echo by Ke l l i e M e ye r s Design X
Echo by Kellie E. Meyers Project presented to the Faculty of the Department of Architecture College of Architecture and the Built Environment Philadelphia University In partial fulfillment of the requirements for the degree of BACHELOR OF ARCHITECTURE Design 10: Research and Design Faculty Brian Johnston Philadelphia, Pennsylvania May 2015
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Content
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Site Analysis Expansion Explorations Master plan Proposal Individual Research Individual Proposal Citations
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Master plan Research Development
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Thesis
S a n M i c h e l e ’s h i s t o r i c a l p e r i m e t e r m a k e s a b o l d i n t r o d u c t i o n t o v i s i t o r s as they pass the gated wall, providing privacy and confinement to the burial grounds within. The ideology of this wall continues into the expansion, now acting as an organizational device, as well as a permanent remembrance element, echoing what was once there, and the memories tied to the past. The wall provides a necessar y linkage to programmatic segments while offering opportunities to reflect, strengthen and inspire users as they find peace and acceptance. Through remembrance and h o n o r, o n e f i n d s h a r m o n y a l o n g t h e s i t e , a s i t m o l d s i t s e l f i n t o t h e r i c h Ve n e t i a n c o n t e x t a n d t h e c a l m n e s s o f t h e l a g o o n . U t i l i z a t i o n o f l i g h t , w a t e r, l a n d s c a p e , a n d a p l a y o n i n d i v i d u a l v e r s u s group spaces, will promote a sense of peace and enlightenment for the living, as they experience a lingering trace of their loved ones.
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Design Objectives
Clients: Venice Municipality,Visitors, Participants of funeral/burial services, Universal faiths and/or beliefs Expansion Objectives: Inclusion of multiple faiths and burial methods A newly designed entry point, wall of remembrance and gathering space, universal ceremonial space, crematorium, meditative spaces Design Goals: To create a sense of peace and enlightenment for the living, through the use of integrated landscape, various individual and group spaces, as well as a permanent remembrance of those no longer buried here
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Components
New entry/access point Users will bypass the existing historic wall into an area designated for arrival and departure Wall of remembrance Method of providing permanent recognition and remembrance for deceased who are/will be buried, even after relocation Park/Gathering space Open area surrounding the “wall� and/or woven throughout entirety of expansion for public and/or individual gathering Universal ceremonial space Enclosed area offering a location of public ceremony for loved ones before or after burial/cremation Crematorium Additional Crematorium aside from existing which emphasizes on a more efficient/sustainable process Burial grounds Locations for all denominations requiring segregated plots, as well as traditional burial...exploration of contemporary alternative methods is encouraged Meditative spaces Areas designated for both individual/group occupancy, set aside for reflection, meditation, remembrance
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Burial Methods
Venetian culture once allowed bodies to be buried under the pavers along the streets of the islands. However, in 1837, this was described as “unsanitary and illegal�. Two islands were chosen to become the resting place for the people of Venice. San Michele and San Cristoforo were chosen and later artificially joined as the home for the cemeteries of Venice. San Michele used to be used as a prison and now still offers an fortress aesthetic. The walls help to provide privacy as well as a noise barrier to keep peace among the island. Venice was primarily made up of Catholics, offering a majority of its area to them, while also providing smaller sects for both Greek Orthodox and Protestant. As you venture through the different sections and gardens within the cemeteries you will see old photographs of the deceased along with many vibrant colored flowers. Plots typically last for up to twelve years, but are then emptied, and stored in an ossuary on the main land. There are exceptions when enough money is obtained to continue use of the grave in the cemetery. 1
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Figure 1: Transportation of casket on funeral gondola Figure 2: Image of San Michele Cemetery
With the objective to expand into other religious and non-religious burial methods, the proposal offers variations ranging from traditional burial and cremation, to more contemporary and alternative methods. Different burial conditions must respect religious beliefs, therefore, similar methods of segregation found on San Michele, will be used to separate different burial practices.
Figure 3: Selected burial methods for expansion
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Conceptual Factors Wall
An new point of access is found at the proposed expansion. Occupants will arrive after passing the historic gates to the existing San Michele cemetery. As this wall provides the historic context to the island, a contemporary wall greets users into a communal park space on the new expansion. The wall introduces a permanent means to remember the deceased, while presenting the names of all who are and will be buried on the island. The wall becomes the spine to the programmatic organization and relationships. It is utilized as a device to divide, yet link together all elements, including, a universal ceremonial space, crematorium and several meditative spaces.
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Figure 4: San Michele’s historical gates acting as a perimeter boundary for the burial grounds Figure 5: Memorial to Victims of Violence, Mexico City Figure 6: Australian War Memorial, London
Meditation
Meditation is mostly practiced within Buddhism and Hinduism. There are many different forms of mediation within Buddhism such as: Mindfulness, Zazan or “just sitting�, and Qi gong, as well as within Hinduism such as: transcendental meditation and Kundalini. The act of meditation is the chance to reflect upon oneself and promote a sense of the individual. By proposing meditative spaces, San Michele can begin to offer places of reflections for those visiting buried love ones. With adaptation of religious beliefs, these meditative spaces can being to take on characteristics of a garden. In order to further promote an over increase in well-being, natural elements around San Michele can be introduced. Interactions with daylight, views, and water aid in the identity of such spaces. Materiality also promotes these tranquil and secure feelings. 2
Figure 7: Woman meditating Figure 8: Tomba Brion Cemetery, Italy Figure 9: Al-Irsyad Mosque, Indonesia
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Expansion Explorations
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text
meditative
burial
meditative
meditative
burial burial
meditative
universal ceremonial space
meditative
wall of remembrance / park space meditative
crematorium
Specific relationships are noted here to note the derived system which has provided a foundation for the form and organization of the new expansion. Axial lines help form grids, circulation, and connections to San Michele, the chapel, and the lagoon. Figure 10: Program Organization
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Wall Iterations
Several iterations explore ways to use the wall as an organizational device in section. Variations play on differentiating levels which become opportunity for depressing underground, or rising above to offer contrasting experiences within the meditative spaces. Other options discover methods of integration both with water features as well as the lagoon itself. The wall may be used as a singular, monumental element, or it can be used as a tool to connect more than one space, whether it be atop or adjacent to the structure. Voids may be cut as a means of circulation or integration of light and visual connectors.
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Figure 11: Wall iteration studies
Wa l l a s S t r u c t u re
Wa l l a s C o n t a i n e r
Wa l l a s F r a g m e n t s
Here the wall serves its purpose as an The wall now acts as a divider between Rather than the wall being one continuous element to enclosure. The wall may bleed two seperate programmatic spaces. This object, here it is fragmented in order to into an interior or simply become part of may dramatize spaces for the individual shape various types of spaces. This allows an overall building mass. or separate spaces between the living and the wall to celebrate voids as well. dead.
Figure 12: Three-dimensional explorations of the wall
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Initial Response [A]
The first iteration took on a rigid form which held a very close dialogue with the existing island of San Michele. Here, the wall acts similarly to the existing, as it wraps and weaves through the site, containing spaces within.
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Figure 13: Master iteration, A
Initial Response [B]
The second iteration contrasts the previous, as it takes a more flowing form, paying close attention to the waters surrounding it. The shape remains more organic and uses the wall as more of a division of space as one continuous notion.
Figure 14: Master iteration, B
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Initial Response [C] Seascape
Non-denomination
Islam
Christianity
Christianity
Park Space
Universal Ceremonial Space Crematorium
The third iteration uses the prior two, blending them together into one response to both the context of San Michele, and the lagoon. The wall serves as a spine, dividing the two spaces programmatically.
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Figure 15: Master iteration, C
Initial Response [D]
Seascape Non-denominational
Islam
Christianity
Access Dock
Universal Ceremonial Space & Crematorium
We decided to continue with this iteration, as it responds well to both important elements of the surroundings. The newly proposed ceremonial space communicates on axis with the existing chapel, always communicating with, but never competing against the historic island. Secondary canals are added to help guide the separation of spaces among the burial grounds. Figure 16: Master iteration, D
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Division & Approach
As the wall divides the expansion into two separate segments, the side closer to San Michele responds to the existing grid. Here it keeps a controlled, rigid form, useful for organizing the burial zones for the separate religious beliefs. This side primarily focuses on the program for the deceased, keeping close correlation to San Michele. Opposing this format, the right side of the wall provides a space geared for the living. Those returning to the site can find peace and meditation through this portion of the site, which responds to the lagoon. A horizontal canal runs on axis with the historic wall providing a gap between these two spaces and the ceremonial space; a medium between the living and deceased.
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Figure 17: Highlight of division of living and dead
As one arrives to the island, they are first greeted by San Michele’s notorious wall. The idea of the wall continues as they are then presented with the view of the land mass of the next expansion. The land is built up to offer another “walled” confrontation. The programmatic wall rises out of the water and protrudes the land mass as users are drawn into the dock, latched to both of these wall elements. As one enters the island, they are first brought through a void in the land which directs views and focus out toward the historic wall. Then, one can enter the ceremonial space which offers additional views, then emptying into the pathways which guide users through both sides of the island. Figure 18: Entry point of procession
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Master plan Pro-
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Figure 19: Expansion proposal
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Figure 20: Expansion proposal
The wall helps to break up differences in topography, as it is explored at differing heights. Three main spaces allow bleeding between the living side and the deceased. Passing through the wall introduces the user to a contrasting atmosphere, allowing them to develop alternating feelings. We also explore ways to bring the user to the water to interact with it for meditative or recreational enjoyment.
Figure 21: Sections taken from Figure 4
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View to San Michele
Although this space is a new expansion, it is important to continue a strong relationship with the existing island. This exploration of an outdoor ceremonial space, offers a very direct focus back on the island, and the axis in which it derives from.
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Figure 22: Outdoor ceremonial space looking back onto San Michele
Seascape Burial
This area of burial connects columbariums to the lagoon as they extrude up and out of the water. Platform which gracefully lay upon the water, brings users out to become part of this space. This also activates a space for the spreading of ashes into the lagoon itself.
Figure 23: Seascape Burial
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Light Integration
Fall 12:00 PM
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Winter 12:00 PM
Figure 24: Interaction with light during Fall Figure 25: Interaction with light during Winter
Spring 12:00 PM
Figure 26: Interaction with light during Spring Figure 27: Interaction with light during Summer
Summer 12:00 PM
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Individual Research
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Thesis
As provocative architecture weaves and embeds itself into t h e l a n d s c a p e , m a n i p u l a t i o n o f l i g h t , w a t e r, m a t e r i a l i t y , c o l o r and detail work to create unique experiential qualities e n h a n c i n g p s y c h o l o g i c a l g r o w t h a n d r e f l e c t i o n b e y o n d o n e ’s s e l f . Stimulating spatial design conjures various emotions and feelings within its users. As architects, we have the a b i l i t y t o c r a f t t h e w ay a p a r t i c u l a r s p a c e i s e x p e r i e n c e d b o t h p h y s i c a l l y a n d p s y c h o l o g i c a l l y. Connecting these cross relational qualities with the way we design, can truly define space upon how one thinks, feels and potentially grows from such an exceptional understanding. A universal ceremonial s p a c e w i l l b e w o v e n i n t o t h e l a n d o f t h e e x p a n s i o n o f a c e m e t e r y. The enclosure will strategically reach out of the land to absorb l i g h t a s i t l o n g s t o e x p r e s s i t s r e l a t i o n s h i p w i t h t h e Ve n e t i a n c o n t e x t .
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Points of Focus
axial relationships expresses dynamics in terms of size, scale, orientation, symbolization views important while keeping a dialogue between the new expansion and historic San Michele and Venice. color embellishments of color will offer a enlightening element to spaces. Different aesthetics will occur when interacting with alternating materials, textures, etc. procession manipulation of land will help to channel users through certain spaces which integrate heavily with the land, through carving, subtracting and building up.
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Figure 28: Image of Venice canal
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Precedent
Chapel of St Ignatius, Washington - Steven Holl
The Chapel of St Ignatius explores the impact of light from all directions, and how it communicates with different conditions in 3 terms of material and artificial light.
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Figure 29: Steven Holl sketch
The concrete walls tilt with additional slabs to create a unique dialogue with light. The different contortions of the walls work to create a one-of-a-kind experiential quality within.4
Figure 30: Interior of St. Ignatius Figure 31: Interior of St. Ignatius Figure 32: Interior of St. Ignatius
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Precedent
Simmons Hall Student Dormitories, MIT, Cambridge, Massachusettes - Steven Holl
The sponge like approach to the design of the Simmons Hall Student Dormitories, explores the idea of unexpected openings acting as circumstantial experience. The openings create points of interaction as well as integration of light into the group spaces. Through these shafts of light, Holl is able to make connections between different pieces of the program.5
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Figure 33: Steven Holl sketch of porosity concept Figure 34: Steven Holl sketch exploring sectional qualities of porosity Figure 35: Simmons Hall interior
Precedent
The Pocinho for High Performance Rowing - Portugal - Alvaro Fernandes Andrade
These snake-like tunnels meander through a landscape which identify differences in darkness and light. The ends of the tunnel program empty into group spaces, then featuring certain views. The opposite side of the wall contains circulation below in order 6 to eliminate interference with views.
Figure 36: Exterior of viewed frame Figure 37: Exterior canteliever
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Precedent
Messner Mountain Museum - Tyrol, Italy - Zaha Hadid Architects
Platforms extend out of the mountain peaks in order to build with the land and to puncture through for opposing views on either side. The section provides evidence of building through the peak of the mountain, truly binding it to the landscape. 7
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Figure 38: Image of frame extruding from mountain (entry) Figure 39: Image of frame extruding from moutain (lookout) Figure 40: Cross section through mountain (lookout) Figure 41: Cross section through mountain (entry)
Precedent
Monastery of Sainte Marie de La Tourette - Lyon, France - Atelier Le Corbusier
Le Corbusier uses heavy, dense materials to contrast with the mixture of elegant light. Slits are subtracted from the form in order to carefully bring light into the chapel space. Color is introduced to create different impacts within the space. 8
Figure 42: Chapel of La Tourette
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Individual Proposal
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Figure 43: Working sketches of sectional relationships with wall and lagoon
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Using analysis from the master planning phase, I was able to highlight the main axial relationship to the existing chapel on San Michele, which was a very dominant component in organization I wished to maintain. Other view ports were discovered based on what parts of San Michele, the lagoon, and Venice, I hoped to feature through my design proposal.
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Figure 44: Working sketch identifying view ports and axial relationships
N Following the sketching phase, I was able to determine the placement of these different pieces of the program. Simple forms were used in order to keep focus geared toward the views framed by the architecture. Subtle materials and color pallets were kept in order to arrive at a very clean, elegant aesthetic and experience.
Figure 45: Roof plan of proposed expansion
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N Upon entry, one processes up the entry ramp from the docking point. Users are greeted by a courtyard offering different spaces for individual and group reflection. The axis filters you into adjacent meditative spaces for selective use and experience. A central node is formed as a piazza, becoming the point of choice and interaction. The node falls on axis with the chapel space which offers views and connectivity to the lagoon, as well as Venice. A meditative space resides across from the entry to the chapel, emptying into the lagoon. Tree groves are introduced on the opposite side of built meditative areas, creating a peaceful scene for wandering. Other supporting program components are nestled into the land to bring hierarchy to the meditative parts of the program.
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Figure 46: Floor plan
This section explores the main axial relationship between program and nature.
Figure 47: Section marked in Figure 46
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Figure 48: Extrusion of chapel space through the wall Figure 49: Three dimensional representation of section on main axis
Figure 50: Procession view from courtyard groves to main node
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Figure 51: Meditative space upon entry into greeting courtyards
Figure 52: Meditative space across from chapel space, set on main axis
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Figure 53: Chapel space looking out onto lagoon and Venice
As provocative architecture weaves and embeds itself into t h e l a n d s c a p e , m a n i p u l a t i o n o f l i g h t , w a t e r, m a t e r i a l i t y , c o l o r and detail work to create unique experiential qualities e n h a n c i n g p s y c h o l o g i c a l g r o w t h a n d r e f l e c t i o n b e y o n d o n e ’s s e l f . Stimulating spatial design conjures various emotions and feelings within its users. As architects, we have the a b i l i t y t o c r a f t t h e w ay a p a r t i c u l a r s p a c e i s e x p e r i e n c e d b o t h p h y s i c a l l y a n d p s y c h o l o g i c a l l y. Connecting these cross relational qualities with the way we design, can truly define space upon how one thinks, feels and potentially grows from such an exceptional understanding. A universal ceremonial s p a c e w i l l b e w o v e n i n t o t h e l a n d o f t h e e x p a n s i o n o f a c e m e t e r y. The enclosure will strategically reach out of the land to absorb l i g h t a s i t l o n g s t o e x p r e s s i t s r e l a t i o n s h i p w i t h t h e Ve n e t i a n c o n t e x t .
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Citations
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Works Cited 1. “San Michele Cemetery Island,Venice.� Italy Heaven. Accessed February 02, 2015. http://www.italyheaven.co.uk/veneto/venice/sanmichele.html. 2. EPA, 1. Environmental Issues Associated with Cremation. Accessed February 10, 2015. 3. http://www.stevenholl.com/project-detail.php?id=40 4. http://www.stevenholl.com/project-detail.php?id=40 5. http://www.stevenholl.com/project-detail.php?id=47 6. http://www.dezeen.com/2014/01/29/rowing-centre-pocinho-alvaro-fernandes-andrade/ 7. http://www.dezeen.com/2013/07/19/messner-mountain-museum-corones-by-zaha-hadid-architects/ 8. http://www.sacredarchitecture.org/articles/almost_religious_couturier_lecorbusier_and_the_monastery_of_la_tourette/
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Imagery 1. http://apassportaffair.com/2014/03/28/visiting-isola-di-san-michele-venice/ 2. http://apassportaffair.com/2014/03/28/visiting-isola-di-san-michele-venice/ 4. http://www.atlasobscura.com/places/isola-di-san-michele 5. http://www.atlasobscura.com/places/isola-di-san-michele 6. http://www.nytimes.com/2013/08/23/world/americas/these-walls-speak-recalling-victims-of-violence.html?pagewanted=all&_r=0 7. http://www.dumblittleman.com/2014/09/meditate-techniques-dont-work.html 8. http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=40&threadid=44894&bookmarkedmessageid=118 9. http://www.archdaily.com/87587/al-irsyad-mosque-urbane/ 29. http://www.stevenholl.com/project-detail.php?id=40 30. http://www.stevenholl.com/project-detail.php?id=40 31. http://www.stevenholl.com/project-detail.php?id=40 32. http://www.stevenholl.com/project-detail.php?id=40 33. http://www.stevenholl.com/project-detail.php?id=47 34. http://www.stevenholl.com/project-detail.php?id=47 35. http://www.stevenholl.com/project-detail.php?id=47 36. http://www.dezeen.com/2014/01/29/rowing-centre-pocinho-alvaro-fernandes-andrade/ 37. http://www.dezeen.com/2014/01/29/rowing-centre-pocinho-alvaro-fernandes-andrade/ 38. http://www.dezeen.com/2013/07/19/messner-mountain-museum-corones-by-zaha-hadid-architects/ 39. http://www.dezeen.com/2013/07/19/messner-mountain-museum-corones-by-zaha-hadid-architects/ 40. http://www.dezeen.com/2013/07/19/messner-mountain-museum-corones-by-zaha-hadid-architects/ 41. http://www.dezeen.com/2013/07/19/messner-mountain-museum-corones-by-zaha-hadid-architects/ 42. http://www.sacredarchitecture.org/articles/almost_religious_couturier_lecorbusier_and_the_monastery_of_la_tourette/
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