Sacred Form

Architectural Design: Explorations Unit 3: Sacred Form 2013-2014 Kevin Benny Kuriakose

Contents

Deriving Form Structure and Space Identification of Place The Hospice

Deriving Form

Based on our precedent, Grundtvig church, we started our exploration of form finding with a model that was like a sketch and we continued the process intuitive models that focused parameters that were set based on the precedent primarily axiality, repetition and verticality.

We tried to define parameters and to try build up a morphological language within these set parameters. The hanging chain models were particularly useful in understanding the transfer of load through catenaries and the need and the importance of secondary structures such as buttresses.

Space and Structure

‘Nel mezzo del cammin di nostra vita mi ritrovai per una selva oscura, che la diriita via era smarrita’ Dante - ‘Commedia’,1300

‘Halfway along the path of [our] life I found myself in a dark wood, [which was] the righ(direct,straight) way was lost’ Dante - ‘The Divine Comedy, 1300

Inspired by the inversion of the hanging chain models that focused on verticality and repetition and the possibility of a single structure defining space I continued to explore the impact of scale, axiality and repetition.

I continued to explore idea of one self-contained component that can be repeated to create a space, a colossal void that one could get lost in. The result was creating a cavernous void, an allegory of a forest that explored tessellation and varying a principle structure to create spaces that have different qualities and forms.

Repetition can have a profound impact but it can also lead to chaotic and direction-less spaces. Through the exercise of creating this chaotic, direction-less, arbitrary arrangement of components one realizes how important the interaction between different elements is and how repetition of elements can be used to regulate, inform, and give direction to space.

These self contained components that was composed of catenary arch that supports a folded shell roof would become the basis of further design exploration.

The tessellated catenary component slowing evolved to inverted umbrella structures as the exploration continued. The umbrella structures were self-supporting and were refined influenced by the program and also by the introduction of the elements of wall. Even though the structures were to be of each other the way in which light interacted with these elements would help shape the umbrella structures and also the wall.

During the first weeks of exploration the idea of using straight elements to create curved structured through repition was explored. As the design process continued this principle was used as the folded sheet roof evolved into a more effective roof structure that is a hypar shell roof that was modelled with aid of parametric software. This development in the design was also due to program requirements to adapt these umbrella structures to different scales and different needs. These hypar inverted umbrella strucutres are practical and can be prefabricated and easily adjust to suite different needs.

Identification of Place Inspired by the painting Die Toteninsel by Arnold Böcklin our projects are situated on island where rather than seeking to cloak death under layers of euphemisms our projects seek to expose and create a ritual that will aid people in exploring the existential and spiritual aspects of life against the backdrop of death.

Die Toteninsel by Arnold Böcklin (1827–1901)

Situated on the Mediterranean Sea (44oN) the island plays host to hospice, a crematorium and columbarium. Building on themes of reflection, cleansing and remembering each of the projects are linked with one another and the choice and design of the site and its topography was influenced by the program.

The hospice is situated on a natural cove nestled between rocky cliffs as it is the first point of contact as people arrive from the mainland by boat. The natural beach created in the cove is surrounded by pine trees and rolling grassy hills.

As one arrives from the mainland one sees the colambarium first and the hospice slowly comes into view between the cliffs.

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As one approaches, one sees the towering, stark silhouette of the chapel like a temple in its temenos. The pure geometric form contrasts with the irregular cliffs and is lit by the sun, detached from the world around.

As mentioned before the concept was to use the components based on the same structural principle to adapt to different scales and uses, that is from the human scaled hospice to cavernous scale of the chapel. It also has to consider how the structure would interact with each other and the wall and their relationship with light.

The plan was organised around the axis of arrival and departure towards the crematorium and the adjacent central courtyard around which the hospice is organised. The umbrella structures are used within the chapel, for circulation and the individual accommodation chambers. All the public areas have a linear configuration and glass walls take maximum advantage of the adjacent beach front. The circulation spine consisting of inverted umbrella structures gives access to saw toothed accommodation as well as medical services located between the rooms

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The en-suite rooms continue the minimalist vocabulary of the exterior and the contrast between the plain whitewashed walls to the warm timber flooring creates a feeling of warmth. The oversailing umbrella structure introduces diffused light from between the walls and provides shade to the patio. The intimately scaled courtyard interconnect to encourage interaction and reflection and also create a link with nature.

Vistors on arrival are greeted with an auster walkway bounded by two walls. The only glimspes of the landscape are garnered through narrow slits as one walks towards the towering, strikingly symmetrical chapel. The tall narrow opening is dark and one walks towards it with anticpation not knowing what lies inside.

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Inside the outside world is no longer relavent. The visitor is greeted with an array of delicate ship-like timber structures that rise to the top to gather light. The chapel can be point of refuge a place where one can hide in the cavernous void or a place of communion, a place to pay one’s last respects.

The idea was to create and contrast between the bright, white minimal exterior and the more elaborate delicate interior. The wall plays an important role in regulating light and creating a sort of asymmetry through light that leads people towards departure. The fissure down the middle acts like a clock and the direct light contrasts with diffused and filtered light from the sides.

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The walls and the hypar roof shell are made from exposed concrete and the treelike timber structures are made from glulam. The floor gently slopes down towards the platform that is used to view the body and pay ones last respects before the body is carried towards the crematorium.

Section AA’ | 1:50

‘The next with dirges due in sad array Slow through the church-way path we saw him borne’ Thomas Gray - Elegy Written in a Country Churchyard