH IS APPLIED THE INTERIO TO B FACES OF THE WALLS. FACES OF THE WALLS.

RED

site response

THESIS ADVISOR | Gerard Damiani DATE | Spring11

The site offers unique opportunites for architectural response. The siteâ&#x20AC;&#x2122;s agricultural use alters the topography and controls water from an adjacent spring. The Southwest corner of the site and a steep hill dividing the terraced fields from the large, upper field remain unaltered and are the most suitable locations for the building. Given the seasonal changes from the wet season to the dry season, the architecture requires water collection and storage for subsistence. As a response, the massing and form seek to incorporate water retention into the experience of the architecture. Initially, the builidng was conceived as an extension of the existing terreced topography with a series of gathering spaces centered around water collection pools. The building was subsequentially streamlined to a singular form extending perpendicular to the hillside and adjacent to the rice terraces, minimizing disturbance to the existing hillside. This strategy closely links circulation through the schoolâ&#x20AC;&#x2122;s multiple floor levels with the collection of water from the roof forms. The experience culminates in a large assembly area at the lower end of the building which is flanked by two water retention basins.

a SPRINGS

b c SITE BOUNDARY

PROPOSED ACCESS

SITE SCALE: 1: 50 1 m CONTOURS

WET SEASON

DRY SEASON

site with context, 1m contours (Google Maps, Rhino, Adobe Illustrator)

THESIS SURFACE

a c b

LIGHT MUSUEUM

HILLTOP

TERRACED FIELDS

UNALTERED HILLSIDE

GREEN HOTEL LAWRENCEVILLE OTHER WORK

ARTS CAMP

site topography with context (Rhino, Adobe Illustrator)

process massing sketches

site plan (Rhino, Adobe Illustrator)

THESIS

SURFACE

LIGHT MUSUEUM

ARTS CAMP

GREEN HOTEL LAWRENCEVILLE OTHER WORK

process models (wood, clay, chipboard)

construction methods

THESIS ADVISOR | Gerard Damiani DATE | Spring11

The materials and assembly detailing for the school expresses a relationship between the local and global. In developing a new and authentic design solution, consideration was given to the ways in which non-indigenous materials are implemented. If non-indigenous materials are not processed locally, in the manner of traditional materials, then how are they classified by Nepalis in terms of the opposition of nature and culture? The design proposes the use of a concrete superstructure to support traditional wood-framed floor and roof elements. Structural bays are proportioned to support the use of locally processed timbers. Corrugated steel used as roofing and as a rainscreen protects a system of panels made from traditional stone, clay and cowdung. Large overhanging roofs allow the stone and clay panels to be revealed on one side of the building, acknowledging the both the natural weaknesses of the material and its cultural and regional significance.

CORRUGATED IRON ROOFING

GLASS LOUVRES

WALL PANEL FRAMING

TOP OF PANEL

FLASHING

ROUGH-CAST CLAY

ROUGH-CAST CLAY AND STONE PANEL CORRUGATED IRON RAINSCREEN

CONCRETE STUCTURE

WALL PANEL FRAMING

6’-6”

BAMBOO LATHING ROOF SUBSTRUCTURE RAIN WATER GUTTER

HEADER

11’-0”

WINDOW ASSEMBLY

BOOKSHELF

GLASS LOUVRES ROUGH-CAST CLAY FINISHED FLOOR

FLASHING

BAMBOO LATHING

CONCRETE STRUCTURE

TIMBER STRUCTURE

5’-0”

5’-0” 10’-0”

THESIS SURFACE LIGHT MUSUEUM ARTS CAMP

process model (basswood, corrugated plastic)

GREEN HOTEL LAWRENCEVILLE OTHER WORK

6’-0”

6’-0” 12’-0”

6’-0”

6’-0” 12’-0”

detailed wall section + elevation (AutoCAD, Adobe Illustrator)

6’-0”

6’-0” 12’-0”

DESIGN: INDIGENIZING MODERNITY HOW DOES THE ARCHITECTURE FIT INTO THE NEPALI VERSION OF MODERNITY?

WATER + CIRULATION

CIRCULATION

WATER

THE EXPRESSION OF MODERN AND TRADITIONAL MATERIALS RELATES NEPALI CULTURE TO THE WORLD.

building section (hand drafted)

THESIS SURFACE

building elevation (AutoCAD, Adobe Illustrator)

LIGHT MUSUEUM ARTS CAMP

a d

KEY e

a ENTRANCE

e DINING HALL

b OFFICES

f OUTDOOR ASSEMBLY

c HALLWAY

g CLASSROOMS

d LIBRARY

GREEN HOTEL LAWRENCEVILLE OTHER WORK

sectional process sketches

JOSIAH HASKELL email: josiah.haskell@gmail.com phone: 970-319-7403