San Michele Cemetery Expansion Process book

e t e r e o amanda bonelli kristin pool matt ulassin

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 1

SAN MICHELE IN ISOLA | VIEW FROM FERRY APPROACH1

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c e m e t e r y

e x p a n s i o n isola di san michele venice , italy

Master Plan Ti t l e P a g e Ta b l e o f C o n t e n t s Master Plan Demographics Master Plan Narrative Master Plan Research Master Plan Investigation Program Research & Breakdown Evolutions & Vignettes Scheme 1 Scheme 2

The Garden Scope of Work Thesis Statement Research Objectives Research Investigative of Ecology Structural Investigation Mourning Process Final Design Documentation Analysis Critique Works Cited and Credits Bibliography

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e t e r e o delicate and light in a way that seems too perfect for this world.

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A L L E Y O F C Y P R E S S T R E E S O N I S 5L A N D 2

GARDENS OF SAN MICHELE | burial plots3

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TRADITIONAL FUNERAL

| venice canals4

SAN MICHELE IN ISOLA5

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SAN MICHELE EXISTING CONDITIONS

IN GROUND BURIAL Sprawl Condition

MAUSOLEUM Stacking Condition

CRYPTS Building Condition

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IN GROUND BURIAL6

MAUSOLEUM7

CRYPTS8 9

THE PROBLEM

40% OF LAND 1 8 % O F P O P U L AT I O N

A question for us became how to sustain a large population of buried indefinitely.

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35% 0F LAND 5 2 % O F P O P U L AT I O N

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ITALY RELIGIOUS BACKGROUND

NO RELIGION 5.8%

OTHERS 1.5%

PROTESTANT 1.4%

ORTHODOX JEW 1.6%

ISLAM 1.9%

CATHOLICISM 87.8%

8 7 . 8 % C AT H O L I C 30% PRACTICE This proposal aims to capture those less tied to traditional burial rituals. While almost 90% of Italian citizens themselves Roman Catholic, only 30% are practicing. This leaves an opportunity to introduce nontraditional methods into a culture dominated by custom.

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ITALY AGE

65 YEARS + 21%

55 - 64 12.4%

25 - 54 YEARS 43%

15 - 24 YEARS 9.8%

0 - 14 YEARS 13.8%

66.6% 54 AND YOUNGER With a proposal of alternative burial methods, we look to a younger generation.

As these generations grow, those who come after will continue these methods.

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NARRATIVE

TRADITIONALLY THE BODY IS MEMORIALIZED AFTER DEATH AS A WAY TO CONSOLE THOSE CONNECTED TO THE DECEASED. IN ORDER FOR THE MEMORY OF A HUMAN TO LIVE ON, THE SPIRIT MUST BE RE-ASSOCIATED. BY TRANSFORMING THE TRADITIONAL GRAVE TO BE ONE THAT REPRESENTS NEW LIFE, THE MEMORY OF A HUMAN CAN PERPETUATE. IN THIS WAY, A RESTING PLACE DOES NOT BECOME THE EMBODIMENT OF A LIFE.

W E P R O P O S E R E - A S S O C I AT I O N O F I N D I V I D U A L MEMORY TO FORM COLLECTIVE REMEMBRANCE.

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WE WILL DO THIS THROUGH THREE DISTINCT BURIAL METHODS

THE COMPOUND

THE ELEMENT

THE MACHINE

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GOALS

T O S H O W T H AT D E AT H C O N T R I B U T E S T O A MEMORY BEYOND ONESELF To instill the notion that burial can be more than self honoring, but a collective experience.

T O R E A S S O C I AT E T H E B O D Y T H R O U G H S U S TA I N A B L E METHODS OF BURIAL To offer a secondary lens on how one perceives the breakdown of a body.

T O C R E AT E A C Y C L I C A L E X P E R I E N C E R E F L E C T I V E O F H U M A N L I F E A N D D E AT H P R O C E S S E S To show that death can be more than a linear process.

T O C R E AT E A S E N S E O F P L A C E T H AT R E L AT E S T O T H E EVOLUTION OF VENICE AND SAN MICHELE To view water as an essential building component of the addition.

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UNSUSTAINABLE CEMETERIES OF THE PRESENT

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CYCLICAL APPROACH TO DEATH

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REDEFINING MEMORIZATION

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ALTERNATIVE CEMETERY ORGANIZATION

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CYCLICAL APPROACH TO DEATH

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CAMPO ANALYSIS

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Chiesa di San Michele

SITE RELATIONSHIP This proposal is a counterbalance to the existing organization of San Michele.

The existing site leaves one prone to wander. This proposal transforms circulation into a cyclical layout. It recognizes the original grid and opens it, allowing a process that is fluid.

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Th Sa pro the

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USER RELATIONSHIPS Families of those buried Deceased Visitors

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PROCESSION We see the journey from San Michele to our addition as a cyclical route. One first experiences tradition then is introduced to transformative burial methods.

MEMORIALIZATION

Experienced by all user groups Open connection to environment, both above and below ground Physical representation of one or all processes Physical indication of those who rest here

INDIVIDUAL MOURNING

Experienced by those who have a direct relationship to deceased

COLLECTIVE MOURNING

Experienced by mourners together

Controlled connection to environment Use of water, light to create calm Space connects individual to dead

Limited connection to environment Space enables collective memory sharing

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MEMORIALIZATION 1

COLLECTIVE MOURNING

INDIVIDUAL MOURNING

J O U R N E Y

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Arrival and departure Death processes Collective memory sharing

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[ COMPOUND ] f o u n d a t i o n DEFINITION: Utilizing the human proportion [3’ x 9’] as a module for construction

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HUMAN SCALE

HUMAN COMPOUND STRUCTURE

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the human experience CHARACTERISTICS: dense, closed, dark, heavy, cold, tactile, compressed, defined edges QUALITIES: high and low extremes, tallest point of addition, builds and recedes similarly to tides in Venice

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h e a v y 12

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pragmatic experience PROCESSION: water & land access METHODS: earthen burial, entombment BUILT: morgue

island procession

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earthen burial PROCESS: 1. to reach desired image, the corpse is disingected, eyes and mouth set, stitched or sealed, and two to three gallons of arterial chemicals are injected while blood is drained to sewer.

2. remaing bodily fluids and organs injected with embalming fluids. Fluids include formaldehyde, phenol and other carcinogenic chemicals.

3. dyes used to restore “natural� coloration and humectants to mimic hair, clothing & resting position.

4. the body is then placed in a casket and then into the earth.15

entombment PROCESS: 1. process for preparing the body is identical to earthen body.

2. the process of entombment involves the placing of human remains in a tomb or crypt (above-ground burial) 3. options for above-ground burial include mausoleums, crypts, columbariums & niches.16

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conceptual rendering

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[ COMPOUND ] Stepwell located in Rajasthan, India

The stepwell is constructed to allow those nearby to access water, regardless of the height of the well. The repetition and symmetry of the building units creates a sense of purity, not calling attention to any location in particular. This speaks to an equality between the people. All together this equality works to create a grand gesture that more powerful than an any singular movement could accomplish.

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CHAND BAORI AMRITSAR

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[ ELEMENT ] c e r e m o n y DEFINITION: ritualistic connection to western ideals of water burial.

Physical manifestation of the body has no resting place.

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RN IN

G TO

TH A EB

SIS IFE OF L

CELL

FETUS

BIRTH

LIFE

DEATH

CELL

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the human experience CHARACTERISTICS: still, sound of water, texture, cool, tranquil, isolated, shaded, directed views QUALITIES: individual or collective ceremony relating to the unique characteristics of the lagoon, water is the basis of culture

i s o l a t e d 19

s h a d e d 20

t r a n q u i l 21

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t e x t u r e 22

d i r e c t e d 23

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pragmatic experience PROCESSION: water & land access METHODS: cremation, aquamation BUILT: crematorium

cremation

AMINO

PROCESS: 1. body is prepared removing any radioactive isotopes, prosthetics, implants or medical devices.

2. body is placed in a flammable container and then entered into a pre-cremation chamber.

3. incinerator must reach 1500 degrees farenheit, and then the body is exposed to the flame in the chamber.

4. the body is burned from torso outward by fire- bone becomes calcified and crumbles to ash.

1] BODY

5. process takes roughly 2-3 hours and results in 3- 9lbs of bone ash.24

2] RESO

3] 3 HOU

4] PROD

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aquamation PROCESS: 1. body is placed in a silk bag and loaded into a resomator 2. resomator is filled with solution of potassium hydroxide alkali CARBOXYL GROUP

3. in 3 hours body is broken down AMINOthe GROUP

SIDE CHAIN GROUP

4. product is liquid contained amino acids, peptides, sugars & salts.25

AMINO GROUP 1] BODY IS PLACED IN SILK BAG AND LOADED INTO A RESOMATOR

CARBOXYL GROUP

SIDE CHAIN GROUP 2] RESOMATOR FILLED WITH A SOLUTION OF POTASSIUM HYDROXIDE ALKALI 3] 3 HOURS BODY IS BROKEN DOWN 4] PRODUCT IS LIQUID CONTAINING AMINO ACIDS, PEPTIDES, SUGARS & SALTS

1] BODY IS PLACED IN SILK BAG AND LOADED INTO A RESOMATOR 2] RESOMATOR FILLED WITH A SOLUTION OF POTASSIUM HYDROXIDE ALKALI 3] 3 HOURS BODY IS BROKEN DOWN

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conceptual rendering

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[ ELEMENT ] Architect: DGT Architects Location: Milan, Italy, Warehouse Installation

This installation plays with the element of water to create a deliberate sensory experience. The use of controlled ceiling penetrations allows the user to block distractions. One focuses on the sounds, feelings, and visuals developed by water. This establishes an introverted experience with the user.

This pure undisturbed experience is important in order to facilitate a ritualistic experience. This project is successful in the way that it interacts with multiple senses allowing the individual to remove oneself from distraction.

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LUCE TEMPO LUOGO

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[ MACHINE ] s c i e n c e DEFINITION: re-association of the body into a garden.

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THE MACHINE

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the human experience CHARACTERISTICS: fertile, colorful, variety, hierarchy, filtering of light, earthy, green QUALITIES: communal space, (well lit meadow) visual peripheral/threshold of taller & more dense growth.

Juxtaposition of the private gardens of Venice and the typology of the open piazza. Garden beings to mimic the organic growth of the islands.

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pragmatic experience PROCESSION: relating to the release of tight knit corridors transitioning into public space.

Visible by water but accessible by land.

METHODS: promession, aquamation BUILT: process tanks

promession PROCESS: 1. body is separated from coffin and placed in chamber 2. cryogenic freezing- liquid nitrogen crystalizes the body at -196 degrees celcius 3. vibration causes the body to disintegrate into particles 4. particles are freeze-dried leaving approximately 30% of the weight 5. dry powder remaining is placed in biodegradable casket 6. body and casket are broken down into earth by 6-12 months.32

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1] BODY IS SEPARATED FROM COFFIN AND PLACED IN CHAMBER 1] BODY IS SEPARATED FROMsubstance COFFIN AND PLACED IN CHAMBER promession product- powder 2] CRYOGENIC FREEZING- LIQUID NITROGEN CRYSTALIZES THE BODY AT -196 DEGREES CELCIUS 2] CRYOGENIC FREEZING- LIQUID NITROGEN CRYSTALIZES THE BODY AT -196 DEGREES CELCIUS 3] VIBRATION CAUSES TO DISINTEGRATE INTO PARTICLES 3] VIBRATION CAUSES TO DISINTEGRATE INTO PARTICLES 4] PARTICLES ARE FREEZE-DRIED LEAVING APPROXIMATELY 30% OF THE WEIGHT 4] PARTICLES ARE FREEZE-DRIED LEAVING APPROXIMATELY 30% OF THE WEIGHT 5] DRY POWDER REMAINING IS PLACED IN BIODEGRADABLE CASKET 5] DRY POWDER REMAINING IS PLACED IN BIODEGRADABLE CASKET 6] BODY AND CASKET BROKEN DOWN INTO EARTH BY 6-12 MONTHS 6] BODY AND CASKET BROKEN DOWN INTO EARTH BY 6-12 MONTHS

biodegradable casket

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conceptual rendering

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[ MACHINE ] Architect: Ricardo Bofill Location: Sant Just Desvern, Spain

This project is a conversion of a disused cement factory. The complex consists of concrete silos, subterranean galleries, and massive machine rooms.

This project brings to mind a surrealist’s dream. There are reinforced concrete structures that hold no weight, staircases that lead to nowhere, and empty rooms that fill the mind with visions of magic.

The exterior structure creates a vision of grandeur that is only enhanced upon walking inside.

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THE FACTORY

FIG. 33

FIG. 34

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[ MACHINE ] Built in 1922 Location: Brooklyn, New York

This project is an abandoned grain terminal located along the Gowanus Canal in Brooklyn, New York. In the early 20th century, the grain terminal was used to receive and distribute grain. The decline in maritime trade, however, resulted in the building becoming obsolete.

In 1965 the building was completely abadoned.

The architecture of the Red Hook Grain Terminal is very specificcontaining concrete silos sitting atop a long hypostyle hall. The white concrete creates a church-like atmosphere within the interior. 5

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RED HOOK GRAIN TERMINAL

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initial design proposals

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axial relations analysis

axial relations diagram -utilizing the existing main points to form axis

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proportions analysis

proportions analysis -determining the porportion of progression through the site

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1| initial form sketches EXTENSION OF BUILT MASSES & REGULATING LINES

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2| initial form sketches EXTENSION LINEARLY THROUGH PROPORSTIONAL FORMS. THE FORMS BREAK TO DISSIPATE BACK TO THE WATER.

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intial circulation analysis

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PATH OF THE DECEASED

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1| initial form sketches

PATH OF THE MOURNER

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PATH OF THE VISITOR

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proposed procession sketch

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compound experience sketch

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element experience sketch

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machine experience sketch

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PUBLIC PIAZZA

COLLECTIVE

GARDEN ENTERS THE LAGOON

VIEWS TO VENICE

THE MACHINE COMPONENTS

INDIVIDUAL

THE MACHINE PRODUCT

COLLECTIVE

COLLECTIVE

“THE COMPOUND”

“THE ELEMENT” INDIVIDUAL

scheme 1 : refined definition of spaces

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scheme 1 : refined definition of landscape & hardscape

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proposed plant species

FLORA ALONG SEA WALLS

FLORA ALONG STEPS

FLORA ALONG CANALS & UP WALLS

CYPRESS TREES

HORSEWEED

BERMUDA GRASS

KENILWORTH IVY

SEA FENNEL

BITTERCRESS

DANDELION

LICHENS

SEA LAVENDAR

ANNUAL BLUE GRASS

LAMB’S QUARTERS

BASIL ROSETTE

[CUPRESSUS SEMPERVIRENS]

[CRINTHMIM MARITIMUM]

[LIMONIUM VULGARIS]

[CONYZA CANADENSIS]

[CARDAMINE HIRSUTA]

[PAO ANNUA]

[CYNDON DACTYLON]

[TARAXACUM OFFICINALE]

[CHENOPODIUM ALBUM]

[CYMBALARIA MURALIS]

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P R O P O S E D P L A N T S P E C I E S NATURALISTIC

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final expansion schemes

SCHEME 1

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12 B R ID G E B E C OMES WATER

CIRCULATION PATH OF THE MOURNER PATH OF THE VISITOR PATH OF THE DECEASED 1 2 3 4 5 6 7 8 9 10 11 12

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ENTRY BY LAND (AT GRADE) ENTRY BY BOAT (AT GRADE) DECEASED DOCK MORGUE CREMATORIUM DECEASED TO THE GARD EN DECEASED TO THE ELEMEN T DECEASED TO THE COMPOUN D STRAIGHT ASCENT MEANDERING DESCENT SECONDARY ROUTES DEPARTURE DOCK

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PLAN PATH O F THE MO U RNER PATH O F THE VISITO R PATH O F THE DECEASED 1 2 3 4 5 6

6 PAT H O F T H E M O U R N E R

ENTRY BY L AND (AT G RA D E) ENTRY BY BO AT (AT GRADE) DECEASED DOCK MORGUE CREMATORIU M GARDEN ABOVE

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SECTION 6

PATH OF THE MO U RNER PATH OF THE VISITO R PATH OF THE DECEASED 1 2 3 4 5 6 7 8 9 10

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ENTRY BY LAND (AT G RA D E) ENTRY BY BOAT (AT G RA D E) DECEASED DOCK MORG U E CREMATORIU M DECEASED TO TH E G A RD EN DECEASED TO TH E ELEMENT DECEASED TO TH E CO MPO UND STRA IGHT ASCENT MEANDERING D ESCENT

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Model Photo

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SCHEME 2

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CIRCULATION PAT H OF T HE M OUR N E R PAT H OF T HE V IS IT OR PAT H OF T HE DE C E AS E D 1 2 3 4 5 6 7 8 9 10

ENT R Y B Y LAN D (AT GR AD E) ENT R Y B Y B OAT (AT GR AD E) D EC E AS E D DOC K MO R GUE CREM AT OR IUM D EC E AS E D T O T HE GAR D EN D EC E AS E D T O T HE E LE MEN T D EC E AS E D T O T HE C OM P O U N D STR AIGHT AS C E N T ME AN DE R IN G DE S C E N T

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9 PAT H O F T H E M O U R N E R PAT H O F T H E V I S IT O R PAT H O F T H E D E C E A S E D 1 2 3 4 5 6 7 8 9 10

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E N T R Y B Y L A N D (AT G R ADE ) E N T R Y B Y B O AT (AT G RADE ) DECEASED DOCK MORGUE C R E M AT O R I U M D E C E A S E D T O T H E G A RDE N D E C E A S E D T O T H E E L EME N T D E C E A S E D T O T H E C O M POUN D STRAIGHT ASCENT M E A N D E R IN G D E S C E N T

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PATH OF THE MOURNER PATH OF THE VISITOR PATH OF THE DECEASE D 1 2 3 4 5 6 7 8 9 10

ENTRY BY LAND (AT GRA D E ) ENTRY BY BOAT (AT GRA D E ) DECEASED DOCK MORGUE CREMATORIUM DECEASED TO THE GAR D E N DECEASED TO THE ELEM E NT DECEASED TO THE COM P O U ND STRAIGHT ASCENT MEANDERING DESCENT

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Model Photo

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MIDTERM CRITIQUE BOARD

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MASTER PLAN SCHEME SCOPE OF WORK

The garden attacks the burial process as an integrate ecological process, concerned more with the whole over the individual. The aim of this program is to act as a cleansing process, both internally and externally.

Externally The garden takes the bi-product of promession from the deceased bodies and utilizes the nutrients as a fertilizer for a diverse ecosystem. The ecosystem survives on the sullied water of the lagoon just as the life of the lagoon relies on the fresh water from the garden.

Internally The experience within the garden cleanses the grief of the mourning. The mourning will find comfort in the fact that their loved ones are contributing to a cause greater than oneself. The procession is arranged so those traveling will enter all 5 stages of the grieving process. Once completed they will be at greater ease that both they and their loved one are in a better place.

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THE GARDEN NARRATIVE

As an attempt of being sensitive, the mourners will have an understanding of the body’s path but a majority of the process will be implied.

A commemoration area will provide a physical representation of a name to associate the landscape to a human memory. This serves as a space for the mourning to pay their respect to.

Finally the space should be a designed as a natural landscape of Venice. This will act as a public infrastructure for the people of Venice, mourners, and tourists alike.

It is important that the visitors should have the opportunity to embrace the nature at leisure just as equally as at mourning.

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RESEARCH PROCESS THESIS

RESEARCH TOPICS

tHe Garden IS AN ARCHITECTURAL innovation of TRADITIONAL BURIAL PROCESSES. In comparison to the evolution of human knowledge traditional BURIAL Processes HAVE failed to improve as a ritual for comforting loved ones through the mourning process. the garden responds as an appropriation to san michele using bio-mimicry of the symbiosis within the venetian ecology.

VENETIAN ECOLOGY I am going to focus my research on how Venice as a landscape has developed.

Through the understanding venetian species I will be able to better integrate the characteristics of the main islands within the cemetery addition.

BIO-MIMICRY The cyclical approach is essential to the success of the “garden� and master plan alike. I am going to analyze biodiversity and symbiosis to understand how the dependencies of nature as a holistic system can inform my architecture.

PSYCHOLOGY OF MOURNING In an attempt to develop a sensitivity to this new ritual process, I would like to analyze the psychology behind the morning process. I will attempt to link the new re-association process to traditional burial methods.

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DESIGN N A R R AT I V E PROBLEM

RESPONSE

CEMETERY S OF THE PRESENT ARE CHEMICAL WASTELANDS CURRENT CEMETERY PROCESSES DO NOT RESPOND TO THE NEEDS OF THE MOURNER THE VENICE LAGOON IS POLLUTED AND THE DOES NOT SUSTAIN LIFE The garden attacks the burial process as an integrate ecological process, concerned more with the whole over the individual. THE GARDEN REASSOCIATES TRADITIONAL BURIAL RITUALS WITH ICONS OF LIFE while providing architectural spaces which best accommodate the mourning process and the venetian ecology.

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S I M U L AT I N G N AT U R E S JAMES CORNER

THE DIAGRAM An organizational system used as a tool to develop the framework for your design THE MODEL Means for testing physical design THE SCENE theatrical stage for action to happen, a play for life

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THE FUTURE OF URBAN ECOLOGY IGNACIO BUNSTER-OSSA

RECOVERING EXISTING ECOLOGY PEPPERING OF NATURE

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LANDSCAPE URBANISM CHARLES WALDHEIM

DESIGNING WITH NATURE Providing an base ecology which can grow overtime and create a complexity organically A framework is developed by the diagram which randomly evolves into a robust design. Creating immerse detail that would have been too expensive or time consuming to perform upfront similar to the organic growth of Venice as a city ECOLOGICAL INFRASTRUCTURE The study of nature provides a cultural model as a metaphor Ecology is the original context and informed all existing conditions

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O N D E AT H AND DYING KUBLER ROSS

MOURNING PROCESS

PSYCHOLOGY OF MOURNING process is not limited to a set time & could take years outcome is not getting over a loss but an acceptance of its reality Important to engage in activities instead of social disconnecting Mourning is universal yet the process is unique to the individual: introverted vs extroverted

DENIAL Disbelief in the death of ANGER DISBELIEF IN LOVED ONES DEATH BARGAINING DISBELIEF IN LOVED ONES DEATH DEPRESSION DISBELIEF IN LOVED ONES DEATH ACCEPTANCE DISBELIEF IN LOVED ONES DEATH

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VENETIAN ECOLOGY THE LAGOON

PSYCHOLOGY OF MOURNING process is not limited to a set time & could take years outcome is not getting over a loss but an acceptance of its reality Important to engage in activities instead of social disconnecting Mourning is universal yet the process is unique to the individual: introverted vs extroverted

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VENETIAN ECOLOGY THE LAGOON

DIAGRAM

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VENETIAN ECOLOGY THE LAGOON

VIGNETTE

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VENETIAN ECOLOGY THE LAGOON

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VENETIAN ECOLOGY THE LAGOON

MODEL STUDY

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WATER & MOURNING

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STRUCTURAL EXPERIMENTATION

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FORMAL STUDY

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PLAN ITERATION

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ARCHITECTURE FOR THE MOURNING

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WATER FLOW & MOURNING

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STUDY OF NATURAL WATER PURIFICATION

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WATER FLOW AND GREEN SPACE DIAGRAMS

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WATER FLOW AND GREEN SPACE DIAGRAMS

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The Garden FLOOR PLANS

0.

BODY FROM MORGUE 1.

PROMESSION PROCESS 2.

COLLECTION OF REMAINS 3.

DENIAL GREEN SPACE 4.

CANOPY LEVEL WATER SOURCE 5.

SETTLING TANK 6. WETLANDS 7.

INDIVIDUAL REFLECTION 8.

CLEAN WATER TO CHAPEL

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C I R C U L AT I O N OF THE DEAD BURIAL RITUAL

0.

BODY FROM MORGUE 1.

PROMESSION PROCESS 2.

COLLECTION OF REMAINS 3. BURIAL

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PROMESSION RITUAL BODY COLLECTION

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PROMESSION RITUAL PLANTING OF REMAINS

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#63*"- (306/%4

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WAT E R ‘ P U R I F I C AT I O N WATER CYCLE

0. CANAL 1.

SETTLING TANK 2. WETLANDS 3. DISTRIBUTION

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WAT E R ‘ P U R I F I C AT I O N WATER CYCLE

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WAT E R ‘ P U R I F I C AT I O N WATER CYCLE

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SETTLING TANKS

WAT E R ‘ P U R I F I C AT I O N WATER CYCLE

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CANAL SETTLING TANK

SAN MICHELE

WETLANDS

REFLECTION PODS

MEANDERING WALKWAY

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WAT E R ‘ P U R I F I C AT I O N WATER CYCLE

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%*453*#65

*0/

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WAT E R ‘ P U R I F I C AT I O N WATER CYCLE

CIRCULATION OF THE LIVING CIRCULATION OF WATER

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FINAL MODEL PHOTO

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ANALYSIS / CRITIQUE

I started the semester by joined forces with two other strong designers. We had a very abstract narrative which developed as a conceptual idea a little longer than I would have liked but was a solid idea as a result. The Master Plan stage of the semester proved to be progressive and ridden with hard work. Each team member was good at something different and therefore our skills did a good job of complementing the whole. We took our project from there and decided to attack the design as through three separate programs which theoretically worked themselves out together. As the busy semester progressed we found that as a team we didn’t meet as much as originally planned which really hurt the group as a whole. At the finish we all had three well developed projects which attempted to read as a cohesive project.

This wasn’t as well executed as I would have hopped it might be.

For the individual project I had a goal of redesigning the mourning process within our cemetery which better responded to the Venetian ecology and the needs of the user. I set a rigorous schedule for myself and planned to accomplish many things. As I progressed I ended up eliminating any redundancies of the process and at time falling into an easier workflow. As I mentioned earlier the semester was busier for all of us than originally expected. I had a full plate between two designs, contemporary perspective and professional management. I believe that even though I had to take shortcuts I believe it didn’t take away from my overall intent. I believe my project is currently working to execute my original thesis and with another couple of iterations will get there. I believe the fact that my project is designed in floor plates is really the weakest aspect of this project. The scheme really wants to dissolve itself from the top level back to the lagoon. This will really provide me with the opportunity to get a deeper light penetration and let the garden function in a three dimensional format. There were a couple of lectures that I saw this year which talked about the idea of thinking in 3 dimensions before two and I believe integrating this within my process could have really benefited my project. Another thing that I think is really not working in my project is the material selection. I am aware this building formally is something alien to Venice but I believe the materials should work to reflect the construction style and climactic conditions of Venice.

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As a professor I felt that Brian Johnston did an exceptional job of teaching the design 10 Venice Studio. He was clearly invested with our work and while he didn’t force us to do his ideas he was a Nazi when it came to presentation.

He made sure that we went above and beyond to make sure anyone outside to the studio could comprehend our work so we could get to the nitty gritty of the design. He guided us to make an excess of work which in the end was useful when trying to optimize our intent. I also appreciated hat he challenged us to balance conceptual thought with functional aspects of the design. The fact that we resolved both of these at the same time allowed us to get to a relatively sensible design. All and all he put in a lot of work and I believe we all benefited because of it

I really appreciated the format of the fifth year studios. I felt that this semester really focused on the why of all of our projects. By coming up with a thesis and testing it through research and iteration we were able to make a project that really tested and proved the points that we were trying to accomplish. I also felt that this thought process was productive for our future outside of Philadelphia University. When we need to sell someone we should have prepared reason for why someone should spend money on our design other than the fact that it is cool. To conclude it was a great semester, wonderful year, and a hard earned undergraduate degree; all of which I am proud to be a part of.

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WORKS CITED & CREDITS

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Lectures Charles Waldheim

landscape urbanism Ignacio Bunster-Ossa

reconsidering Ian McHarg: future of urban James Corner

reconsidering nature

Readings Axelrod, Julie. “The 5 Stages of Loss and Grief.” Psych Central.com. N.p., n.d. Web. 27 Mar. 2015.

“Charles Waldheim’s View of Landscape Urbanism.” Harvard University Center for the Environment. N.p., 26 Oct. 2011. Web.

27 Mar. 2015. landscape urbanism Walker, Allissa. “The Secret Lives of the Tiny People In Architectural Renderings.” Gizmodo. N.p., 19 Mar.

2015. Web. 27 Mar. 2015.

Lazerus, Clifford N. “Understanding Mourning.” Psychology Today. N.p., 1 Nov. 2013. Web. 27 Mar. 2015.

Influences Hilberhimer Buckthorn Ian L. McHarg

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BIBLIOGRAPHY

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