ACQUA ALTA
DX: DEATH AND CULTURE IN VENICE BY: CHRISTOPHER LUTZ
DESIGN 10: DEATH IN VENICE STUDIO: ACQUA ALTA BY: CHRISTOPHER LUTZ 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
THESIS ABSTRACT
THE SITE OF SAN MICHELE CEMETERY, AN ISLAND LOCATED TO THE NORTHEAST OF VENICE, ITALY WAS THE PARTICULAR SITE FOR THE DESIGN 10: DEATH AND CULTURE STUDIO. INITIALLY TEAMS WERE ARRANGED TO DEVELOP PARTICULAR CEMETERY EXPANSIONS TO THE SAN MICHELE SITE. MY GROUP IN PARTICULAR DECIDED TO BREAK THE PROGRAMMING OF THE SITE UP INTO THREE PARTICULAR POINTS. THE FIRST IS THE CHAPEL. THE START POINT TO THE PROCESSION OF THE SITE WHICH HOUSES ROOMS FOR BURIAL PREPARATIONS. THE SECOND IS THE BURIAL PLOTS WHERE USERS ENGAGE AND INTERACT WITH DIFFERENT BURIAL TYPES FROM ALL PERSPECTIVES. THIRD, THE MEDITATION PAVILIONS AND MAIN SPACE FOR REFLECTION AND RECOVERY POST MORTEM. THIS WAS MY SPECIFIC SITE IN WHICH TO STUDY. HERE LIES THE BEGINNING OF MY STORY...
FIGURE 1
TABLE OF CONTENTS THESIS PROJECT BRIEF RESEARCH OBJECTIVES INVESTIVGATIVE METHODS SITE ANALYSIS & DOCUMENTATION PROGRAM STUDY PROCESS DOCUMENTATION FINAL DESIGN DOCUMENTATION ANALYSIS / SELF CRITIQUE WORKS CITED & CREDITS BIBLIOGRAPHY
THESIS
TO DEVELOP A SERIES OF SERENE MEDITATIVE SPACES THAT RANGE FOR INDIVIDUAL AND FAMILY USE. THE SPACES WILL BE EXPRESSIVE THROUGH SENSUOUS MATERIALS. THE PLAY OF THESE MATERIALS ARE MEANT TO BRING USERS A PHENOMENAL EXPERIENCE BY HONING IN ON INTIMATE MOMENTS TO HELP SOOTHE VISITORS DEALING WITH THE LOSS OF A LOVED ONE.
FIGURE 2
PROJECT BRIEF
UNDERSTANDING UNDERSTANDING UNDERSTANDING
RELIEF RELIEF RELIEF
LIGHT LIGHT LIGHT
SENSE SENSE SENSE
WATER WATER WATER
FIGURE 5
(ACCEPTANCE) (ACCEPTANCE) (ACCEPTANCE)
FIGURE 4
FIGURE 1
SPIRIT SPIRIT SPIRIT
PROJECT BRIEF ORIGINALLY, MY TEAM BROKE DOWN WHAT GRIEF REALLY MEANS TO SOMEONE AND WE DEVELOPED A RULE FOR OURSELVES IN WHICH WE WANTED TO:
DEVELOP A SPIRITUAL COGNITIVE RESPONSE TO THE MEANING OF DEATH FROM THAT POINT, THIS ASPECT WAS SPLIT INTO THREE PARTS,
A SPACE FOR SENSES TO BE ACTIVATED THROUGH LIGHT A SPACE FOR THE USER TO ACCEPT THE LOSS OF A LOVED ONE THROUGH THE CONNECTION OF LIGHT TO WATER A SPACE FOR REFLECTION BASED OFF THE PHENOMENA OF WATER
MY SPECIFIC SITE WAS WHAT I SAW AS A COLLECTION OF ALL OF THESE PARTS IN WHICH TO BE EXPERIENCED.
FIGURE 6
RESEARCH OBJECTIVES
RESEARCH OBJECTIVES SPACES OF REFLECTION AND SENSUOUS MATERIALITY ITALIAN CEMETERY ARCHITECTURE VERNACULAR: CHIPPERFIELD’S EXPANSION AND SAN MICHELE CONTRAST ORGANIZATION BASED OFF BURIAL METHODS DEVELOPING A SENSE OF PHENOMENA CAPTURING A SPECIFIC MOMENT IN TIME
RESEARCH OBJECTIVES DAVID CHIPPERFIELD EXPANSION
VERNACULAR
FIGURE 9
WHILE THE NEW MAUSOLEUM LOOKS UNPLEASANTLY COLD AND CLOSED FROM OUTSIDE, ITS INTERIOR BENEFITS FROM THIS CLOSEDNESS. WHEN WALKING THROUGH, YOU SWITCH BETWEEN INTIMATE AND OPEN ROOMS. THE NEW HOUSE OF THE DEAD BY DAVID CHIPPERFIELD IS A STRONG CONTRAST TO THE OLD PART OF THE SAN MICHELE CEMETERY. 1
FIGURE 8
ANOTHER MOMENT BORROWED WAS THE INTIMACY OF THE GARDENS THAT EACH MAUSOLEUM WOULD HOUSE IN ITS CORE. IT REMINDED ME OF THE CAMPOS OF VENICE AND PERHAPS THAT REACTION COULD BE USED AS A PLAN ORGANIZER
FIGURE 7
THE PARTICULAR BASALT-CLAD WALLS WERE INTRIGUING TO ME AS A MATERIAL TO BORROW BECAUSE OF HOW WATER INTERACTS WITH IT AND HOW IT CAN BE CUSTOMIZED WITH CONSTRUCTION
RESEARCH OBJECTIVES QUESTIONS OF PERCEPTION AN ATTENTION TO PHENOMENAL PROPERTIES OF THE TRANSFORMATION OF LIGHT THROUGH MATERIAL CAN PRESENT POETIC TOOLS FOR MAKING SPACES OF EXHILARATING PERCEPTIONS. REFRACTION PHENOMENA PRODUCE A PARTICULAR MAGIC IN ARCHITECTURE THAT IS ADJACENT TO OR INCORPORATES WATER. 2
THE DESCENT INTO ONESELF CAN INSPIRE A NEED TO COMMUNICATE DISCOVERIES MADE IN SOLITUDE: THE PRIVATE REFLECTION PROVOKES THE PUBLIC ACTION. 4
FIGURE 10
THE CHALLENGE FOR ARCHITECTURE IS TO STIMULATE BOTH INNER AND OUTER PERCEPTION; TO HEIGHTEN PHENOMENAL EXPERIENCE WHILE SIMULTANEOUSLY EXPRESSING MEANING; AND TO DEVELOP THIS DUALITY IN RESPONSE TO THE PARTICULARITIES OF SITE AND CIRCUMSTANCE. 3
DEVELOPING A SENSE OF PHENOMENA
RESEARCH OBJECTIVES QUESTIONS OF PERCEPTION “OUR EXPERIENCES AND SENSIBILITIES CAN EVOLVE THROUGH REFLECTIVE AND SILENT ANALYSIS. TO OPEN OURSELVES TO PERCEPTION, WE MUST TRANSCEND THE MUNDANE URGENCY OF “THINGS TO DO.” WE MUST TRY TO ACCESS THE INNER LIFE WHICH REVEALS THE LUMINOUS INTENSITY OF THE WORLD. ONLY THROUGH SOLITUDE CAN WE BEGIN TO PENETRATE THE SECRET AROUND US. AS AWARE OF ONE’S UNIQUE EXISTENCE IN SPACE IS ESSENTIAL IN DEVELOPING A CONSCIOUSNESS OF PERCEPTION.” 5
FIGURE 11
“IN ITS FLUIDITY AND “SPIRITUALITY”, WATER SHARES CHARACTERISTICS WITH CONCRETE. ANOTHER JUXTAPOSITION – THE UNIVERSAL AND TIMELESS QUALITY OF WATER WITH THE USE OF CONCRETE.” 6
“AS IN DIRECT PERCEPTUAL EXPERIENCE, ARCHITECTURE IS INITIALLY UNDERSTOOD AS A SERIES OFPARTIAL EXPERIENCES, RATHER THAN A TOTALITY.”
“AN ARCHITECTURAL EXPERIENCE SILENCES ALL EXTERNAL NOISE; IT FOCUSES ATTENTION ON ONE’S VERY EXISTENCE. ARCHITECTURE, AS ALL ART, MAKES US AWARE OF OUR FUNDAMENTAL SOLITUDE. AT THE SAME TIME, ARCHITECTURE DETACHES US FROM THE PRESENT AND ALLOWS US TO EXPERIENCE THE SLOW, FIRM FLOW OF TIME AND TRADITION.“ 7
DEVELOPING A SENSE OF PHENOMENA
RESEARCH OBJECTIVES CHAPEL OF THE CHIMES: JULIA MORGAN THE NICHE GALLERY OF THE CHAPEL OF THE CHIMES INSPIRED ME TO USE INDIVIDUAL FACEPLATES OF THE MAUSOLEUM AS AN ORGANIZER TO PUNCTURE OPENINGS IN THE MEDITATION SPACES.
FIGURE 14-
FIGURE 12
FIGURE 13
JULIA MORGAN’S COMPLEX PLAN ALSO SERVED AS INSPIRATION IN REGARDS TO HOW SPACES ARE BROUGHT TOGETHER THROUGH GARDENS. THIS MOVE GAVE ME THE IDEA TO USE GARDENS AS THRESHOLDS THAT LEAD INTO THE MEDITATION SPACES. 8
ORGANIZATION BASED OFF BURIAL METHODS
RESEARCH OBJECTIVES CHURCH ON THE WATER: TADAO ANDO ANDO EXPRESSES IN THIS WORK THE DUAL NATURE OF EXISTENCE. THE SPACE OF THE CHAPEL IS DEFINED BY LIGHT, CREATING RELATIONSHIPS BETWEEN ARCHITECTURE AND NATURE.3
FIGURE 17
Figure 6 View of cross from chapel
FIGURE 15
THROUGH A PERCEPTION OF THAT DISTANCE, OR RATHER THE LIVING OF THAT DISTANCE, THE SURROUNDING SPACE BECOMES MANIFESTED AS A THING ENDOWED WITH VARIOUS MEANINGS AND VALUES. THE WORLD THAT APPEARS TO MAN’S SENSES AND THE STATE OF MAN’S BODY BECOME IN THIS WAY INTERPRETED.”9
FIGURE 16
THE CHAPEL ON THE WATERS INSPIRATION BEGAN AT THE STAIRCASE WHICH SPIRALS DOWN AND LEADS TO THE VIEW AT THE BOTTOM RIGHT. THIS SENSE OF SHOWCASING A PARTICULAR AREA IS A GESTURE THAT I WANTED TO ACHIEVE THROUGH MY PORTEGO ATRIUM THAT LOWERS USERS DOWN TO THE MEDITATION SPACES
SPACES OF REFLECTION AND SENSUOUS MATERIALITY
RESEARCH OBJECTIVES BRION CEMETERY: CARLO SCARPA THE CEMETERY HAS ASTONISHING DETAIL ALONG WITH AN EXTENSIVE USE OF WATER. THE DEAD ARE BURIED IN A GARDEN EMANATING A SENSE OF FORMAL POETRY.4
ITALIAN CEMETERY ARCHITECTURE
FIGURE 20
FIGURE 18
FIGURE 19
THE PLAYFUL USE OF WATER AND LIGHT FOR INTERIOR AND EXTERIOR SPACES THE MATERIALITY OF THE BRION CEMETERY IS WHAT CAUGHT MY EYE BECAUSE OF HOW BEAUTIFUL THE WEATHERING EFFECT HAS CREATED. ALMOST AS IF IT WAS MEANT TO BE PLACED ON THAT SITE AND IT RECIEVED ITS SIMPLE CHECKMARK FROM THE ENVIRONMENT. 10
RESEARCH OBJECTIVES THERME VALS: PETER ZUMTHOR
FIGURE 21
HOWEVER, THESE SPECIAL MOMENTS ARE ONLY TO BE EXPERIENCED BASED OFF THE LEVEL OF THE TIDES THROUGHOUT THE DAY.” 11
FIGURE 23
THE PLAYFUL RISE AND FALL OF WATER WITHIN THE THERME VALS EVOKED THE STYLE I WISH TO PROMOTE WITHIN MY MEDITATIVE SPACES.
FIGURE 22
THERME VALS CREATES A SENSORY EXPERIENCE UTILIZING BOLD MATERIALS AND PLAYFUL LIGHT. EXPERIENTIAL ENCLOSURES DERIVE FROM MANIPULATION OF PHENOMENAL DESIGN FEATURES.
SPACES OF REFLECTION AND SENSUOUS MATERIALITY
RESEARCH OBJECTIVES SUMINAGASHI ART THE PROCESS OF DIPPING INK INTO A POOL OF WATER TO CREATE A PIECE OF ART THAT CAN THEN BE EXTRACTED IN ITS STATE ON A PARCHMENT THAT WILL SOAK UP THE INK IN THE PATTERN THAT WAS SET WITHIN THE BASIN.
THIS SENSE IS WHAT DRIVES THE OVERALL EXPERIENCE THAT I WANT USERS TO FACE WHEN USING THE MEDITATION PAVILIONS DURING SPECIAL TIMES THROUGHOUT THE DAY & YEAR. 12
FIGURE 24
FIGURE 25
A PIECE OF ART THAT CAN NEVER BE REPEATED THE SAME WAY AGAIN BUT ALSO SERVES AS A SENSE OF PHENOMENA BY CAPTURING A MOMENT OF TIME.
CAPTURING A SPECIFIC MOMENT IN TIME
FIGURE 26
INVESTIGATIVE METHODS
INVESTIGATIVE METHODS BELOW IS A CONCEPTUAL LEGACY IMAGE BASED OFF OF HOW I IMAGINED MY MEDITATION SPACES. IT HAS ALWAYS BEEN IMPORTANT TO ME FOR HOW THE SITE IS WEATHED OVER THE YEARS IN ADDITION TO WHAT HAPPENS WITH WATER DURING HIGH AND LOW TIDE IN ADDITION TO THE SEASONAL FLOODS. WITH THE CANAL EDGES OF VENICE BEING SO OPEN AND WELCOMING TO THE LAGOON, IT FELT LIKE THE RIGHT MINDSET TO FOLLOW A SIMILAR AESTHETIC.
INVESTIGATIVE METHODS THIS WAS A WORKING TECHTONIC MODEL IN REGARDS TO THE PLAY OF WATER DURING THE PHENOMENA OF FLOODING. THIS METHOD DIDN’T WORK AS ORIGINALLY PLANNED SINCE THE LEVEL OF WATER WILL ALWAYS MAINTAIN A STEADY LEVEL THAT CANNOT BE ALTERED, BUT HOWEVER, IT CAN BE BEAUTIFUL FOR HOW SCUPPERS RETURN THE WATER BACK TO THE LAGOON.
INVESTIGATIVE METHODS THE CAMPO PLAN BELOW WAS THE INSPIRATION OF THE MEDITATION SPACE PLAN LAYOUT. THE IDEA WAS DERIVED FROM SAINT MARKS SQUARE WHICH HAS WATER THAT FILLS UP AND MAKES THE SQUARE NEARLY IMPOSSIBLE TO CIRCULATE THROUGH DURING THE DAY. I WANTED TO BORROW THIS SENSE WHERE AS THE LAGOON WILL DETERMINE WHICH SPACES CAN BE USED OR NOT
CAMPO
THE RED AND MAIN CIRCULATORY MATERIAL WAS IMAGINED TO BE A PERMANENT DUCKBOARD DESIGN, WHICH IS WHAT ARE PLACED WITHIN SAINT MARKS SQUARE TO PROMOTE FOR CIRCULATION BUT ALSO GIVE AN INTERESTING EXPERIENCE TO CIRCULATING ATOP OF A FLOATING SIDEWALK
MEDITATION LAYOUT
INVESTIGATIVE METHODS PORTEGOS ACT AS THE ENTRANCE HALL WITHIN A MERCHANTS HOUSE IN VENICE. I USED THIS AS A FRAMEWORK TO LAYOUT THE GRAND STAIR SHELTER IN ADDITION TO THE MONUMENTAL DOCK SPACE TO ACT AS THAT THRESHOLD SIMILAR TO THE FEELING I WAS HINTING AT WITH THE CHURCH ON THE WATER’S SPIRAL STAIRCASE
PORTEGO
THE STACKED LEVELS OF THE PORTEGO LED FOR IT TO HAVE THIS PALAZZO FEEL. I WANTED THAT FORM TO SERVE AS A BEACON THAT DIRECTS BACK TOWARDS VENICE AND TOURISTS AND CITIZENS WILL BE ABLE TO SEE A NEW POINT TO EXPLORE WITHIN THE SAN MICHELE CEMETERY
FIGURE 27
SITE ANALYSIS
SITE ANALYSIS THE NEXT FEW PAGES WILL GO OVER THE PHENOMENA OF THE LAGOON TIDE AND SEASONAL FLOODS AND HOW I PORTRAYED THEIR INTERACTION WITH MY MEDITATION SPACES
LOW TIDE
SITE ANALYSIS
MID TIDE
SITE ANALYSIS
HIGH TIDE
SITE ANALYSIS
BORA & SIROCCO SEASONAL FLOODS
SITE ANALYSIS NOT ONLY SHOULD THE WATER RETURN BEAUTIFULLY AFTER THE RISE AND FALL OF THE LAGOON LEVEL, BUT ALSO THROUGH STORMWATER MANAGEMENT. EXCESS WATER FROM THE TOP LEVEL IS CHANNELED INTO “ACQUEDUCTS” THAT BRING THE WATER BACK AROUND, UNDER AND SOMETIMES EVEN THROUGH THE MEDITATIVE SPACES BELOW AND BACK OUT INTO THE LAGOON
STORMWATER MANAGEMENT
SITE ANALYSIS SOME OF THE RAILINGS WERE ALSO DESIGNED TO WELCOME WATER BY HOUSING WROUGHT IRON FRAMES WITHIN A BRICK AND STUCCO FORMWORK.
FIGURE 28
PROGRAM STUDY
PROGRAM STUDY
ENHANCING THE TRADITIONAL HIERARCHY THROUGH MODERN AND TRADITIONAL BUILDING MATERIALS AND METHODS: _BORROWED FORMS WITH ENHANCEMENTS OF CONTEMPORARY DISCOVERIES (MATERIAL REACTION TO THE ELEMENTS)
A SERIES OF EXPERIENCES AND MOMENTS: _OFFER VISITORS MOMENTS OF REFLECTION AND SOLITUDE TO HELP AID IN THE RECOVERY PROCESS _HONOR VENETIAN VERNACULAR THROUGH PARTICULAR DESIGN MOTIFS
GRAND CIRCULATION:
_A LINK THAT CONNECTS USERS FROM THE TRADITIONAL BURIAL PLOTS ON THE TOP LEVEL WITH THE MEDITATION SPACES _ADDS A SENSE OF HIERARCHY TO THE DOCK ENTRANCE AT THE SOUTHERN TIP OF THE EXPANSION
A DOCK: _A PLACE FOR VENETIANS AND OTHER VISITORS TO DIRECTLY ACCESS THE MEDITATION SPACES AND LOWER LEVEL BURIAL PLOTS
FIGURE 29
PROCESS DOCUMENTATION
PROCESS DOCUMENTATION
WORKING FIRST FLOOR PLAN - EXPLORING AN APPROPRIATE AMOUNT OF DOCKS AND SPATIAL ADJACENCIES (MEDITATION SPACES CONNECTING BACK TO ORIGINAL PROGRAM)
PROCESS DOCUMENTATION
WORKING SECOND FLOOR PLAN - EXPLORING WHAT MIGHT WORK WITH HOUSING THE STAIRCASE
PROCESS DOCUMENTATION
LARGE SECTION AT THE HEART OF THE MEDITATION SPACES AND HOW THEY INTERACT WITH THE REFLECTIVE POOL IN THE CORE OF THE PLAN
PROCESS DOCUMENTATION
FULL SECTION INVESTIGATING THE LIGHT QUALITY OF THE DOCKS AND HOW INTIMATE OF AN ARRIVAL THAT USERS ARE ACTUALLY BEING OFFERED.
PROCESS DOCUMENTATION
FIGURE 30
FINAL DOCUMENTATION
FINAL DOCUMENTATION
THE MEDITATION SPACES WERE MEANT TO BE VERY TIGHT KNIT, INTIMATE SPACES WITH A HIGH SENSUOUS MATERIAL BREAKDOWN. IN ADDITION, I IMAGINED THEM PROVIDING VIEWS BUT THE ORIENTATION OF THE WINDOWS ALLOWS FOR THOSE TRYING TO MEDITATE TO SEE OUT, BUT NOBODY FROM THE PUBLIC CAN SEE IN.
FINAL DOCUMENTATION
FULL SCHEME
FINAL DOCUMENTATION
THE MATERIALS FOR THE MEDITATION SPACES ARE MEANT TO BE CAST-IN-PLACE CONCRETE PANELS WITH SCUPPER DETAILS TO ORNATE THE ROOF
FINAL DOCUMENTATION
UP
UP
FINAL FIRST FLOOR PLAN - RED DOTS INCORPORATE THE CIRCULATORY CONNECTION POINTS BACK TO THE BURIAL PLOTS
FINAL DOCUMENTATION
FINAL SECOND FLOOR PLAN
FINAL DOCUMENTATION FULL SECTION
FINAL DOCUMENTATION
WITH THE ADDITION OF THE DOCKS, USERS CAN ACCESS THE SOUTHERN TIP OF THE SITE DIRECTLY FOLLOWING ALONG THE VAPORETTO. TRADITIONAL MATERIALS WERE IN MIND WHEN DESIGNING THE SPACE (STUCCO & TRAVERTINE)
THIS NICHE CONNECTS THE MEDITATION SPACES BACK TO THE BURIAL PLOTS AND CAN BE ACCESSED DIRECTLY FROM THE INTERIOR. TO THE RIGHT IS A GARDEN THAT ACTS AS THE THRESHOLD INTO THE MEDITATION SPACES. IT WAS IMPORTANT FOR ME TO DEVELOP A ROUTE THAT WOULDN’T BE TOO DISTRACTING, BUT WOULD BRING SOMEONE DIRECTLY TO THE MEDITATION SPACES OR THEIR BOAT
AS THE PROCESSION CONTINUES DOWN THE SITE FACING TOWARDS VENICE IN THE DISTANCE, THE PORTEGO ATRIUM’S MATERIALITY WAS DERIVED FROM VENETIAN NEIGHBORHOODS. BY STICKING TO TRADITIONAL MATERIALS AND METHODS, A RESPECT IS SHOWN TOWARDS THE STRONG HISTORY AND CULTURE OF THE ITALIANS
THE ENTRANCE TOWARDS THE MEDITATION PAVILIONS FROM THE PORTEGO ATRIUM IS CELEBRATED WITH TIDAL POOLS, ALLOWING FOR USERS ENGAGE DIRECTLY WITH THE LAGOON IF THEY SO CHOOSE, AS IF THEY WERE WALKING ALONG THE RIO’S OF VENICE THE TIDAL POOL HEIGHTS VARY BASED OFF OF THE TIME OF DAY AND PARTICULAR SEASON
THE INTERIOR OF THE PORTEGO ATRIUM WAS MEANT TO FEEL ORNATE AS IF ONE WAS LITERALLY INSIDE OF A PORTEGO OR PALAZZO. DEVOTING THIS HIERARCHY THROUGH MATERIAL EVOKES A GRAND GESTURE TO PROCESS TOWARDS THE MEDITATION SPACES
SELF CRITIQUE
THE BIGGEST CONCERN OF THE OVERALL CRIT WAS THE MATERIAL CHOICE. IT CAUSED A DISCONNECT BETWEEN BOTH SIDES OF THE EXPANSION AND GAVE A VERY DIFFERENT FEEL OF THE SPACES, MAKING IT SEEM LIKE TWO COMPLETELY DIFFERENT PROJECTS. WITH THAT IN MIND, I TOOK A STEP BACK AND REINCORPORATED THE CORRECT MATERIALS WITH A SUBTLE STUCCO TOUCH. THIS PASSION FOR MATERIALITY EVOLVED MY WHOLE UNDERSTANDING FOR CONSTRUCTION METHODS. BECAUSE OF THIS STUDIO I LOOK FORWARD TO DRAWING AN ACTUAL WINDOW, FLOOR OR WALL DETAIL BECAUSE I ACTUALLY FOUND THE JOY IN IT RATHER THAN THE STRESS. OVERALL, I REALLY DID ENJOY THIS STUDIO AND THE VARIOUS INVESTIGATIONS THAT HAD TO BE PERFORMED IN ORDER TO REACH RESULTS. I WISH WE WOULD HAVE GOTTEN INTO MORE INTIMATE DETAILS LIKE A DOOR DESIGN JUST AS A SMALL STUDIO ASSIGNMENT BECAUSE I NEVER REALIZED HOW EXPRESSIVE A PROJECT CAN REALLY BE UNTIL ITS’ BASED OFF OF ONE SMALL DETAILED DESIGN.
SELF CRITIQUE
THE LENGTH OF THE MASTER PLANNING PHASE IN MY OPINION TOOK A LITTLE LONGER THAN ANTICIPATED. I WAS READY TO DIVE INTO INDIVIDUAL DESIGNS THREE WEEKS BEFORE THE MASTER PLANNING PHASE. I DO HOWEVER REALIZE THAT I COULD’VE CHALLENGED MYSELF MORE ESPECIALLY ON FOUNDATION DETAILS, SCUPPER DETAILS AND ACTUALLY CONSTRUCTING SMALL MOMENTS TO HELP EXEMPLIFY WHAT WAS REALLY ON MY MIND. I’VE FELT A GREAT IMPROVEMENT IN MYSELF SINCE THE LAST TIME I HAD PROFESSOR JOHNSTON FOR A STUDIO AND I ONLY WANT TO CONTINUE TO LEARN MORE IN MY PROFESSIONAL CAREER.
FOR ME PERSONALLY, I FELT THAT THIS WAS THE BEST CRITIQUE OF MY COLLEGE CAREER. THAT WOULD HAVE NEVER BEEN POSSIBLE WITHOUT DEVELOPING ONE OF MY FAVORITE PROJECTS WHILE ATTENDING PHILADELPHIA UNVERSITY. PS: I WOULD LOVE TO COME BACK AND ATTEND ANY CRITIQUES IF THERE IS A DESIGN 10: DEATH IN VENICE STUDIO NEXT SPRING!
WORKS CITED & CREDITS
1 http://openbuildings.com/buildings/san-michele-cemetery-exten sion-profile-41234 2 Holl, Steven, and Juhani Pallasmaa. Questions of Perception: Phe nomenology of Architecture. [New ed. San Francisco, CA: William Stout, 2006. Page 27 3
Holl, Steven, and Juhani Pallasmaa. Questions of Perception: Phe nomenology of Architecture. [New ed. San Francisco, CA: William Stout, 2006. Page 42
4
Holl, Steven, and Juhani Pallasmaa. Questions of Perception: Phe nomenology of Architecture. [New ed. San Francisco, CA: William Stout, 2006. Page 6
5
Holl, Steven, and Juhani Pallasmaa. Questions of Perception: Phe nomenology of Architecture. [New ed. San Francisco, CA: William Stout, 2006. Page 13
6
Holl, Steven, and Juhani Pallasmaa. Questions of Perception: Phe nomenology of Architecture. [New ed. San Francisco, CA: William Stout, 2006. Page 49
7 Holl, Steven, and Juhani Pallasmaa. Questions of Perception: Phe nomenology of Architecture. [New ed. San Francisco, CA: William Stout, 2006. Page 11 8 http://www.atlasobscura.com/places/chapel-of-the-chimes 9 http://architectboy.com/church-on-the-water/ 10 http://www.phaidon.com/agenda/architecture/articles/2013/de cember/23/carlo-scarpas-cemetery-for-brionvega-boss/ 11 http://www.arcspace.com/features/atelier-peter-zumthor/vals-ther mal-baths/ 12 http://suminagashi.com/
A SPECIAL THANKS TO JESSE RABINOWITZ AND KATIE NAWOTKA FOR THE EFFORTS DURING THE MASTER PLANNING PHASE OF THE PROJECT
Figure 1 http://travel-and-see-the-world.blogspot.ro/2013/06/the-most-beautiful-pictures-ofvenice.html Figure 2 http://www.mochileandoporelmundo.com/2013/04/cosas-que-hacer-ver-en-venecialo-mejor.html Figure 3 D10 group booklet Figure 4 D10 group booklet Figure 5 D10 group booklet Figure 6 https://500px.com/photo/32341425/green-door-by-scott-marx Figure 7 http://c1038.r38.cf3.rackcdn.com/group5/building41234/media/mnzt_5212336764_3dfc201299_b.jpg Figure 8 https://c1.staticflickr.com/9/8488/8228674495_310f2fc819_b.jpg Figure 9 http://c1038.r38.cf3.rackcdn.com/group5/building41234/media/drnl_p1010078.jpg Figure 10 https://stoutbooks.files.wordpress.com/2012/11/questions.jpeg Figure 11 http://www.publishedart.com.au/images/architecture/big_questions.jpg Figure 12 https://www.flickr.com/photos/villagesavant/2605106519/ Figure 13 http://images.reachsite.com/516f4715-6929-4f8c-a256-272d490ea40c/media/406441/original/406441.jpg?gen=1 Figure 14 http://upload.wikimedia.org/wikipedia/commons/e/e8/Oakland-columbarium-s.jpg Figure 15 https://s-media-cache-ak0.pinimg.com/736x/14/56/ b3/1456b37719ae445a5365a834d55daeb7.jpg Figure 16 http://www.archdaily.com/97455/ad-classics-church-on-the-water-tadao-ando/ Figure 17 http://www.pritzkerprize.com/sites/default/files/1995-w-02lg.jpg Figure 18 http://dome.mit.edu/bitstream/handle/1721.3/68095/131308_cp.jpg?sequence=1 Figure 19 http://41.media.tumblr.com/67d9126d461c0a04ab2be5de37a5e5aa/tumblr_nmkh0oRVJg1s1yxxlo1_1280.jpg Figure 20 http://www.phaidon.com/resource/carlos-scarpa-brion-3.jpg Figure 21 http://files.newsnetz.ch/story/1/1/6/11603762/67/topelement.jpg Figure 22 http://www.graubuenden.ch/typo3temp/pics/therme-vals-nachts-aussen_020dc2ccd1.jpg Figure 23 http://betorod81.blogspot.com/2010_07_01_archive.html Figure 24 https://www.youtube.com/watch?v=9nAez1H9iAw Figure 25 http://www.ruthbleakley.com/blog/2013/11/suminagashi-marbling-tips/ Figure 26 https://www.flickr.com/photos/22fiaschi/5409656667/in/set-72157622361857831 Figure 27 https://www.flickr.com/photos/44548980@N00/154845774/ Figure 28 JOHNSTON – DESIGN CLASS FOLDER Figure 29 https://www.flickr.com/photos/jacqueline_poggi/7093654591/in/set72157629839238167/ Figure 30 http://www.history-of-the-future.com/wp-content/img/venice/venice1.jpg
BIBLIOGRAPHY
Holl, Steven, and Juhani Pallasmaa. Questions of Perception: Phenomenology of Architecture. [New ed. San Francisco, CA: William Stout, 2006 Zumthor, Peter, and Switzerland Lucerne. Three Concepts: Thermal Bath Vals, Art Museum Bregenz, “Topography of Terror” Berlin. Basel: Birkhauser Verlag, 1997. Zumthor, Peter, and Maureen Turner. Thinking Architecture. 2nd, Expanded ed. Basel: Birkhäuser, 2006. Holl, Steven. Steven Holl. Bordeaux: Arc En Rêve Centre D’architecture ;, 1993. Cohen, Jean. Liquid Stone: New Architecture in Concrete. New York: Princeton Architectural Press, 2006. Holl, Steven. Intertwining: Selected Projects 1989-1995. New York: Princeton Architectural Press, 1998. Holl, Steven. Steven Holl: Idea and Phenomena. Baden, Switzerland: Lars Müller, 2002. Rossi, Aldo, and Peter Eisenman. The Architecture of the City. Cambridge, Mass.: MIT Press, 1982. Zumthor, Peter. Thermal Bath at Vals. London: Architectural Association, 1996.
DX: DEATH AND CULTURE IN VENICE SAN MICHELE CEMETERY EXPANSION ACQUA ALTA