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LAUREN 爱姬 HIGDON University of Tennessee College of Architecture + Design lauren.aehee@yahoo.com (907) 947 9644 issuu.com/laurenhigdon
S E L E C T E D W O R K S / 선택된 작품들
06 / 07 SPRING 2016 | RYANN AUOKAR STUDIO
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FOX RESIDENCY
FALL 2016 | LISA MULLIKIN STUDIO
THE SENSORIUM
SPRING 2017 | RANA ABUDAYYEH STUDIO
ABSTINENCE CENTER
01 03
38 / 39 60 / 61
76 / 77
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MULTIMEDIA
FALL 2017 | RYANN AOUKAR STUDIO
FURNITURE DESIGN
FALL 2017 | LISA MULLIKIN STUDIO
AURAL PERCEPTION
04 06
102 / 103
94 / 95
C O N T E N T S / 목차
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ABSTINENCE CENTER The purpose for this project was to create an atrisk youth center that focused on a specific risk. In this case, The Abstinence Center is designed for youths who have severe problems with drug abuse or addiction. It is designed as a meditative and reading center for youths to help with their abstinence during the phase nine to eleven of the addiction cycle. 이일의 목적은 특정한 위험에 처한 젊은이들을 위한 쎈터를 만드는것입니다. 이경우에, 이 금 욕쎈터는 약물중독에 심각한 문제가있는 젊은 이들을위해 만들어진것입니다. 이것은 중독 9 (구)에서 11(십일) 주기에있는 젊은이들의 금 욕을 돕도록 명상하고 독서할수있도록 만들어 진것입니다. 901 Mountcastle St SW, Knoxville, TN Spring 2017 | Rana Abudayyeh Studio
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PHASE 01 The first phase of this project was to design a wall system that included tile manufactured from Crossville Inc. that reacted or responded to humidity and moisture. The wall system’s made of three main parts that included an aluminum frame, hydromorphic polymer cubes, and ceramic modules. When the hydromorphic polymer sponge is in contact with water, it expands, and pushes out the ceramic modules. Vise versa when dry, the sponge contracts to its original form. 01 단계
이 일의 첫번째 단계는 크로스빌사에서 습기와 습도에 대응할수있게 제조된 타일을 포함한 벽 체(월 시스템)를 디자인 하는것 입니다. 그 벽 체는 알루미늄틀과 수성중합체, 도자기모듈을 포함한 세개의 주요 부분으로 구성되어있습니 다. 수성중합 스폰지가 물에닿으면 그것은 팽 창합니다. 그리고 도자기모듈을 밖으로 밀어내 지요. 거꾸로, 그것이 마르면 그 스폰지는 원래 형태로 축소됩니다.
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CERAMIC MODULE PARTS
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1/4” Aluminum lock nugget Aluminum Tube built into the skeletal grid structure
Aluminum Telescoping Connector (1/4”) Connected to the aluminum tub
10” x 10” Ceramic Square Tile (Porcelain) Screwed onto the telescoping rod
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CERAMIC MODULE SYSTEM
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SPONGE IN CONTACT WITH WATER
SPONGE ( 10” X 20” )
ALUMINUM SKELETAL FRAME
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PHASE 02 Tennessee has a severe problem with abuse of prescription drugs. Primary drugs being distributed in Tennessee are marijuana, cocaine, methamphetamine and controlled prescription drugs including opiates, tranquilizers and sedatives. The number of people who need treatment for alcoholism or drug addiction approach half a million. But there are not enough drug recovery centers or alcohol rehabs for all of them, especially among youths. In Phase 02, research was done on the cycle of drug addiction and abuse which consisted of twelve phases. 02 단계
테네시주는 심각한 처방약의 남용을 하고 있습 니다. 테네시에서 주로 분배되어지는 약들은 마 리와나, 코카인, 필로폰 그리고 통제된 처방약 인 아편제나 정신안정제, 진정제 등이 있습니 다. 알콜중독이나 약물중독의 치료가 필요한 사 람은 50(오십)만명에 달합니다. 그러나 재활쎈 터는 충분치 않습니다. 특히 젊은이들에게 더 그렇습니다. 2단계 에서는 12(열두)개의 단계 로 구성된 약물 중독과 남용의 주기가 조사되 어 있습니다.
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CONTROL
P H A S E 05
2006 : 9,000
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18 ACTION
P H A S E 09
PREPARATION
2010 : 23,000
2011 : 38,000
P H A S E 10
GUILT
P H A S E 06
FANTASIZING
PAIN
P H A S E 02
P H A S E 01
2002 : 12,000
2003 : 25,000
2007 : 16,000
CONTEMPLATION
P H A S E 08
P H A S E 07
ENGAGEMENT
P H A S E 03
OBSESSION
2012 : 21,000
P H A S E 04
2005 : 33,000
P H A S E 12
P H A S E 11
REFLECTION
2008 : 28,000
SERENITY
MAINTENANCE
2004 : 40,000
2009 : 19,000
20013 : 21,000
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PHASE 03 Phase 03 of the project was design and construction. It consisted of a custom reception desk, cubicle shelves, and office pods that allowed employees to have form of privacy and openness to the space. Another custom feature was the sliding platforms connected to the ceramic wall system that functioned for many purposes such as group or individual yoga, reading and studying. 03 단계
이 일의 3(삼)단계는 디자인과 건축구조 입니 다. 그것은 직원들이 개인적인 공간을 갖도록 한 사무실의 공간으로 칸막이 선반이 있는 세관 접수처로 구성되어 있습니다. 또다른 특징은 그 룹이나 개인의 요가, 독서, 공부등 여러목적의 기능을 하는 쎄라믹 벽체와 연결되어진 미닫이 지대가 있는것입니다.
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2” solid glass
MDF plywood
1” aluminum standoff barrel
Bamboo veneer
Blocking as req.
Bamboo flooring
RECEPTION DESK SECTION DETAIL
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A301
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D
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1 A301
0’- 0” FINISHED FLOOR
1
9
A310 1’- 0” TOP OF FLOOR
C
ROOM TAG
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OFFICE 1 - 117.437 S.F.
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OFFICE 2 - 102.203 S.F.
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LOUNGE AREA - 76.608 S.F
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7 4
WOMEN’S BATHROOM
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MEN’S BATHROOM
1’- 0” TOP OF FLOOR
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STORAGE ROOM - 171.3 S.
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LIBRARY - 169.281 S.F.
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YOGA/READING AREA - 583
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RECEPTION - 110.195 S.F.
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STUDY/SOCIAL SPACE - 61
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B 3
DN 1
LEGEND 6
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4
UP
POINT OF CHOICE
MAX. DIST. TRAVELED - 112 COMMON PATH OF TRAVEL EGRESS WIDTH - 57’-3” FE
A
EXIT SIGN
TRUE NORTH
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FIRE EXTINGUISHER (WALL
9 1’- 0” TOP OF FLOOR
ROOM TAG
1
OFFICE 1 - 117.437 S.F.
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OFFICE 2 - 102.203 S.F.
3
LOUNGE AREA - 76.608 S.F.
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WOMEN’S BATHROOM
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MEN’S BATHROOM
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STORAGE ROOM - 171.3 S.F.
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LIBRARY - 169.281 S.F.
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YOGA/READING AREA - 583.609 S.F.
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RECEPTION - 110.195 S.F.
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STUDY/SOCIAL SPACE - 612.021 S.F.
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3
1
LEGEND POINT OF CHOICE MAX. DIST. TRAVELED - 112’-0” COMMON PATH OF TRAVEL - 129’-0” EGRESS WIDTH - 57’-3” FE
FIRE EXTINGUISHER (WALL MOUNT)
EXIT SIGN
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LIGHTING SCHEDULE SYMBOL
FIXTURE
DESCRIPTION
LEDBAR -Simple LED suspension lighting with steel cables for direct or direct/indirect lighting.
MANUFACTURER
LAMP TYPE
WATTAGE
MOUNTING TYPE
MOUNTING HEIGHT
ARTEMIDE
LED
26 W
Suspended
13’-0”
DIOSCURI- Wall or ceiling mounted luminaires for diffused LED, fluorescent, halogen or incandescent lighting, suitable for wet locations and for indoor and outdoor applications.
ARTEMIDE
LED, HAL
40 W
Ceiling Mount
15’-0”
FLOAT Ceiling -Ceiling mounted luminaire for direct and indirect diffused lighting.
ARTEMIDE
FLU
N/A
Ceiling Mount
15’-0”
MICRO SURF Wall- a minimal, almost unobstrusive design to be integrated into any architectural setting.
ARTEMIDE
LED
26 W
Wall Mount
6’-0”
The body is constructed of extruded aluminum with a clear, anodized matte finish and aluminum end caps in a grey powder coat finish. The diffuser is made of an extruded acrylic with a frosted finish.The junction box cover can be centered on the cable or mounted independently. Available in 3 different lengths. Dimmable. LED.
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3
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D
C
B
A RCP TRUE NORTH
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10� X 10� telescoping system
Storefront glass
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2” round steel tube
10” X 10” block memory foam
Acoustical wall 30” X 72” bamboo Panel
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ITERATION 1-GROUP
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YOGA
ITERA
STUDY
STUDY + YOGA
ITERATION 3-PRIVATE
STUDY
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ITERATION 3-PRIV
Bamboo flooring
Adhesive
Resilient pad Concrete floor
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OFFICE SECTION DETAIL
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THE SENSORIUM Within this project, renovation was done on the 7th and 8th floor of the Whitney Art Museum to create a Botanical Research Center. An abstract lighting system was designed to create a relationship with external sounds that controlled natural lighting at different times of the day to create a circadian rhythm for the plants and workers. 이 연구안에는 위트니 미술 박물관의 7(칠)층 과 8(팔)층에 식물 연구를 하기위한 개혁이되 어져 있다는것입니다. 추상적인 빛의 시스템은 식물들과 종사자들을 위해 24시간 주기의 리듬 을 만드는 하루의 다른 시간대의 자연의 빛으로 제어된 외부의 소리와의 관계를 만들기위해 디 자인된 것입니다. 99 Gansevoort St, New York, NY Fall 2016 | Lisa Mullikin Studio
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Sight Biome
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THE DINOFLAGELLATE Initial studies were done on a bioluminescent organism, a Dinoflagellate, to influence a design for a lighting system in the Botanical Research Center. The Dinoflagellate bioluminescence is controlled by a circadian rhythm that occurs at night, and in the day phase, its cell recharges the chemicals known as Luciferin to flash again the following night. The Dinoflagellates’ circadian rhythm was analyzed and diagrammed to show flashes as unresolved vertical lines. Cells also emit a glow, a low intensity emission that gradually rises to peak and then declines to zero over a period of 12 hours during the night phase. 식물연구소의 빛의 체계 디자인에 영향을 주기 위해 초기의 연구는 발광 유기체인 와편모충으 로 되어졌습니다. 그 와편모충의 발광은 밤에 나타나는 24시간 주기 리듬으로 통제되어집니 다. 그리고 낮에는 그것의 세포가 다음날 밤에 다시 빛을 내기위해 루시페린 이라고 알려진 화 학작용으로 재충전 됩니다. 그 와편모충의 24(이십사)시간 주기 리듬은 미 결정의 수직선으로 빛을 발하기 위해서 분석되 어지고 도표로 나타내집니다. 세포 또한 낮은 강도의 발산으로 점차적으로 올라가다 고점에 달하고 그런후에 야간단계의 12(열두)시간 동 안 제로 단계 까지 내려가면서 빛을 발합니다.
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The interesting study was that their population only emitted this bluegreen light when disturbed by vibrations not only through ocean waves, but also sound. Therefore further studies were done to find the relationship between light and 흥미로운 연구는 그들의 개체수는 파도 뿐만아니라 소리의 진동에 의 해 방해 받았을때 청록색 빛을 내뿜 는다는것 이었습니다. 그래서 빛과 소리의 관계를 알아내기 위해 더 많 은 연구가 되어 졌습니다.
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A 4
3 1
2
1
SIGHT BIOME
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TACTILITY BIOME
3
COLLAB. WORKSPACE
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EXTERIOR EXHIBIT
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INTERIOR EXHIBIT + COLLAB. WORKSPACE
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PRIVATE OFFICE
N
1
2
3
4
5
6
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8
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10
11
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14
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15
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7 TH F L O O R P L A N B
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8
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11
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10
15
16
9
8
A 7
7
LOUNGE
8
SOUND BIOME
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COLLAB. WORKSPACE
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OLFACTION BIOME
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TASTE BIOME
N
1
2
3
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8 TH F L O O R P L A N B
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EGRESS PLAN
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LEGEND EXIT SIGN
COMMON PATH OF TRAVEL
FEC
FEC
FIRE EXTINGUISHER CABINET
MAXIMUM DISTANCE OF TRAVEL
EXIT SEPARATION
MAXIMUM DIAGONAL DISTANCE
FEC
FEC
POINT OF CHOICE
OCCUPANCY LOAD Type of Construction - 1B Total Square Footage - 17,333 Occupancy Load - (Business Area) 1/100 = 173.33 persons Number of Exits Required - 2 Exit Width Requirement - 32”
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SYMBOL
PHOTO
NAME & MANUF.
METEORITE 15
LAMP
TEMP.
LUMENS
HAL
GLASS MADE BY SUCCESSION OF GLASS MOLDING, FROSTING, SANDBLASTING AND ETCHING TECHNIQUES
LED
INDIRECT LIGHTING DESIGNED FOR APPLICATION IN TERTIARY BUILDINGS, SCHOOLS, AND PUBLIC OR INDUSTRIAL SPACES
ARTEMIDE
SURF SYSTEM FLUO ARTEMIDE
UNA PRO 75
REMARKS
LED
3000 K
498 lm
LED
4000 K
1053 lm
ARTEMIDE
THE LED BOARD IS MOUNTED ON A ROTATING ALUMINUM HEATSINK ALLOWING A 360째 ORIENTATION HORIZONTALLY WITH A 30째 TILT ANGLE
ADJUSTMENT RANGE: CEFISO 14 ARTEMIDE
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ROTATION ON BASE+/- 180째 BODY TILT+/- 90째
N
RCP
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We gather information about our surrounding world through our senses. All of this information helps us to have more complicated processes like perception and recognition. Through these experiences, scientists and employees can become more productive in their work environment and visitors’ senses are stimulated so that they can see and feel forms and shapes, allowing deeper connection than just embodiment in each space.
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우리는 우리의 감각을 통해서 우리를 둘러싼 세 계의 정보를 수집합니다. 이 모든 정보는 지각 과 인식같은 복잡한 과정을 갖도록 우리를 돕습 니다. 이러한 경험들을 통해서 과학자들과 종사 자들은 그들의 일의 환경을 더 생산적으로 되게 할수 있었고 방문자들의 감각은 그들이 형태나 모양들을 보고 느낄수 있도록 자극받고 각자의 공간에서 단지 구체화 하는것 보다 더 깊은 연 결을 가질수있게 되었습니다.
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LIGHTING SYSTEM
LIGHTING SYSTEM
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STRUCTURE
STRUCTURE
BARCELONA CHAIR Used for seating each biome space for experience and engagement BY KNOLL - KNOLL.COM
JAMAICA STOOLS Can spin 360 degrees and is used for high top tables within the collaborative work spaces BY KNOLL - KNOLL.COM
BERTOIA DIAMOND CHAIR Seating used throughout the exterior exhibit and the sound biome on the terraces BY KNOLL - KNOLL.COM
THE COVE WORKSPACE Compact space with proximity to individual work points enabling engagement for short periods of time BY HERMAN MILLER
THE HIVE WORKSPACE Takes advantage of co-location to help drive work forward. The setting offers grouping of individual work points and ergonomic seating BY HERMAN MILLER
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Second Level
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Taste + Olfaction Biome
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03
FOX RESIDENCY The interior spaces are conceptually designed and inspired by three of David Fox’s interests that include drinking coffee, modernism, and sustainability. Three interior iterations were made, each based off of the three interests. 그 내부 공간들은 대이비드 팍스의 커피마시기, 현대풍, 지속가능성 이라는 세가지 관심에 영감 을받아 개념적으로 디자인 되어졌습니다. 세가 지 내부의 반복은 각각 세가지 관심을 바탕으로 만들어졌습니다. 1300 Cherokee Blvd, Knoxville, TN Spring 2016 | Ryann Auokar Studio
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This was designed to create an atmosphere of a coffee shop using warmer tones of color and materials.
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2ND FLOOR PLAN
1ST FLOOR PLAN
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This iteration incorporated David Fox’s interest in Ikea and Alto furniture along with other Scandinavian style furnishings to meet his modern taste.
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This home focused on sustainability through the use of sustainable materials and solar panels.
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Second floor reading room
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AURAL PERCEPTION This thesis investigates sound as an aural experience through spaces within interiors by connecting interior spaces to its external environment. If interior spaces within the circulation zones are exposed to the exterior, this will allow exterior sounds to enter the interior, creating moments of aural experience and way finding for the visually impaired - an audience that relies on sensory information such as sound. 이 논재는 소리를 내부의 공간을 그것의 외부 의 환경과 연결시킴으로서 실내의 공간을 통 한 청각의 경험으로 연구하는것 입니다. 순환 주기 안에 있는 내부 공간이 외부에 노출 되었 을때 이것은 외부의 소리가 내부로 들어오게 합 니다. 소리같은 청각적 감각에 의존하는 청각 장애인들이 소리를 듣고 길을 찾을수있는 기회 를 줍니다. L&N Station, 401 Henley St, Knoxville, TN Fall 2017 | Lisa Mullikin Studio
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Each circulation zone on the plans correlate to each of the different Sonambient Sound Sculptures. Each sound sculpture is planted on an elevated foundation on the site, both on the North and South facing side of the building. The foundation that’s in relation to zone 3 and 4 are at a higher elevation because it represents the second floor plan of the building that’s also at a higher elevation.
그 계획에있는 각각의 순환지역은 각 다른 소남 비엔트 소리 조각과 서로 관련이 있습니다. 각 각의 소리조각은 북쪽과 남쪽 양쪽이 건물의 가 장자리를 보며 그 부지의 기초위에 심어져 있습 니다. 3(삼)지역과 4(사)지역과 연관되어진 그 기초는 높은 위치에 있는데 그것은 그것이또한 높은 고지에있는 그 건물의 2(이)층의 계획을 대표하기 때문입니다.
There are motion sensors that run across each hallway/each zone that transfers each person’s way finding to its assigned Sound Sculpture. A wireless sensor that transfers to the sound sculpture sends vibrations through the metal rods, making each rod sway and collide, creating radiant tones. The more human traffic there is in a zone, the more vibration the sensors send out to the rods, creating louder chimes.
사람들은 각자가 배정된 소리조각의 길을 찾도 록 이동하는 이동하는 각각의 지역의 현관을 가로질러 이동감지기들이 있습니다. 소리 조 각으로 이동하는 무선 감지기는 금속막대를 통 해 진동을 보내는데 각각의 막대는 흔들리고 충 돌하면서 환한 음을 냅니다. 그 지역에 지나 다니는 사람이 많을수록 그 감지기는 그 막대 를 통해 더 큰 차임종 소리를 내면서 진동을 보
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4
3
3
2
2 1
1
N
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NO VIBRATION
INCREASE IN VIBRATION
SOUND LEVEL IN CORRELATION WITH TIME NO VIBRATION
7:30 - 8:20 AM 8:30 - 9:20 AM 9:30 S O- 10:20 U N AM D 10:35 - 11:25 AM 11:35 12:25AM PM 7:30 -- 8:20 1:05 -- 9:20 1:55 AM PM 8:30 2:05--10:20 2:55 PM 9:30 AM 10:35 - 11:25 AM 11:35 - 12:25 PM 1:05 - 1:55 PM 2:05 - 2:55 PM
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LEV
8:20 - 8:30 AM 9:20 - 9:30 AM 11:25 E1:55 L -- I11:35 N AM CO 2:05 PM 8:20 - 8:30 AM 9:20 - 9:30 AM 11:25 - 11:35 AM 1:55 - 2:05 PM
10:20 - 10:35 AM 12:25 - 1:05 PM
INCREASE IN VIBRATION
6:25 AM 3:00 PM
RRELATION WITH TIME 10:20 - 10:35 AM 12:25 - 1:05 PM
6:25 AM 3:00 PM
The Sonambient sculptures create its own orchestra throughout different times of the day, and can be heard by the people inside of the building. The music the sculptures create follow the same schedule everyday, allowing the blind and visually impaired people to know the time of day, understand their surroundings, and possibly know their location of the building based on the tone of sounds that are created by the sound sculptures. 그 소남비엔트 조각은 하루의 다른 시간에 자기 만의 오케스트라를 만들어 냅니다. 그리고 그 건물안에 있는 사람들은 그 소리를 들을수 있습 니다. 그 조각의 소리는 매일 같은 주기로 나 타납니다. 그리고 시각장애인들이 소리조각들 에 의해 만들어진 소리를듣고 그 건물의 위치를 알고 그들의 주변을 이해하면서 하루의 때를 알 수있게 해줍니다.
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2
9
6 6 8 6
4
LEGEND
1
Front Desk + Offices
2
Conference Room
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Center Cove
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Bathrooms
5
Quiet Study Room
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Classrooms
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Dining Hall
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Outdoor Patio
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CIRCULATION ZONE 1 CIRCULATION ZONE 2
N MAIN FLOOR PLAN
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1
1
9 6
6
6
6
4 1
5 6 6
4
LEGEND
1
Offices
4
Bathrooms
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Quiet Study Room
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Classrooms
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Library
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CIRCULATION ZONE 3 CIRCULATION ZONE 4
N 2ND FLOOR PLAN
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CIRCULATION
C I R CCUI LRACTUI LOANT I O N
INTERACTIVE
ND O AN TION
S PR EEST ISVPEA S I N T EI N RA T EC TAA ICVC C PE A SCES
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SOUND
U LUA N T ID ON S OCUI RN SC O D C I R CCUI LRACTUI LOANT I O N
QUIET SPACES
QUIE QTU ISEPTA S C PE A SCES
I N T EI RNATCE T
Plaster Mold Custom wall to create texture within the hallways in zone 2 and 4 - allowing the blind and visually impaired to locate themsleves within the building and help navigation
Existing Tile
Circulation Zone 2
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Each sound sculpture creates a different tone based on the type of metal, height, thickness, and distance between each rod has to each other. 각각의 소리조각은 각 금속막대 사이의 거리, 두께, 높이, 금속의 종류에따라 다 른 소리를 냅니다.
[ZONE 1] 90
[ Z O N E [1 Z] O N E 2 ]
[ Z O N E 2[ Z ] ONE 3]
[ZONE 3]
[ Z O N E 2 [] Z O N E 2 ] [ Z O N E 3 [] Z O N E 3 ]
[ Z O N E 4 [] Z O N E 4 ] 91
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Acoustical Felt Wall Panels 3 Form Acoustic Felt; Cast NRC: .70 Custom wall panels layered in acoustical felt to separate the center cove space from the circulation zones by absorbing the sounds created in the space. This dimensional form diffuses noises to create a more intimate and welcoming environment.
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FURNITURE DESIGN A piece of furniture that follows a 2 in 1 concept that serves more than one function. The two in one tabletop and coat hanger is designed to harmonize both purposes into one piece consisting of three 3D printed white joints, a round 18 inch plexi glass, and eight wooden dowels sprayed in matte black. 투인원 발상으로 만들어진 가구는 한가지 이상 의 기능을 합니다. 이 투인원 탁자와 옷걸이로 된 가구는 두가지 목적을 조화를 이루어 하나로 만들어져있는데 이것은 쓰리디프린트로 만들어 진 이음쇠와 18(십팔)인치 플랙시글라스와 8( 여덟)개의 나무로된 맞춤못으로 되어있고 무광 택 검정색칠이되어있습니다. Fall 2017 | Ryann Aoukar In collaboration with Heather Shine
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PLEXI GLASS TABLETOP + TABLETOP JOINT
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SIDE ELEVATION
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PLAN
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Top joint + coat hanger
Plexi glass tabletop
Center Joint
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CENTER JOINT
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MULTIMEDIA This section consists of personal paintings using watercolor and graphic design work done through Diane Fox’s design presentation class. 이 부분은 다이엔 팍스의 디자인공개수업을 통 해 만들어진 수체화와 그래픽 디자인을 이용해 개인의 서체로 구성되어져 있습니다. Watercoloring | Fall 2015 | Liz Teston Studio Graphics | Spring 2017 | Diane Fox
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L I NES MULTI PLY The objective of this composition was to create a visual representation of lines and how it can create three dimensional forms and even texture through image and type.
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TEXTURES.
VOLUMES, PLANES, AND
TO DESCRIBE
L I NES MULTI PLY
COM JEW MU ISH C E NN I T Y TER BY ARCHDAILY After the Holocaust the community is founded again by a small group of Jews. Up until the 1980s approximately 75 Jewish families are living in Mainz when immigration of Jews from the former Soviet republics increases this number sixfold. The existing spaces in a small residential building cannot fulfill the demands of the growing community for religious, social and cultural activities anymore. A new building for a synagogue plus community center becomes necessary, constructed on the site of the former main ‘Synagogue Hindenburgstrasse.’ In its history Judaism has never developed a strong tradition of building. Nor has it developed architectural styles that, as is the case in other religions, try to translate certain values and credos into built space. Instead, writing and scripture could be seen as a replacement or substitute for spatial production in Judaism. Specifically the Talmud, written after the destruction of the second Temple and the beginning of Diaspora, can be viewed as a response to the loss of Jerusalem as Judaism’s central place, and as an alternative spatial model. The dimension of the architectural traverses throughout the whole Talmud, from the content of individual chapters, via its method of redaction, to the techniques of arguing and debating of the Rabbis in its pages. (Right) Mainz Jewish Community Center: Light of Mainz Diaspora.
The double page magazine spread follows the same architectural language that the Jewish Community Center creates by mimicking the colors and continuation of the angles and lines of the facade. The spreads emphasize the concepts and symbols behind the design of the building inside and out.
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Also on the level of individual words and letters, an object quality is expressed in the writings. The shape of letters shapes their meanings and gives them a specific character. Hebrew letters thus obtain an object quality, or a ‘thing-ness’. Demonstrating this, a typical technique of arguing and interpretation within the Talmud is the reorganization of letters within a word, to obtain completely new meanings. The Hebrew word for ‘word’ (Davar) has the additional meanings of thing or object. These object qualities of writing, as well as the concept of the Talmud (which found its central place of learning in the city of Mainz) as a notion of space, form the main design topics of the building for the Jewish community center of Mainz. Qadushah is the Hebrew word for raising or blessing, whose five characters in an abstracted way shape the silhouette of the building. With the pronouncing of a blessing, such as the one for wine or bread, a profane object is raised or exalted. It is lifted out of the quotidian and made into something special. It is this act of making special that the building, in its everyday use, should allow for. The glazed ceramic facade points to a different layer of writing and scripture. Similar to a process of inscription or carving a
pattern of a rippled and three-dimensional surface is formed with ceramic tiles. This pattern is arranged in a concentric way around the windows thus creating a perspectival play of dimensionality. Multiple perspectives with the windows being their vanishing points emerge within the building’s facade. This spatial quality is enhanced by the transparent green glazing of the ceramic tiles, which reflects the shifting light conditions of its surroundings and displays a wide array of hues and shades. Urbanistically the building follows the block structure prevalent in the neighborhood, arranging the building’s volume and its facades continuously along two main streets. By turning inward and orienting the synagogue towards the East two squares or courtyards are created: Firstly, a public square in front of the main entrance which directs members, visitors and inhabitants towards the building while at the same time offering an open space to the neighborhood within a densely built-up urban fabric. Secondly, an internal court for the community is created. This inner court gives the community space for their celebrations, for outside events or parties, and a space for kids to play. The synagogue, situated just right from the entrance, is dominated by a horn-like space referring to the ‘shofar’, the ram’s horn. Based on the prevented sacrifice
“The glazed ceramic facade points to a different layer of writing and scripture.”
of Isaac by his father Abraham, the shofar symbolizes the connection and the trust between mankind and the godly. The organization of a synagogue space is usually characterized by a certain inner contradiction: Synagogues on the one hand want to be oriented spaces, directed towards East or Jerusalem. On the other hand a centralized space is preferred, as the reading of the Torah is performed from a central position in space, and from the midst of the community. This inherent contradiction is spatially resolved by the horn-like roof that distinctly orients the synagogue space towards the East, but bringing the (easterly = Jerusalem) light right into the center of the space, falling exactly onto the position from where the Bible is read.
1. Jewish Community Center Mainz designed by Manuel Herz Architects located in Mainz, Germany. 2. The synagogue is accessed through the main lobby. 3. The center houses a synagogue, office space, meeting rooms, school multi-purpose space. 4. The interior surfaces of the synagogue are shaped by densely packed Hebrew letters forming a mosaic-like relief. 5. Multipurpose Space.
The interior surfaces of the synagogue are shaped by densely packed Hebrew letters forming a mosaic-like relief, though creating no semantic content. In certain areas this density of letters is reduced, the letters rearranged, and text becomes readable. ‘Piyutim’ (religious poetry) written by the Rabbis of Mainz from the middle ages are carved into the surfaces of the synagogue. In an almost ‘Brechtian’ language these Piyutim narrate the love for the Torah in allusion to the ‘Song of Songs’ or the events around the destruction of the community during the first crusades, and reference the central role of Mainz for Judaism. Furthermore, the Jewish community center houses office spaces, school rooms and two apartments as well as the multipurpose space of the community. This multipurpose space represents the social and cultural heart of the community and will be used for internal purposes as well as for public events for and by the whole city.
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3.
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T H A N K Y O U / 고맙습니다