R. Martinez Architecture Graduate Monograph by rchl.mrtnz

PASCHAL SHERMAN INDIAN SCHOOL STORYTELLING COURSE & PAVILION An Academic Link Between Architecture, Cultural Identity, & Mental Wellbeing

Rachel Martinez | Master of Architecture Candidate

q The Journey of a Kinetic Canvas Installation - A Canvas Installation Hanging Inside of the Storytelling Pavilion.

Graduate Committee: Professor Matt Cohen Committee Chair

Associate Professor Judy Theodorson Committee Member

Professor Paul Hirzel Committee Member

Submitted in Partial Fulfillment of the Master of Architecture Degree | July 2017 School of Design and Construction | Washington State University | Pullman, WA 99163 2

PASCHAL SHERMAN INDIAN SCHOOL STORYTELLING COURSE & PAVILION An Academic Link Between Architecture, Cultural Identity, & Mental Wellbeing Rachel Martinez | Master of Architecture Candidate

CONTENTS 0 | Acknowledgements

1 | Project Introduction

2 | Research & Design

Appendix A | Model & Video Explorations

B | Final Models

164

C | Presentations

170

D | Colville Tribal Legends

180

E | Endnotes, Bibliography, & Figures

186

q The Journey of a Kinetic Canvas Installation - A Canvas Installation Released into a Forest by Former Students.

q The Journey of a Kinetic Canvas Installation - A Canvas Installation Existing in Nature with Wildlife and Natural Phenomena.

q The Journey of a Kinetic Canvas Installation - A Canvas Installation Deteriorating Back into the Natural Landscape.

Acknowledgments Thank you to the family members, friends, neighbors, community members, employers, instructors and classmates who assisted me in various ways throughout this project. I would like to give a special “thank you” to: Professor Cohen, for being patient… Professor Hirzel, for always offering encouraging words… Professor Theodorson, for showing me a different way to think about design… Drake & the Fab Labs crew, for helping me get the seemingly impossible things done... Workers at Pullman Building Supplies, for entertaining my crazy ideas... Various members of Paschal Sherman Indian School, for your warm welcome and helpfulness... Kevin, for going above and beyond in helping me install my project in your backyard… Craig, for helping me build my installation… Robin, for never being hesitant to offer help and being understanding about my absence at work… Greg, Tyson & Darlene, for being understanding and supportive of me in so many ways… Lalo, for putting up with my crazy architecture projects in the house and never hesitating to help… Gilbert, for always lending an ear and insight when I was lost… Mariah, for collecting those “rocks”… :) Neco, for allowing me not to feel like I am going crazy… Tatyana, for always being there to take care of things at home… Dad, for always being supportive while trying to understand why I put myself through all this stress… Mom, for always believing in me and being supportive even when I wasn’t feeling at my best… Thank you…

[1.] Project Introduction

“It’s how you view yourself culturally that determines how happy a person you are... Without their culture a lot of these kids are drifting aimlessly.” Ted Bassette | Former Colville Business Councilman

Abstract Suicide is a prevalent problem among youth of the Confederated Tribes of the Colville Reservation. The lack of mental resilience among tribal youth is attributed to a lost sense of cultural identity to help them properly navigate and cope with the stressors in their lives. Recently, there has been an increase in efforts by the Tribes to provide various programs and activities that focus on strengthening their youth’s cultural identity. The aim of this project is to explore how architecture can assist in the recovery and strengthening of cultural identity and mental wellbeing among the Colville Reservation youth with the proposal of a Storytelling Pavilion and accompanying Storytelling Curriculum at the local Native American boarding school. The project proposes a response that academically joins architecture and cultural identity to address mental wellbeing. The outcome is a provoking space and curriculum proposal that pushes students to learn new ways of processing problems as they explore their spiritual relationship with the land through the design and presentation of a kinetic canvas installation. Architecturally, the Storytelling Pavilion’s design focuses on: 1. 2. 3.

Engagement with the Land and Natural Phenomena Referencing Traditional Plateau Indian Architecture Using Local Material

Academically, the Storytelling Curriculum focuses on: 1. 2. 3.

Engagement with the Land and Natural Phenomena Equipping Students with the Tools to Preserve their Culture Prompting the use of Design Thinking for Problem Solving

Many static and kinetic phenomenological study models were created to explore how the design of a kinetic canvas installation could be designed to engage with the land and natural phenomena to strengthen students’ spiritual connection with their land. The model explorations provide proof-of-concept and the basis for the design phase of the Storytelling Curriculum. This proposal contributes to the Colville Reservation’s effort to find ways in which they can help strengthen cultural identity and mental wellbeing among their youth.

p Under the Canvas – Students Listening to Visiting Storyteller Inside of the Storytelling Pavilion.

Architectural Intent: Using Architecture to assist the youth of the Colville Confederated Tribes regain their cultural identity and overall mental wellbeing. Introduction Paschal Sherman Indian School (PSIS) on the Colville Indian Reservation in Eastern Washington provides a unique architectural opportunity to assist a troubled demographic strengthen their sense of cultural identity and mental wellbeing. The school sits in a small isolated valley and serves a predominantly Native American student population. The school focuses on offering their students education in Native American culture. This environment provides an exciting opportunity to create a culturally engaging architectural intervention with a school keen to reconnect and strengthen their cultural identity on a site teeming with various ecosystems and beautiful vistas. The intent of the Storytelling Pavilion proposal and revision of the school’s Storytelling Curriculum is to provide a culturally empowering experience to reconnect PSIS students with their land and cultural identity. The Storytelling Pavilion serves as the primary classroom for many of the classes taught throughout the storytelling course. The classes in the pavilion are taught underneath an annually changing kinetic canvas installation that is uniquely designed each year by the current ninth grade class. Each installation aims to highlight a natural phenomenon featured in an accompanying tribal legend. The canvas installations are a reference to the canvas skins used on traditional Plateau Indian teepees. While the canvas was traditionally used as a

protective skin from the outside weather, this contemporary abstraction engages and highlights natural phenomena to reveal and celebrate the students’ spiritual connection to their land. The canvas installations can be designed to rhythmically drip during rain showers, billow in the gentle breeze or even glow in the warm sun. The design of these canvases is only limited to the students’ imagination. The creation of these installations is the pinnacle of the students’ experience throughout the nine year storytelling course. While this proposal is a fun-spirited cultural celebration, the intent of this project is in response to a severe mental health problem among members of the Confederated Tribes of the Colville Reservation, particularly concerning the high suicide rates among their youth. This problem is attributed to generational traumas suffered by Native American tribes across the United States during the cultural assimilation attempts of the late 1800s. These days, it has resulted in troubled youth who have lost their sense of cultural identity. This lack of cultural identity has left native youth without guiding values or a sense of belonging, resulting in mental health issues and high suicide rates. Colville Indian Reservation tribal council members have recognized this dilemma as they have stated, “without their culture a lot of these kids are drifting aimlessly.”1 13

Suicide is the 3rd leading cause of death in people ages 10 - 24 years old

90% of those who died by suicide had an underlying mental illness

13.9%

AI/AN

19.3% 18.6%

Asian

16.3%

Black

3rd

90%

White

2nd

Hispanic

1st

23.8%

Prevalence of Adult Mental Illness by Race

p Figure 1.1 | Youth Mental Health Statistics â&#x20AC;&#x201C; Based on Data from National Alliance on Mental Illness (NAMI) (2016)

Tribal Youth Mental Health Suicide among young people is a prevailing health problem across the globe. In 2015, the World Health Organization reported that suicide was the second leading cause of death among people ages 15-29 years old.2 The accuracy of this statistic may be questionable due to prevailing cultural stigmas or other various reasons people fail to report suicidal deaths; thus the actual suicide rate among this demographic may be higher. According to National Alliance on Mental Illness, Suicide is the third leading cause of death among people ages 10-24 years old across the United States. NAMI also reports that 90% of those who had died by suicide had an underlying mental illness such as mood disorders, anxiety disorders, or eating disorders. Native American youth are severely prone to suicide as they suffer from suicide rates disproportionately higher than all other demographics in the United States.3 FFrom 2009-2012, American Indian and Alaska Native youth suffered suicide rates that were almost twice as high as the overall suicide rate of all U.S. youth between the ages of 10-24 years old. 14

For Washington State, suicide among Native American youth was more than double the rate of any other ethnic population in the state.4 In 2006, the Colville Reservation suffered suicide rates that were five times greater than other Washington Natives and 20 times higher than the national average. This dramatic suicide rate mainly affects the Colville Reservation youth.5 The lack of mental resilience among tribal youth is attributed to a lack of clear core values and sense of belonging to a support community to help them properly navigate and cope with stressors in their lives. The loss of guiding cultural values among the tribal youth is due to intergenerational traumas suffered by the Tribes since the cultural assimilation of Native Americans by the United States government in the 1800s along with longtime mental health stigma. The cultural assimilation of Native Americans in the 1800s forced tribes onto reservations and required Native American youth to attend boarding schools designed to replace their Native American culture with American-European ways of living, an attempt by the United States to civilize indigenous

p Figure 1.2 | Colville Youth Attending a Cultural Camp.

people. This attempt to erase Native American culture stripped most Native people of their traditional sense of living and surviving as most of their land and livelihood had been taken away when they were forced to live on designated reservations. The traumas of assimilation, along with alcoholism, death, and disease have led to generations continually stranded without guidance trying to save their disappearing culture.6 The prevalence of suicide across the reservation has led to a recent increase in efforts by the Tribes to develop and provide various mental health policies, programs, and activities. These efforts not only provide mental health resources but also focus on strengthening Native American culture. The Tribes have begun providing various culturally focused youth activities such as youth-oriented mental health themed pow-wows, Native American focused activity camps, and hands-on building of traditional Native American structures across the reservation. Such programs provide culturally immersive experiences while also building a sense of community, empowerment, and support

p Figure 1.3 | Colville Tribes Youth Warrior Camp in Nespelem, WA

to increase the tribal youthsâ&#x20AC;&#x2122; sense of cultural identity and belonging, improving self-esteem and mental wellbeing. It has been an ongoing effort by the Tribes to continually fight for federal aid in funding much-needed suicide prevention programs. In 2007, the Tribes were awarded a grant to fund various suicide prevention programs that focused on balancing their physical, mental, emotional, and spiritual lives. This grant funded many programs that helped lower the Tribesâ&#x20AC;&#x2122; suicide rates between 2007-2008. However, once the funding had run out, the Tribes saw an increase in suicide ideation, attempts, and completions.7 While the Tribes continually renew their application for government funds, the community also harnesses its local Indian boarding school (Paschal Sherman Indian School) as a way to help culturally educate their tribal youth, strengthening the studentsâ&#x20AC;&#x2122; cultural identity and sense of community.

250

500

750

Feet

p Map of Current Paschal Sherman Indian School Campus.

Church

St. Mary’s Mission

Portables

PSIS

History of Paschal Sherman Indian School Originally, Paschal Sherman Indian School was once St. Mary’s Mission, a Catholic boarding school initially established by the construction of a small church along Omak Creek. This church was an offering between Chief Smitkin and Catholic Missionary Father De Rouge in 1885. The church then became a place of education for religious and academic training in 1889. It was around this time when mandatory education for Indian children became federal law. Families were forced to send their children to Indian boarding schools when their children were six years of age or younger. This removal routinely caused fear and loneliness among the children due to early separation from their families and lack of visitation opportunities. Many Indian boarding school missions adhered to similar academic teaching styles. This included a military-style regimen with strict adherence to only speaking the English language, an emphasis on farming, and a curriculum focused on academic and vocational training. As enrollment began to increase, other buildings were added in 16

1900. Additions included the construction of the first high school in this area of eastern Washington, serving both Native American and white students. The mission was finally completed in 1915 and continued to operate until 1973 when the Catholic Church turned the school over to the Tribes due to financial struggles. After this transfer of ownership, the school was renamed Paschal Sherman Indian School after Paschal Sherman, a former Native American student from the mission who went on to be one of the Tribes’ first members to earn a doctorate. The school’s new objective was to preserve their Native culture while still promoting the importance of the education of their people.8 The school had suffered multiple cases of fire damage throughout the years while under the church’s ownership. Without the funds to repair or rebuild these structures, many of the buildings were condemned. This damage forced Paschal Sherman Indian School to teach in doublewide portables that would eventually outlive their use. The history of Paschal Sherman Indian School’s

ST. MARY’S MISSION

PORTABLES

PSIS

p Architectural Evolution of Paschal Sherman Indian School.

CONNECTION TO THE LAND

TRADITIONAL STRUCTURES

NATURAL MATERIALS

p Design Values of Paschal Sherman Indian School’s New 2005 School Building.

fight to regain their cultural identity is one that can be told by the school’s architecture. When commenting on the condition of the school prior to the new school building built in 2005, Indian Country Media Network author Richard Walker stated, “The beauty and character of its people were not reflected in the buildings.”9 These buildings reflected the values and style of the American-European Indian boarding school era that immersed Indian children in white culture at the expense of their identity.10 The former school also displayed a cold, industrialized aesthetic with the overused doublewide portables, an aesthetic that continued to overlook the beauty of the Tribes’ culture. The new school building cost eighteen million dollars and was entirely funded by the U.S. government under the Bush administration in 2005. The new school was built south of the Mission and aimed to reclaim and celebrate the school’s Native American culture. Working alongside ALSC Architects, the Colville Confederated Tribes designed a school that reflected

their Native American heritage. The school’s design focused on the abstraction of Native American structures, architectural gestures welcoming in nature, and the use of a natural material palette. The new school also focused on providing cultural education through architecture – such as the solar clock hanging in the school’s central atrium area that teaches students about the Tribes’ relationship with the earth and sun. The school also features formal and informal outdoor areas for teaching and performances. When reflecting on this new school building, former tribal council member Wendell George stated he believed the new school would improve student performance and morale as well as provide the students with an “appreciation and understanding of tribal culture.” Wendell went on to say that the design of the new school building would be “a model for tribal schools nationwide, and a model for Indian culture.” 11

PASC HA LS HE RM

OL SNAPS SCHO HO N T IA D IN

K-9th Grade

913 Students

90%

Free or Reduced Lunch

97%

Native American Student Body

Annual Cultural Festival

Native American Courses

100

Student Occ. Dormitory

p Figure 1.4 | Paschal Sherman Indian School Report.(Reflective of 2013 Report by AdvancED)

Paschal Sherman Indian School Overview As the last Native American boarding school in Washington, Paschal Sherman Indian School chose to continue its boarding school status to provide an opportunity for all Northwest Native American children to attend a culturally immersive educational experience. The school advocates the importance of cultivating cultural identity among tribal youth, as their mission statement is “to prepare our children to be the speakers of our language, guardians of our culture, and leaders of our future”12 In 2013, an Executive Summary by AdvancED reported that Paschal Sherman Indian School served 193 students from kindergarten through ninth grade with 97% of the student population being Native American. Out of the 193 students, 23% partook in the school’s residential program, staying in the school’s 100 occupancy dormitory immediately east of the main school building. The students staying in this dorm are federally 18

recognized tribal members from various communities and range from six to fifteen years old. The school provides the resident students with a home environment where they are cared for by adult supervisors. The students who participate in the residential program come for a variety of reasons. These reasons range from families from far away communities looking to preserve their child’s Native American culture, families not having the resources to provide adequate housing, or when a child is temporarily removed from their home through tribal or state programs. In any case, the school has created a unique opportunity to reach out to the Tribes’ youth, instilling cultural values and teachings.13 Aside from teaching typical U.S. education courses like reading, mathematics, writing, science and social studies, the school provides unique culturally focused programs and events that emphasize Native American culture. These programs include

p Figure 1.5 | Paschal Sherman Indian School 2017 Sunflower Princess.

Salish, traditional dance, drumming, storytelling, spiritual reflection, and crafts. Students in the school’s Gifted and Talented Program have the opportunity to travel to other areas to perform and display their artwork, crafts, and dance. The school also hosts the annual Sunflower Festival every May, a festival designed to celebrate Native American culture and share the Tribes’ traditions with the public. The festival was first established in 1971 as a collaboration between Colville tribal elders, Paschal Sherman Indian School students and their parents, and Jesuit volunteers. These days, many people from all over eastern Washington travel to attend the festival, this includes schools that bring their students to learn about Native American culture.14

Sunflower Festival Activities: •

Basketball Tournament

•

Fun Run

•

Pow Wow

•

Root digging

•

Pit cooking of camas, bitterroot and moss

•

Drying of deer meat

•

Preparing of Salmon

•

Student artwork

•

Student traditional dance and drumming performances

•

Traditional Crafts

•

Historical Pictures

•

Storytelling 19

p Under the Canvas – Storytelling Area Inside of the Storytelling Pavilion.

Storytelling Pavilion & Revised Curriculum Reflecting the same values of celebrating and teaching Native American culture, the proposed Storytelling Pavilion and Storytelling Curriculum echo the same effort of providing Native American youth with an engaging educational and cultural experience. The goal is to improve the students’ consciousness and understanding of their natural surroundings to rebuild their relationship with the land, a significant part of Native American spirituality and identity, as well as empower them to be carriers of their culture and resilient problem solvers. This proposal is an architectural and academic attempt to help the youth of the Confederated Tribes of the Colville Reservation rebuild their sense of cultural identity and resilience, key components to the students’ mental wellbeing. The design of the course is meant to help students become empowered individuals in life and in carrying their culture by providing culturally focused and immersive exercises that focus on using design thinking. This strategy lets students become doers rather than just listeners. Through activities involving design thinking, students learn new ways of processing ideas and problems. This way of thinking encourages students to become problem solvers and critical thinkers as they learn the process of analyzing, designing, the trial and errors of iterative prototypes, collaborating and building as they create their nature inspired kinetic canvases. This thought process aims to 20

instill a sense of resilient and resourceful thinking that can be used in other aspects of life. The empowerment of students to be guardians of their culture and to be well equipped to approach problems revolves around the creation of these nature inspired kinetic canvas installations. These spirited canvases are a representation of the students’ journey to reclaim their cultural identity through exploring their relationship to their land. These canvases embody this cycle of reconnecting to the land of their ancestors as students are prompted to explore the sites of tribal legends as they look for inspiration for their installation. Once designed and built, the canvas will eventually find its place in the Storytelling Pavilion where other students will listen to tribal legends, learn lessons about the importance of storytelling, and their cultural connection to the land, being reminded of the natural phenomena at play all around them when the canvas above is stimulated. Eventually, the installation will be returned to the site from which it was inspired, taking its place back in the landscape. Here, the canvas will continue to engage with natural phenomena, continuing to be stimulated even with no one around. The canvas will simply exist and live among the various wildlife and vegetation until it finally deteriorates back into the earth, representing the students’ spiritual journey back to their land.

u Canvas Installation Canvas Released Back into the Land.

u Canvas Installation Canvas Existing in the Land.

u Canvas Installation Canvas Deteriorating Back into the Land.

LISTENING

LISTEN

LEARNING

REFLECT

EXPLORE

ANALYZE

DESIGN

BUILD

LEARN

K - 7TH

8TH

Listening & Discussing Legends

Learning the Art of Storytelling

To share tribal values and foster cultural identity, students participate in listening, discussing and reflecting on the moral and cultural values of 50+ legends over the course of 8 years. These lessons will take place each Fall Quarter in the Storytelling Pavilion.

DOING

In an effort to empower students and foster cultural identity, students are introduced to the art of storytelling so they can continue to share the legends and values of their tribes. These lessons take place during the Fall Quarter of their 8th-grade year in the Storytelling Pavilion.

9TH Creating a Canvas Installation In an effort to engage students with their land and instill a new way of approaching problems, students are prompted to design, build and present of a kinetic canvas over the course of four quarters. Students will explore and abstract a specific natural phenomenon from a selected legend to design and build a kinetic canvas. This installation will be presented to the community at the schoolâ&#x20AC;&#x2122;s end of the year Sunflower Festival along with the legend that inspired them.

Academic Journey The journey for these students to reconnect with their land takes place over the course of nine years, and will hopefully instill a way of thinking beyond their time at Paschal Sherman Indian School. The course is split into five distinct phases focusing on listening, learning, doing, returning, and being. The journey begins when the students enter kindergarten; this is where they will participate in listening to various tribal legends. Students will spend one-quarter each year, listening and reflecting on faculty led discussions of tribal legends. Throughout this time, students will become familiar and well versed with the stories and moral lessons of the Tribesâ&#x20AC;&#x2122; legends. This phase continues until the students reach the eighth grade. At this time, students focus on learning the art of storytelling so they can become empowered to share tribal legends, continuing the cultural preservation of their Tribes. 22

Students learn the art and importance of telling stories as they meet storytellers from around the area and practice telling stories themselves. The next year, the ninth grade class is given a particular legend to explore and abstract into a kinetic canvas. In this phase, students are prompted into doing. This phase is when students are asked to think creatively and problem solve as they design and build a kinetic canvas installation. Students will also be given the task of rehearsing their assigned legend to perform at the end of the year Sunflower Festival. During this event, students will hang their canvas, leaving it up for the next academic school year. This phase marks the end of their time at Paschal Sherman Indian School. The students then disburse to other schools around the area for tenth grade, as Paschal Sherman Indian School only teaches kindergarten through ninth grade.

RETURN

EXPLORE

BEING

10TH

BEYOND

Releasing Canvas

Volunteering & Sharing

In an effort to continue strengthening a sense of belonging to the community, students are given the opportunity to come back and engage with the school. These students will participate in the next Sunflower Festival to release their canvas into the natural environment from which it was inspired. This is in conjunction with the students’ new high school.

Typically, many of the students attend the nearby Omak High School, which is located 10 minutes away in the town of Omak Washington. Paschal Sherman Indian School and the Omak School District have a cooperative agreement where both schools share some state funding, resources, and programs. It is also very common for Omak School District schools to schedule field trips to Paschal Sherman Indian School’s Sunflower Festival. This cooperative dynamic between these two institutions lays down the foundation for the students’ next phase in the revised Storytelling Curriculum.

To continue strengthening a sense of engagement with community and belonging, PSIS Alumni are welcome to volunteer to lead various story discussions or classes.

as they come together to address one last task and revisit the site that inspired their kinetic canvas installation. This ritual is the last assignment for the revised Storytelling Curriculum, but Paschal Sherman Indian School alumni are encouraged to come back and volunteer to lead various classes, strengthening their sense of belonging, community, and sense of empowerment in preserving their cultural identity. This last phase is an effort to instill a sense of lasting cultural being among PSIS alumni.

In tenth grade, while attending a different school, former Paschal Sherman Indian School students will have the opportunity to return to PSIS during that year’s Sunflower Festival to take down their canvas and release it back into the land from which it was inspired. Students will be reunited with their former classmates 23

LEGEND

SELECTED PHENOMENON

PHENOMENON ABSTRACTION

COYOTE KILLS WIND “The wind came stronger. Coyote was lifted off his feet and taken into the air. He was carried to the top of the cliffs which hang over the falls of the big river.”

THE THEFT OF LIGHT On the following day Giant put on his raven skin, which his father the chief had given to him, and flew upward. Finally he found the hole in the sky, and he flew through it. Giant reached the inside of the sky. He took off the raven skin and put it down near the hole of the sky. He went on, and came to a spring near the house of the chief of heaven. There he sat down and waited.

INTRODUCTION OF SALMON “Coyote walked along the river-bank, and the salmon followed him. He became hungry, and wanted to eat salmon. He said, “I wish the king-salmon to jump ashore!” A king-salmon jumped out; but it was a rocky place, and smooth, and the fish was so slimy that he could not hold it. Thus it slipped back into the water.”

p Designing a Canvas - The Process of Abstracting a Natural Phenomenon.

Canvas Designing The designing of the canvas serves as the academic vessel that links architecture, cultural identity, and mental wellbeing. The creation of these installations is the panicle of each students’ time spent in the Storytelling Course. The design of these canvases revolves around design thinking and cultural exploration. Students are required to be active participants in leading the design, development, and building of the canvas installation while exploring their relationship to their land. The course prompts students to be collaborators, critical thinkers, and creative problem solvers. 24

Design thinking is a thought process that revolves around inquiry, ideation, prototyping, and testing. This process of reflection helps cultivate a resourceful mindset, where failures will not debilitate students but rather be thought of as a means to an end. The act of iterative prototyping, testing and critiquing teaches students to fail-forward. This means that trial and error is needed to find the best solution. Destigmatizing the idea of failure and equipping students with a problem solving mindset helps them become resourceful and resilient thinkers.

FABRICATION SPECIFICATIONS

CANVAS INTERPRETATION

The process of designing a kinetic canvas installation: Reading and reflecting on an assigned legend

Creating and testing mockups

Selecting a natural phenomenon from the legend to explore

Testing structural assembly of canvas proposal

Visiting the site of the assigned legend

Building final canvas

Analyzing characteristics of selected natural phenomenon at the site

10. Presenting

Abstracting phenomenon witnessed to its essential characteristics

11. Releasing

Applying identified characteristics to canvas design (materiality, connections, and form)

STORYTELLING CURRICULUM OUTLINE

K - 7TH GRADE Sharing and discussing 50+ legends with the students in an effort to share tribal values and foster cultural identity.

AUGUST- OCTOBER

OCTOBER-JANUARY

9 WEEKS

TEMP RANGE: 80° -- 45°

TEMP RANGE: - 5 ° --- 40 °

PRECIPITATION: 0.5”

PRECIPITATION: 1.4”

LISTENING & REFLECTION

[ NOT IN USE ]

LOCATION: Outside - Storytelling Pavilion OVERVIEW: Listen and Reflect on 9 Stories Over 9 Weeks Mon. Tues. Wed. Thur.Fri. -

Listen to Story Learn Moral Lessons Discussion on Prompt Share Reflections Students Prep to Share Story with Family

Sat. -

Student Share and Discuss Story with Family

Pavilion Open to the Public Between 3:00 pm - 6:00 pm

LEARNING THE ART OF STORYTELLING

8TH GRADE Introduce students to the art and value of storytelling so they can continue to share the legends and values of their tribes.

9 GRADE TH

Empower students to be protectors of their culture and resilient problem solvers through the design, build, and presentation of a kinetic canvas installation.

LOCATION: Outside - Storytelling Pavilion OVERVIEW: Learning History, Value, & Techniques of Storytelling W1 W2 W3 W4 W5 -

History of Storytelling Values of Storytelling Learn the Techniques of Telling a Story Practice Telling a Story Learn the Art of Creating a Story

W6 -

Create a Story

W7 -

Present Story to Class

W8 -

Host Storytelling Gathering

W9 -

Reflection

[ NOT IN USE ] Pavilion Open to the Public Between 3:00 pm - 6:00 pm

EXPLORATION & ABSTRACTION

CANVAS DESIGN & TESTING

LOCATION: Inside - Classroom / Outside - Site OVERVIEW: Learning History, Value, & Techniques of Storytelling

LOCATION: Inside - Inside - Maker Space OVERVIEW: Canvas Exploration and Abstraction

W1 W2 W3 W4 W5 -

Listen and Discuss Assigned Story Site Research and Story Analysis Site field-trip (prep,exploration, documentation, & analysis) Presentation of Research and Findings Learning Techniques of Abstraction

W1 W2 W2 W3 W4 -

Learning Shop Tools and Sewing Techniques #1 Tool and Sewing Exercises Canvas Material Exploration Canvas Design Exploration Canvas Design Presentations #1

W6 -

Phenomenon Abstraction Explorations

W5 -

Canvas Design Development

W7 -

Phenomenon Abstraction Presentation #1

W6 -

Canvas Design Presentations #2

W8 -

Phenomenon Abstraction Explorations

W8 -

Canvas Design Development

W9 -

Phenomenon Abstraction Presentation #2 (Final)

W9 -

Canvas Design Presentations #3 (Final Design Chosen)

SUMMER

JANUARY- MARCH

APRIL-JUNE

JUNE-AUGUST

9 WEEKS

10 WEEKS

TEMP RANGE: 50° -- 60°

TEMP RANGE: 60° -- 100°

TEMP RANGE: 100° -- 80°

PRECIPITATION: 0.8”

PRECIPITATION: 0.9”

PRECIPITATION: 0.6”

[ NOT IN USE ]

WATCH 9TH GRADE PRESENTATION

SUMMER STORY SERIES

LOCATION: Outside - Storytelling Pavilion OVERVIEW: Listening to Sunflower Festival 9th-Grade Presentation

LOCATION: Outside - Storytelling Pavilion OVERVIEW: 10 Stories Shared Over 10 Saturdays During Summer

Led through one story by 9th-grade presenters during festival Open to the Public

10 Stories Shared by Elders Every Saturday Discussion and Reflection Led by Elders No Canvas (open to sky, stars) Use of Fire Pits Includes Evening or Night Presentations

Pavilion Open to the Public Between 3:00 pm - 6:00 pm

Open to Public

[ NOT IN USE ] Pavilion Open to the Public Between 3:00 pm - 6:00 pm

WATCH 9TH GRADE PRESENTATION

SUMMER STORY SERIES

LOCATION: Outside - Storytelling Pavilion OVERVIEW: Listening to Sunflower Festival 9th-Grade Presentation

LOCATION: Outside - Storytelling Pavilion OVERVIEW: 10 Stories Shared Over 10 Saturdays During Summer

Led through one story by 9th-grade presenters during festival Open to the Public

10 Stories Shared by Elders Every Saturday Discussion and Reflection Led by Elders No Canvas (open to sky, stars) Use of Fire Pits Includes Evening or Night Presentations Open to Public

BUILDING INSTALLATION

STORYTELLING PREP & PRESENTATION

SUMMER STORY SERIES

LOCATION: Inside - Inside - Maker Space OVERVIEW: Canvas Testing and Fabrication

LOCATION: Inside - Classroom / Outside - Storytelling Pavilion OVERVIEW: Storytelling Practice and Presentation

LOCATION: Outside - Storytelling Pavilion OVERVIEW: 10 Stories Shared Over 10 Saturdays During Summer

W1 W2 W3 W4 W5 -

Learning Shop Tools and Sewing Techniques #2 Mock-up #1 - Fabrication Mock-up #1 - Test & Presentation Mock-up #2 - Fabrication Mock-up #2 - Test & Presentation

W1 W2 W3 W4 W5 -

Public Speaking and Storytelling Workshop Public Speaking and Storytelling Exercises Public Speaking and Storytelling Exercises Rehearsals #1 (Inside) Rehearsals #2 (Inside)

10 Stories Shared by Elders Every Saturday Discussion and Reflection Led by Elders No Canvas (open to sky, stars) Use of Fire Pits Includes Evening or Night Presentations

W6 -

Mock-up #3 - Fabrication

W6 -

Rehearsals #3 (Inside)

Open to Public

W7 -

Mock-up #3 - Test & Presentation

W7 -

Final Rehearsals (Outside) and Installation Walkthrough

W8 -

Build Final Canvas Chosen by Class

W8 -

Presentation and Installation Ceremony During Festival

W9 -

Finish Canvas

W9 -

Reflection

10TH GRADE

AUGUST- OCTOBER

OCTOBER-JANUARY

9 WEEKS

TEMP RANGE: 80° -- 45°

TEMP RANGE: - 5 ° --- 40 °

PRECIPITATION: 0.5”

PRECIPITATION: 1.4”

[ NOT IN USE ]

Pavilion Open to the Public Between 3:00 pm - 6:00 pm

Opportunity for students to come back and engage with the community to foster a sense of belonging and identity. This is in conjunction with the students’ new high school.

BEYOND PSIS alumni are welcome to lead various stories or lesson to strengthen sense of community and cultural identity.

ASSISTING A CLASS LOCATION: Outside - Storytelling Pavilion or Site Inside - Classroom OVERVIEW: PSIS alumni volunteer to lead a story class, critique designs, chaperon site visit or donate funds for trip.

ASSISTING A CLASS LOCATION: Inside - Maker Space OVERVIEW: PSIS alumni volunteer to teach students how to sew, use tools, critique canvas designs or donate funds for material.

SUMMER

JANUARY- MARCH

APRIL-JUNE

JUNE-AUGUST

9 WEEKS

10 WEEKS

TEMP RANGE: 50° -- 60°

TEMP RANGE: 60° -- 100°

TEMP RANGE: 100° -- 80°

PRECIPITATION: 0.8”

PRECIPITATION: 0.9”

PRECIPITATION: 0.6”

[ NOT IN USE ]

RETIRE AND RELEASE CANVAS

SUMMER STORY SERIES

Pavilion Open to the Public Between 3:00 pm - 6:00 pm

LOCATION: Outside - Storytelling Pavilion & Original Site OVERVIEW: Taking Down Canvas and Installing at Original Site

LOCATION: Outside - Storytelling Pavilion OVERVIEW: 10 Stories Shared Over 10 Saturdays During Summer

W1 -

10 Stories Shared by Elders Every Saturday

W2 -

Discussion and Reflection Led by Elders

W3 -

No Canvas (open to sky, stars)

W4 -

Use of Fire Pits

W5 -

Includes Evening or Night Presentations

W6 -

ASSISTING A CLASS LOCATION: Inside - Maker Space OVERVIEW: PSIS alumni volunteer assistance in final canvas design fabrication up or donate funds for material.

Open to Public

W7 -

Final Installation Planning

W8 -

Canvas Take Down Ceremony (During Festival)

W9 -

Canvas Site Installation and Final Reflections

LEADING A FESTIVAL STORY LOCATION: Outside - Storytelling Pavilion OVERVIEW: PSIS alumni volunteer to lead a story during the Sunflower Festival

LEADING A SUMMER STORY LOCATION: Outside - Storytelling Pavilion OVERVIEW: PSIS alumni volunteer to lead a Saturday story

THE CAMPUS A.

School Building

Dormitory

Buses Depot & Shop

St. Mary’s Mission

Main Parking

Back Parking

Playground

Track

Baseball Fields

Existing Path

Added Path

Storytelling Pavilion

THE RITUAL 1.

Shop

Main Plaza

Concrete Plaza / Earth Path Transition

Earth Path

Earth Path / Pavilion Crushed Granite Entry Transition

G J

H RT

NO D

K L

OMAK CREEK

5 FEET

100

200

p Proposed Paschal Sherman Indian School Campus Plan and Storytelling Pavilion Path.

Storytelling Pavilion Spatial Experience A majority of all activities in the revised Storytelling Curriculum take place within the boundaries of the school’s campus, excluding the students’ explorations around the reservation. Throughout their time at the school, students travel to one of three locations around campus for their Storytelling classes. These locations include a classroom and workshop located in the main school building and the Storytelling Pavilion to the south of campus. All classes taught in the Pavilion take place during the Fall Quarter of each academic year, during the area’s warmer months. The pavilion also hosts a public performance during 30

the Sunflower Festival and is actively used during the summer time to provide area youth with safe and culturally informative activities during their summer vacation. Visitors and students alike find themselves passing through various sensory transitions as they leave the asphalt parking lot and concrete sidewalk onto a naturally trodden earth path towards the pavilion, a trail that will grow more defined and worn with time. This trail cuts through the center of campus and extends out towards the valley through a fragrant field of sagebrush, leaving the main school building’s central concrete plaza surrounded by mowed lawns towards a more native foliage

SAGEBRUSH

CORTEN STEEL

RAMMED EARTH

MOUNTIN G PAD

TRODDEN EARTH

STORAGE

GRANITE (Crushed)

BEACH PEBBLES

BASALT ERRATIC

B STORYTEL LING AREA

PONDEROSA PINE

CANVAS (Natural Fiber)

A p Storytelling Pavilion Floor Plan and Material Map.

environment. The trail then transitions into a crushed granite floor between heavy rammed earth walls. This new surface creates a unique audible crunch when visitors step into the pavilion, pulling the visitorâ&#x20AC;&#x2122;s attention away from the outside world and into their immediate surroundings. The inside of the pavilion is defined by a weathered Corten steel ribcage not seen from the outside. The path then leads down into the storytelling area with rammed earth seating facing a beach pebble floor. This floor creates a clattering sound when walked upon, a sound distinct from the trodden earth path or granite entry area. Storytellers are the only ones to walk across this pebble

floor, creating a sense of exclusivity, importance, and mysticism among the audience. The storytelling area features basalt bowls that serve as vessels for holding props related to various stories featuring items such as fire, water, fish or plants. The area also sports a large aging ponderosa log known as the Storytellerâ&#x20AC;&#x2122;s Bench. This aging bench is meant to provoke a sense wisdom and culture passed down from generation to generation as the bench deteriorates and is eventually replaced. The storytelling area sits underneath a kinetic canvas looking out towards the rest of the valley. All of the materials used in the pavilion are materials that can be easily found across the reservation. 31

SECTION A-A

MOUNTING PAD

ENTRY FLOOR

SEATING

STORYTELLING AREA

Storytelling Pavilion System The Storytelling Pavilion is meant to be a simple gesture between earth and man, designed to be an intersection between the two spirits. The form of the pavilion is minimal in articulation, serving only as a channel to prompt an interaction between visitors and the natural environment. The earth sweeps across the pavilion’s floor as natural phenomena pass between its walls that frame a view of the valley. All these spirits (land, natural phenomena, the valley, and man) come together for a single moment underneath the kinetic canvas installation to promote Native American spiritual identity. Keeping with the idea of simplicity, the Storytelling Pavilion features a low-tech pulley system to manually hoist canvas 32

installations into place. When installing a canvas, students go to the mounting pad to the left of the pavilion’s entryway. This pad is where students attach their installations to the pulley system. The installing of the canvas takes multiple people due to the size of the installations. Eventually, students begin to turn the pulley wheel, slowly hoisting the canvas. The canvas is locked into place once it reaches the peak of the pavilion, ready for use. The installation is only taken down when there is fear of severe damage due to extreme weather conditions or during special summer stories that need exposure to the night sky. During this time the canvas is stored in the pavilion’s onsite storage compartment.

p Traditional Structures of the Plateau Indians Pit-House, Longhouse, & Teepee.

SECTION B-B

STORYTELLING AREA

Storytelling Pavilion Structure Structurally, the pavilion references the wooden internal skeletal structure used in traditional Plateau Indian architecture. In this case, the wooden skeletal structure is replaced by Corten steel, a nod to tribal council member and artist Smoker Marchand’s tribal artwork found around the Colville Reservation. This skeletal structure supports the pavilion’s slanted rammed earth walls. The pavilion also abstracts the different structural characteristics of the Plateau Indian pit-house, longhouse, and teepee. The pavilion’s form references the submerged nature and ground-covered walls of the pit-house as well as the elongated gesture of the longhouse. Regarding the teepee, the pavilion’s

kinetic canvas installations are inspired by the teepee’s canvas covering. The relationship that the traditional teepee’s canvas has with the outside environment as a protective skin is reinterpreted into a responsive skin that interacts and celebrates natural phenomena. The canvas becomes a tool to highlight and amplify the characteristics of natural phenomena such as rain, wind, and sunlight.

1 INSTALL

2 HOIST

3 USE

p The Process of Installing a Kinetic Canvas Installation.

Canvas Installing Instructions

INSTALL - Upon entering the pavilion, proceed to the mounting pad to install the canvas on existing mounts.

HOIST - Once the canvas is installed and secured, gradually begin to hoist the canvas up the pulley system using the turning wheels.

USE - Once the canvas has extended to the peak of the pulley system, lock the turning wheels to ensure the canvas will stay in place. .

NOTE: Installing the canvas will take multiple students. Start with the mount farthest away and gradually work your way closer to you.

NOTE: Hoisting the canvas will take multiple students, one to operate each of the four wheels. Turn the wheels at a steady pace to ensure each side of the pulley system is in sync.

NOTE: Retract the canvas during extreme weather conditions. The canvas and mounts are to be secured in the storage compartment across from the entryway.

q Student Watching Installed Canvas Billowing in the Wind.

RAMMED EARTH WALL

PEBBLE FLOOR

STORYTELLER BENCH

LISTENING BENCH

CANVAS CANOPY

PREFINISHED METAL FLASHING

LOOSE PEBBLE FLOOR HONEYCOMB GRID

SLAB ON GRADE FORM ROUGH FINISH CONCRETE

#6 REBAR VERTICAL

LANDSCAPE FABRIC

#5 REBAR HORIZONTAL

WELL-COMPACTED CRUSHED STONE OR OTHER GRANULAR MATERIAL

PONDEROSA PINE TOP (YELLOW) 3’ DIA H:15” D:192” (ROUGH) LIVE-EDGE NATURAL FINISH MEDIUM TEXTURE

SLIDE-ON-WIRE

HSS FRAME IN WALL BEYOND

STRUCTURAL COLUMN OUTER CORTEN STEEL ROUND STRUCTURAL TUBE

DRAIN PIPE EXISTING SOIL

NOTE: REPLACED EVERY 10 YEAR FROM DISAUTEL PASS

REINFORCED CONCRETE FOOTER DRAINAGE PIPE

NOTE: LIFT HEIGHTS TO VARY B/W 4”-6” COLOR TINTS TO RANGE B/W SELECTED SAMPLES

NOTE: SIZES VARY - NOT TO EXCEED 3” IN SIZE PALE COLOR RANGE SMOOTH OBLONG SHAPE FROM OMAK LAKE

SAMPLE AREA SOIL REBAR 4” AWAY FROM FACE OF WALL FOOTER TO EXTEND BELOW FROST LINE 35”

Storytelling Pavilion Structural Details In regards to structural details, most of the pavilion’s structural systems are hidden to preserve the sense of being immersed in a natural and spiritual environment. The only systems exposed are one’s that are an expression of traditional Plateau Indian architecture or are directly involved with the installation of the canvas. Hidden systems include the reinforcement and drainage of the rammed earth walls as well as the drainage systems underneath the granite and pebble floors. 36

NOTE: REBAR LEFT TO OXIDIZE

WIRE ROPE PULLEY BLOCK WORKING LOAD LIMIT 3, 000 LB SHEAVE OUTSIDE DIA. 4 IN. STEEL SLIDE WIRE CABLE SIZE 3/8 TURNBUCKLE I-BOLTS WIRE ROPE CABLE SIZE 3/8 STEEL TURNING WHEEL MODULE HANGER CANVAS NATURAL FIBER

q Detailed Section Showcasing Structural Details and Systems of the Storytelling Pavilion.

4 3 2

p Parti Sketch

Conclusion The aim of this project is to use architecture to assist the youth of the Confederated Tribes of the Colville Reservation strengthen their cultural identity and overall mental wellbeing. The project proposes a response that academically joins cultural identity and architecture through design thinking to address mental health concerns among a troubled demographic. The outcome is a provoking space and curriculum proposal that pushes students to learn new thinking processes through the exploration of their land and culture. A strategy that not only promotes instilling the values and guidance of Native American cultural identity but also equips students with new ways to approach problems. Architecturally, the Storytelling Pavilionâ&#x20AC;&#x2122;s design focuses on: 1. Engagement with the Land and Natural Phenomena 2. Referencing Traditional Plateau Indian Architecture 3. Use of Local Material Academically, the Storytelling Curriculum focuses on: 1. Engagement with the Land and Natural Phenomena 2. Equipping Students with the Tools to Preserve their Culture 3. Prompting the use of Design Thinking for Problem Solving All of these architectural and academic design strategies come together during the schoolâ&#x20AC;&#x2122;s Sunflower Festival when the students hang their canvas installation and share their legend in the heart of the Storytelling Pavilion, a physical intersection between man, structure, land and natural phenomena to celebrate Native American culture.

p The Journey - A Group of Students Heading Towards the Storytelling Pavilion for Class.

p The Return - Canvas Installation Mounted in the Forest.

p Storytelling Pavilion Entryway - West Elevation.

p Storytelling Pavilion Opening To Natural Phenomena - South Elevation

[2.] Research & Design

ST. MARY’S MISSION

PORTABLES

PSIS

STORYTELLING PAVILION

p Architectural Evolution of Paschal Sherman Indian School.

Architectural Opportunity (Social Relevance)

Theoretical Basis

Mental health among youth is a prevalent problem across the world. While mental health has been a long-standing issue, it has only been readily addressed by world organizations within the past two decades through various efforts. This project seeks to propose an architectural approach to aiding mental health among the Native American population, specifically the youth of the Confederated Tribes of the Colville Reservation.

This proposal is rooted in architectural phenomenology; a theoretical basis that looks at the way the built environment affects a user’s experience and perception of reality. With this proposal, the issue of perception focuses on the user’s sense of cultural identity through architecture on a small and large scale. This includes creating engagement with the surrounding landscape and natural phenomena, references to traditional architecture, and the use of local materials in a space whose program is designed to celebrate Native American culture.

Paschal Sherman Indian School provides an architectural opportunity to address this social problem by tying together architecture, cultural identity, and youth mental health with academia. This proposal falls in line with the Tribes’ existing efforts to provide culturally enriching activities for their youth and the school’s interest in building spaces that celebrate their cultural identity, both architecturally and academically. This proposal falls in line with the belief that the built environment can affect its user’s identity, that architecture can have important social relevance in its community.

Architectural phenomenology is interested in the relationship between a user’s experience in a space and its correlating influence on the user’s perception of being. This serves as the rational to evaluate a space’s ability to promote a connection to cultural spirituality among its users. Writings by architectural phenomenology theorist Juhani Pallasmaa and philosopher Martin Heidegger provide a basis for analyzing the experiences users perceive in an architectural space. Ideas discussed in Pallasmaa’s book The Eyes of the Skin—Architecture and the Senses and Heidegger’s writing Building, Dwelling, Thinking help guide the proposal’s design choices. Methodology For this project, the design methodology revolves around creating a phenomenological experience that fosters a sense of Native American cultural identity by highlighting the significance of the surrounding land and natural phenomena. To achieve this, the land, natural phenomena, traditional Plateau Indian architecture, and local material would be addressed in the design of the Storytelling Pavilion. These topics were explored through research, surveying, abstracting, modeling, and filming. Overall Interest The intent of this project focuses on demonstrating how architecture can have social relevance, specifically exploring the significance of how the phenomenological narrative of a space reflects the values of its community. 43

Design Strategy The design strategy for the Storytelling Pavilion and adjoining Curriculum is divided into four distinct explorations. This includes the exploration of architectural engagement with the land and natural phenomena, the expression of traditional Plateau Indian architecture, the use of local materials, and the inclusion of design thinking in education. The design also responds to site factors such as prevailing wind directions and views as well as how similar area projects architecturally respond to celebrating Native American cultural identity.

1 | Engagement with the Land & Natural Phenomena

2 | Abstraction of Plateau Indian Architecture

This section explores architectural relationships to the land and natural phenomena, citing a theoretical writing by German philosopher Martin Heidegger on how man-made structures influence perceptions of reality as they create intended or unintended contextual relationships that reflect a community’s values. The intent of this exploration is to architecturally express the Tribes’ spiritual relationship to their land and natural phenomena, the basis for the Storytelling Pavilion’s massing development.

The second set of investigations for the design of the Storytelling Pavilion focuses on the structural style of traditional Plateau Indian architecture. The pavilion’s structure and form development is inspired by the abstraction of the traditional Plateau Indian longhouse, pit-house and teepee. The intent is to provide the school with a structure that celebrates their culture, an idea valued by Paschal Sherman Indian School.

3 | Use of Local Materials

4 | Promoting Culturally Focused Design Thinking

The third set of explorations seeks to solidify the structure’s material finishes. These materials were chosen based on a survey of natural local materials found around the Colville Reservation. The theoretical basis for this exploration is grounded in Juhani Pallasmaa’s thoughts on the importance of appealing to all of the human senses when sculpting the phenomenological atmosphere of a space.

The final set of explorations revolves around the development of the Storytelling Curriculum. This investigation explores the benefits of teaching design thinking in schools and how this can tie into cultural identity and Native American youth mental health.

Additional Research 5 | Site Response 6 | Case Study - Nk’Mip Desert Cultural Centre

1 46

p Concept Diagram – Classroom Letting in the Land and Natural Phenomena (Rain, Sunlight, Wind, etc.)

Engagement with the Land & Natural Phenomena Engagement with the land is central to Native American spirituality. Many Native American tribes have a deep connection to their land and nature. The earth serves as the provider of many resources and lessons to spiritually guide and physically help traditional Native American people survive. Many of the legends of the Confederated Tribes of the Colville Reservation spread teachings of moral lessons, values and spiritual guidance that can be found in the land and natural phenomena. A Native American’s spiritual connection to the land is essential to their cultural identity, and in essence, their mental wellbeing.

With this in mind, the proposed architectural intervention and curriculum seeks to reconnect the local Native American youth back to the land and natural phenomena through architecture and academia. This manifests into the Storytelling Pavilion and adjoining Storytelling Course. In this section of “Research and Design,” the former school (St. Mary’s Mission) and the current school (Paschal Sherman Indian School) are analyzed and critiqued for their architectural engagement with the land and natural phenomena.

Existing Engagement With the Land & Natural Phenomena Critique

p St. Mary’s Mission’s Engagement with the Land (Unobserved - Oriented Towards Church)

p Classroom Portables’ Engagement with the Land (Unobserved - Elevated Above Ground)

St. Mary’s Mission As a former Indian boarding school, the architecture at St. Mary’s Mission is composed of American-European colonial style buildings with a few portables added towards the end of the 20th-century. The school sits in a flattened area on a small hill so that all of the buildings sit on the same plane. The gestures of these buildings are not out to the valley, but rather they are huddled around the school’s church. The mission’s relationship to the land is reflective of the school’s attempt to steer the Native American students’ focus away from their spiritual connection

to their land, and towards the teachings of the church instead. Weather wise, these buildings were designed to protect from outside weather and sported small windows that did not let in ample sunlight or engage with views of the surrounding landscape. Equally so, the school’s portables also disconnect themselves from the surrounding landscape as they sit elevated a few feet above the ground with window placement determined during the structure’s mass-prefabrication design.

p Paschal Sherman Indian School’s Engagement with the Land (Engaged - Massing Gesture)

Paschal Sherman Indian School In contrast to St. Mary’s Mission, Paschal Sherman Indian School’s current school building strives to engage with the surrounding landscape and weather as it opens itself to the mouth of the valley with its central atrium space. This atrium area not only physically gestures out towards the valley while framing a scenic view but it is also designed to let in sunlight to

engage with the atrium’s solar calendar. This atrium space serves as the school’s cultural event space and is the iconic image of the school building. It was ALSC’s objective to create a building whose’s “forms reach out in all directions to welcome nature and man alike.”15

Theoretical Basis Building, Dwelling, Thinking MARTIN HEIDEGGER

“It (the bridge) brings stream and bank and land into each other’s neighborhood. The bridge gathers the earth as landscape around the stream.” - Martin Heidegger

Summary Martin Heidegger was a German philosopher who’s work focused on phenomenology and existentialism. His writings greatly influenced other disciplines outside of philosophy such as architectural theory. Heidegger writing Building, Dwelling, Thinking from his book Poetry, Language, Thought discusses a philosophical theory of the built environment’s relationship with the land, structures, users and the notion of being. In this case, Heidegger is not concerned with the structure or tectonics of a building but rather its relationship between the earth (the land in its physical sense and as a provider), the sky (ideas of beyond), mortals (humans) and divinities (spiritual beliefs.) These four ideas are what Heidegger calls the fourfold, which is at the foundation of what Heidegger believes it means to exist and dwell. Heidegger suggests that the way that a building approaches the fourfold affects a user’s perception of reality. To Heidegger, buildings serve as a vessel for how a person perceives and exists in reality, reflecting a community’s values and what it means to them to exist.16

p Figure 2.1 | Martin Heidegger’s Book “Poetry, Language and Love”

Every built thing participates in this fourfold phenomenon, whether they were consciously designed to or not. Heidegger uses the analysis of a bridge to describe what a structure implies beyond its intent to allow travelers to cross a stream. In his reflections, Heidegger describes the bridge as a medium that instigates new relationships in its surrounding context as he writes: “The banks emerge as banks only as the bridge crosses the stream. The bridge designedly causes them to lie across from each other. One side is set off against the other by the bridge. Nor do the banks stretch along the stream as indifferent border strips of the dry land. With the banks, the bridge brings to the stream the one and the other expanse of the landscape lying behind them. It brings stream and bank and land into each other’s neighborhood. The bridge gathers the earth as landscape around the stream.”17 Application This idea of structures being a vessel between a person’s perception of dwelling, thinking, and being through their relationship with the earth, sky, and spirituality is a compelling notion when contemplating how to create a space that addresses the social issue of mental health through the celebration of Native American culture. Heidegger’s analysis of the bridge serves as a way to explore this notion of how a structure’s physical form relative to its context can imply a specific narrative that influences a user’s perception of reality.

(Naturally Existing) Relation: Indifferent

(Human Perception) Relation: Disconnected

(Structure) Relation: Connected

p Concept Diagram – Sketch of Heidegger’s Bridge Analysis.

Pavilion Massing Development The first stage of the design process is massing, the gradual sculpting away of a rectangular mass similar to a standard classroom shape. In this case, the rectangular form is shaped to engage with the land and natural phenomena to imply a narrative that expresses Native Americanâ&#x20AC;&#x2122;s spiritual connection to nature.

0 | Standard Classroom Form

1A | Open to Elements

1B | Open to Elements

The development of the Storytelling Pavilionâ&#x20AC;&#x2122;s mass is a critique of a typical rectilinear classroomâ&#x20AC;&#x2122;s engagement with the land and natural phenomena. In a typical classroom setting, this relationship is limited.

The first permutation is to open up the form to natural phenomena such as the wind, rain, and sunlight. In response to the wind, two walls are removed to create a channel to funnel the wind, similar to the valley.

In response to rain and sunlight, the ceiling is removed to allow rain and direct sunlight to penetrate into the form.

2 | Open to Topography

3A | Open to Valley

3B | Open to Valley

The second permutation is to open up the form to the existing topography. The shallow slope of the site replaces the floor of the massing. This allows the land to flow through and become part of the classroom.

The third permutation is to open the form to the valley. Keeping with the directional orientation of the schoolâ&#x20AC;&#x2122;s main atrium and cultural event space, the storytelling pavilion is oriented south. Not only does this extend the gesture of the existing school and frame the iconic view of the valley, this orientation is ideal for funneling the wind that comes up and down the valley.

The form also gestures towards the main view of the valley both in the vertical and horizontal plane.

2 54

p Concept Diagram – Abstraction of Plateau Indian Traditional Architecture (Pit-House, Longhouse, & Teepee)

Abstraction of Traditional Plateau Indian Architecture The structures of traditional Native American architecture are hallmarks to a tribe’s cultural identity as they symbolize their ancestor’s relationship to the land and traditional way of living. These structures can connect a person to the traditions of their ancestors that were alive centuries ago. Many Colville Reservation families still practice erecting teepees for ceremonial and recreational use. The Tribes have also funded hands-on activities that teach youth how to build traditional pit-houses and teepees. These activities are an effort to culturally engage the youth in hopes to preserve their traditional building styles, an art form that had almost been lost.

With the value of preserving traditional building styles being essential in strengthening cultural identity, the Storytelling Pavilion seeks to embrace and abstract the architectural styles of the Plateau Indian traditional pit-house, teepee, and longhouse. The importance of preserving cultural identity can be seen in the architectural critique of St. Mary’s Mission and Paschal Sherman Indian School. Here you can see how each institutions’ value of Native American culture was reflected in how their structures embraced traditional Native American architectural styles. This reflection of cultural identity through architectural style is also reflected in the design of the Storytelling Pavilion. 55

Existing Architectural Style Critique

p Architectural Style at St. Mary’s Mission’s (American-European)

u Classroom Portables’ Architectural Style (American / Pre-Fab / Modular / Mobile)

St. Mary’s Mission The architecture at St. Mary’s Mission was built in an American Colonial Revival style. The buildings varied from one to two stories tall and were typically made out of masonry. The only exception to this is the school’s catholic church whose spire extends beyond the height of the surrounding buildings. This embrace of American-European architectural style is reflective

of the school’s mission to convert native children into American culture. Even the portable classrooms added to the school in the late 20th-century reflect a western aesthetic rather than Native American. Many tribal members did not see these buildings as being reflective of their culture.

p Paschal Sherman Indian School’s Architectural Style (Abstracted Traditional Native American)

Paschal Sherman Indian School Once again, it is Paschal Sherman Indian School’s central atrium space that attempts to architecturally engage with the school’s Native American culture. In this case, the atrium’s structural support system is based on the wooden structure of the traditional teepee. This skeletal structure can be seen on the

inside and outside of the building and sports a hat reminiscent to the teepee’s smoke flaps. Even the school’s partially submerged ground-level serves as a reminder of the Tribes’ use of the pithouse. It was ALSC’s objective to design a building that draws upon the forms of traditional indigenous structures.

Traditional Plateau Indian Structures Analysis Traditional Plateau Indian Structures The ancestors of the Confederated Tribes of the Colville Reservation occupied the plateau region of the Pacific Northwest. The people were semi-nomadic, using three types of shelters depending on the season. These structures included the pit-house, longhouse, and the teepee.

p Figure 2.2 | Traditional Plateau Indian Pit-House

Pit-House The pit-house served as the winter home for Plateau Indians. These structures were semi-subterranean, partially embedded in a deep hole in the ground with a wooden structural frame to hold up a domed roof covered with timber, bark, and earth for insulation. The entrance of the pit-house varied from entering through the side or a ladder through the smoke-hole in the roof. The interior included an earth-formed bench that stretched entirely or partially around the circumference of the house for sitting, sleeping or storage. The pit-house had a fire pit encircled by stones with a fire constantly smoldering throughout the winter, making the inside of the pit-house smoky and dark.18 Design Characteristics: • • • •

Submerged Earth Walls Skeletal Structure Permanent Structure

p Figure 2.3 | Traditional Nez Perce Longhouse p Figure 2.4 | Colville Tule-Mat Teepee C. 1900-1905

Longhouse

Teepee

Longhouses served as the summer home for the Plateau Indians. These structures were built above ground and designed to be quickly set-up and taken down. These longhouses were light structures with tule reed matting or animal hide covering on a wood pole frame. These long oblong-shaped structures housed multiple families. The longhouse could reach up to eighty feet in length and is similar in appearance to the modern day A-frame house. When families would move, they would remove their mats or hides and travel on to the next camp, leaving the poles behind. This was much easier than carrying them and convenient for when they chose to move back.19

Once the Plateau Indians acquired horses in the 18th century, they became more mobile thus they adopted the teepee as a more portable home from the Plains Indians. The teepees were composed of a wooden pole framework covered with animal hides or tule reed mats. In later years canvas would be used rather than animal skin or tule. Only one family usually occupied a teepee. The structure is accessed through a hole in the side of the structure that is hidden by a flap of hide, tule, or canvas. The entrance of the teepee is typically oriented east towards the rising sun when weather allows. Groups of teepees were also configured into circles to shelter them from the wind. Inside of the teepee is a small fire pit for warmth and cooking, with a small opening at the top to exhaust the smoke. While teepees are not completely waterproof, they are water repellent and wind resistant.20

Design Characteristics: • • • • •

Elongated Canvassed Skeletal Structure Permanent Frame Moveable Parts

Design Characteristics: • • • •

Singular Canvassed Skeletal Structure Moveable

Pavilion Form Development The second stage of the design process is to articulate the proposed mass with structural gestures inspired by traditional Plateau Indian architecture.

4 | Elongation - Longhouse

5 | Submersion - Pit-House

6 | Canvas Skin - Teepee

The pavilion first takes on the elongated gesture of the longhouse. This creates a form that both embeds itself into the site’s slope while simultaneously gesturing out towards the south as if the structure sprouted from the earth reaching out to the valley.

The pavilion embraces the pit-house’s subterranean gesture as the storytelling area nestles itself into the earth creating a small intimate space where land, man, natural phenomena, architecture, culture, and learning come together.

The pavilion’s kinetic canvas system is inspired by the teepee’s canvas covering. The relationship that the teepee’s canvas has with the outside environment as a protective skin is reinterpreted to become a responsive skin that interacts with natural phenomena. The canvas becomes a tool to highlight and amplify the characteristics of natural phenomena such as rain, the wind and sunlight.

7 | Slanted Walls

8 | Internal Structural Skeleton

The form takes on a slight tilting of the walls similar to the A-frame gesture of most traditional Plateau Indian architecture. The tilting of the walls accentuates the feeling of being nestled in this protected yet sensitive space, walking the line of being sheltered in the land but also exposed.

The internal wood structure of all of the traditional Plateau Indian structures analyzed inspires the pavilionâ&#x20AC;&#x2122;s internal structural system. This system ribs the inside of the pavilion as it supports the slanted rammed earth walls, similar to how the pit-houseâ&#x20AC;&#x2122;s sloped roof supports layers of earth.

3 62

p Concept Diagram – Palette of Local Materials (Sagebrush, Trodden Earth, Rammed Earth, Corten Steel, Granite, Beach Pebbles, Basalt, Ponderosa & Canvas)

Use of Local Materials Materials play a significant role in how one interprets the intent of a space. Materials can play out a narrative that is artificial or native to its local surroundings. Using local materials celebrates the location of the building as it weaves itself back into its surroundings instead of alienating itself with foreign materials. The use of imported processed materials plays out a different story than materials that are both natural and local. Even the finish of material can create a different narrative and feel for users. Materials that are altered, protected, and preserved with lacquer and stains tell a different story than materials that are natural and allowed to age and deteriorate.

In this proposal, local untreated materials are used to stir up a feeling of being immersed in the surrounding landscape, reconnecting students with the same natural material their ancestors encountered and told stories of centuries ago. This design choice aims to reaffirm the students’ relationship to their land and cultural identity. This comes as a contrast to the existing school’s subtle use of natural material and the mission’s almost complete omission of local material. This can be seen in the architectural critique of St. Mary’s Mission and Paschal Sherman Indian School. The Storytelling Pavilion draws from material found around the reservation and sequences them in a way to create various sensory thresholds to pull the students away from the artificial environment of the main school building and into the surrounding natural landscape. 63

Existing Material Critique

p Classroom Portables’ Material Palette: American (Manufactured) | Aluminum Siding / Pressed Wood

p St. Mary’s Mission’s Material Palette: American-European (Foreign) | Brick and Mortar

St. Mary’s Mission The material palette of St. Mary’s Mission is reflective of western building techniques. This includes brick and mortar buildings, a building method and material unfamiliar to the native people. Wooden cabins were also erected, a material familiar to the native people but used in an unfamiliar way.

These building techniques would soon take over the native people’s traditional homes, creating a different relationship between them and their land. In regards to the school’s portables, the materials of these manufactured buildings also reflect a detachment from local materials.

p Paschal Sherman Indian School’s Central Atrium - ALSC’s Material Palette: American (Natural / Treated) | Tamarack, Pine, Granite, Concrete, and Steel

Paschal Sherman Indian School In regards to using local materials, it was ALSC’s objective to use a natural material palette of stone and wood. While most of the natural materials used in ALSC’s proposal were not local, the most impressive local material application was in the school’s central atrium space. Here, you can see giant tamarack poles

holding up the atrium structure. These poles have a rough and natural finish. This material can be found along the northern part of the reservation in the Colville National Forest. These poles provide the most powerful gesture to local materials significant to the Tribes’ culture.

Theoretical Basis The Eyes of the Skin: Architecture and the Senses

“The ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self and being” - Juhani Pallasmaa

JUHANI PALLASMAA

Summary Architectural Phenomenology theorist Juhani Pallasmaa’s book The Eyes of the Skin—Architecture and the Senses provides a basis for analyzing the experiences users feel in architectural spaces. In this book, Pallasmaa explains that there are six ways people perceive a space. Pallasmaa believes that architecture is perceived not just with our eyes but also with our other senses. It is with all of the senses that humans experience their surrounding environment, thus these senses should be considered when sculpting the narrative of architectural atmosphere. In his book, Pallasmaa attributes spatial experiences as a phenomenon of atmosphere that is conjured up by vision, sound, touch, scent, taste, and how the built environment affects physical responses from the body.

p Figure 2.5 | Juhani Pallasmaa’s Book Cover for “The Eyes of the Skin: Architecture and the Senses”

With vision, Pallasmaa emphasizes the importance of light and shadow in evoking a user’s imagination, engaging them with the textures and material qualities of what a space would feel like to the hand without touching. For sound, a user can connect with a space’s shape and materiality by the way sound echoes off of different surface treatments or volumes. With touch, one engages with a material’s temperature, weight, and texture. Smell helps create and invoke distinct memories of a place that bring out an emotional response. For taste, it is vision and smell that create a subliminal reaction where certain colors, textures, or aromas can elicit an oral sensation. A space’s scale and volume relative to the user’s body can allude to feelings of comfort and protection or exposure and vulnerability. Through physical exertion, the body engages with the environment through walking implied circulation paths, choosing seating preferences, or being oriented towards a framed view. An environment can also allude to what activities are appropriate in that space as it provides behavioral cues to the body through scale and furnishings. All of these senses come together to imply a narrative of reality reflective of a community’s values. Pallasmaa believes that it is only multi-sensory experiences that let a user understand reality and the world around them. He sees local craftsmanship, expression of details, and the use of local materials that are allowed to age as design choices that resonate with the senses of the human body and reality. Pallasmaa believes that modern architecture has been creating a detachment from reality as it focuses on using design techniques that only address visual experiences, hides structural systems, and the use of non-local materials such as steel and glass that seem to never age.21 Application Pallasmaa’s six senses serve as an outline for surveying materials around the reservations. This survey is used as a way to become familiar with the unique qualities of each material and how they can be sequenced and applied to create an atmosphere that evokes a sense of being engaged with the land.

p Concept Diagram â&#x20AC;&#x201C; Pallasmaa Six Senses of Perceiving Architectural Atmosphere (Sight, Sound, Smell, Touch, Taste and Body)

Reservation Material Analysis Material Survey The material finishes of the pavilion pull from the surrounding environment. Everything used in the structure can be found along State Route 155, the main roadway that runs through the Colville Reservation. This palette was explored through a material survey that evaluated the phenomenological qualities of each material as well as its location.

Map of Materials Found Across the Colville Reservation Along State Highway 115

SAGEBRUSH FIELD

PONDEROSA PINE FOREST

INDIAN ENCAMPMENT AREAS

GRANITE BOULDERS

BOTTOM OF THE VALLEY SOIL

BASALT ERRATIC FIELD

PEBBLE BEACH

CORTEN STEEL ART

STORYTELLING PAVILION

Sagebrush

Trodden Earth

Site Soil

Fields of sagebrush occupy a majority of the southern area of the reservation. Bushes sway with faint sounds of shimmering vegetation as the wind blows across a sea of sagebrush. These fields often produce a sharp scent after rain and display

Paths of trodden earth can be found across the reservation cutting through sagebrush, up hillsides, across forests, or down to lakes. These tracks were made when people consistently took the same path of least resistance as they traversed across the landscape. This unique relationship between the traveler and the land shows an understanding and response to the existing terrain as one evaluates the safest and most efficient route. The path left behind after continuous use reduces any existing vegetation into exposed compacted earth. Instead of hearing the rustling of vegetation move beneath one’s feet, travelers on well-trodden paths hear the sound of footsteps on bare earth or the crunch of debris that was once hidden

The soil of the Colville Reservation is predominantly sand or gravel deposits from glacial drifts rather than the disintegration of underlying basalt. Areas unaffected by glacial drifts have a fine silt bed made of a light-gray dusty soil transported by the wind.

various wildflowers during the late spring. Sight: Movement | Sway Sound: Shimmer | Rustle Smell: Turpentine-like odor | Sweet | Fragrant Taste: Bitter Touch: Soft Silky Leaves Body: Engulfed (field)

underneath the vegetation.

________________________________________

The valley in which the school sits in is composed of various soil profiles. The location of the proposed Storytelling Pavilion is an outwash terrace with a 0-25 percent slope. The site’s soil profile is a 166-Fivelakes soil with the parent material being an outwash mixed with a component of loess and volcanic ash. The color gradient of a 60-inch deep soil sample is as follows: Uppers Surface (0”-4”): Dark grayish brown stony loam Lower Surface (4”-12”): Dark grayish brown gravelly loam

Application: A sagebrush field is used as a

Sight: Compact | Dry | Warm

threshold between the main school area and the

Sound: Crunch | Hard | Dry

Lower Subsoil (20”-32”): brown very cobbly sandy loam

Smell: Soil | Dry

Substratum (32”-60”): multicolored extremely gravelly sand

Taste: Smooth | Dry | Mineral

Sight: Loose | Spread

Touch: Dry | Particles

Sound: Crunch | Hard | Dry

Body: Traverse | Movement | Path

Smell: Fresh | Mineral | Dry

________________________________________

Taste: Smooth | Dry | Mineral

Application: Trodden earth is used as the main

Touch: Dry | Particles

Storytelling Pavilion to immerse students in the surrounding natural landscape.

pathway to the Storytelling Pavilion, pulling users away from the artificial landscape and into the surrounding natural environment.

Upper Subsoil (12”-20”): yellowish brown cobbly loam

Body: Engulfed ________________________________________ Application: Soil from the site is used in the pavilion’s rammed earth walls, creating a connection between the structure and the earth it sits on. The finish of these walls mimics the color spectrum of a 60 inch deep site soil sample.

Corten Steel

Granite Boulders

Beach Pebbles

Native American inspired sculptures created by Colville tribal council member and artist Smoker Marchand can be found through out the reservation depicting area animals, legends, and traditional native people. The sculptures are made out of oxidized Corten steel. This material gives off a sense of durability while also evoking a sense of

Part of the Colville Reservation is located on the Colville Igneous Complex. This includes the Colville batholith, a composite of gneiss and granitic rocks. This condition causes the nearby lake (Omak Lake) to be devoid of vegetation as the shoreline is mostly composed of large rock formations that provide little habitat for any plants to grow. This condition also causes the surrounding valley to be sparse of trees. The rock formations are immense, rough, barren and warm under the summer sun. Bighorn sheep can typically be seen in the rocky areas around Paschal Sherman Indian School along with other animals. This condition continues through the part of State Route 155 known as Disautel Pass as the road weaves through tall narrow walls of loose granite

The nearby lake (Omak Lake) is the largest saline lake in Washington. The salinity of the water causes white deposits of sodium carbonate on the rocks bordering the lake. Most of the shoreline is rock formations or pebbles. The lake does have a small sandy beach popular among locals. Wind is common on the lake, rapidly changing flat conditions into chops and whitecaps. This drastic change in water conditions is due to the wind being funneled up and down the valley across the

boulders.

________________________________________

Sight: Large | Mineral

Touch: Hard | Smooth

Application: Corten steel serves as the main

Sound: Hard or Crunch

Body: Engulfed

Smell: Mineral

________________________________________

steel parts of the pavilion give off a sense of age

Taste: Mineral

Application: Beach pebbles serve as the floor

and time.

Touch: Hard | Warm | Textured

structural support for the canvas system and rammed earth walls. With weathering, the Corten

Pavilion. The sound created when storytellers

Body: Heavy | Weight | Mass

walk across these pebbles signifies a sacred area

________________________________________

separate from the entry area.

Application: Crushed granite serves as the floor for the Storytelling Pavilionâ&#x20AC;&#x2122;s main entryway, providing an audible change from the exterior pathway to call the users attention to the space they are in.

covering of the storytelling area in the Storytelling

Glacial Erratics

Ponderosa Pine Trees

Canvas

The area has various glacial erratic strewn across the reservation. These consist of large haystack basalt erratics and large granite boulder erratics. These erratics were deposited across the reservation by various glacial flows

Canvas is not a natural material found in the landscape; rather it is manufactured by weaving natural or synthetic fibers. Its predecessors, tule mats (a type of weaved bulrush or reed) and animal hide that were traditionally used for teepees reflect a more raw material of the land. These days, canvas is used to cover teepees. Local tribal members construct these teepees for special events or recreational use.

Taste: Mineral

Ponderosa pine is a common tree found around the area. This tree is very valuable to the Tribes’ commercial timber industry. The Ponderosa pine grows tall and straight with a thick flaky bark. This bark gives off a sweet smell often described as vanilla or butterscotch. The smell is thought to be a reaction from the Ponderosa’s sugar sap being heated by the sun. This sap and the flaky bark are key to the ponderosa’s resilience to forest fires. When fire hits the ponderosa tree, the bark explodes off due to a flash boiling of the tree sap, leaving the tree unburned. At 120 years old, ponderosa pines shed their black bark for a

Touch: Hard | Rough | Faceted

yellow coat.

during the Ice Age. Sight: Mounds | Displaced | Large Sound: Hard Smell: Mineral

Body: Heavy | Weight | Mass ______________________________________ Application: Pieces of basalt glacial erratics are sculpted into bowls that hold fire, water, flowers, fish, or any other artifacts related to a specific tribal legend.

Sight: Tall | Textured

Canvases come in various thicknesses and weave tightness. While untreated canvas is not waterproof, it is very water resistant as the fibers swell when wet to seal the weave. Canvas tends to be rather flammable and is biodegradable, typically taking up to a year of intense weathering to decompose.

Sound: Solid Smell: Sweet | Wood | Vanilla Taste: Pungent Touch: Bark - Light | Airy Trunk - Hard | Heavy Body: Tall | Mass | Overhead _____________________________________ Application: A large ponderosa pine log is used as the storyteller’s bench. This bench is meant to provide a constant reminder of the passing of time as the log progressively ages.

Sight: Light | Movement Sound: Bellow | Whip Smell: Fibrous | Musty Taste: Fibrous Touch: Smooth | Fine Textured Body: Light | Airy | Above ________________________________________ Application: Canvas serves as the main feature of the Storytelling Pavilion as it is the main medium used in the kinetic canvas installations that are meant to connect the pavilion’s users with the land and Native American cultural identity.

Pavilion Material Palette Applied The third stage of the design process is material application with the objective of creating a sense of immersion and engagement with the surrounding landscape.

9 | Application of Local Materials The Storytelling Pavilion is constructed with local materials sequenced in a way to pull visitors into the surrounding landscape.

Collected Local Material Palette

SAGEBRUSH

TRODDEN EARTH

BLEACHED BEACH PEBBLES

RAMMED EARTH

BASALT BOWL

CORTEN STEEL

PONDEROSA

CRUSHED GRANITE

CANVAS

A B

G K

pq Material Survey of Storytelling Pavilion Intervention.

Program

Area

Vol.

Material

Underlying Structure

Source

Sagebrush Field

190000 ft²

Sagebrush Habitat

None*

Harvested Area Seeds

Rammed Earth

Concrete Footing | Drainage System

Site Excavated Dirt

Drainage System

Disautel Pass

Installation Pad

141.3 ft²

70.65 ft³ 6” Depth

Entry Area

275.8 ft²

137.9 ft³ 6” Depth

Crushed Granite

Storage

17.4 ft²

Void in Wall | Corten Steel Door

None

Area Supplier

Seating

257.9 ft²

177.8 ft³

Rammed Earth

Concrete Footing | Drainage System

Site Excavated Dirt

Beach Pebbles Log Basins Kinetic Canvas

Drainage System Canvas Connection and Support Pieces

Reservation Lakes Disautel Forest Grand Coulee Area Area Supplier

Storytelling Area

351.8 ft²

175.9 ft³ 6” Depth

Pulley System

Steel | Wire

None

Area Supplier

Walls

1.) 130.6 ft² 2.) 100.7 ft² 3.) 259.5 ft²

1315.4 ft³ 419.6 ft³ 1954.6 ft³

Rammed Earth

Concrete Footing | Drainage System

Site Excavated Dirt

279.0 ft²

139.5 ft³ 6” Depth

Concrete and Pebbles

Concrete Footing | Drainage System

Site | Reservation Lakes

3690 ft³ I

Drainage

Path

13000 ft²

Trodden Earth

None**

Needs to be Cleared

Workshop

2,000 ft² est.

Existing

Possible Renovation*****

Existing

Atrium Storytelling Area

500 ft² Est.

Existing

None

Existing

Storytelling Pavilion

4 74

Understand

Explore

Materialize

p Concept Diagram – Process of Design Thinking Integrated in Storytelling Pavilion Classroom (Understand, Explore & Materialize)

Promoting Culturally Focused Design Thinking Education is a powerful tool that can influence how youth see the world and how they see themselves. Education can empower or deter students from certain beliefs, it can shift a generation’s cultural values, erasing any long-standing traditions. The power of education in influencing a student’s cultural outlook can be seen in the history of Indian boarding schools. These schools were implemented by the United States government to reform the traditional values and way of life of Native American children with the intent to convert them into civilized Americans. This affected many generations of Native American’s and almost caused the loss of their culture entirely. Equally so, you can see

how some schools now in days are fighting to correct this past cultural assimilation of Native Americans. This can be seen at Paschal Sherman Indian School whose objective is to provide Native American teachings to preserve and strengthen their culture among their youth. With this in mind, the aim of the Storytelling Curriculum is to immerse students in Native American culture and empower them to be leaders in the preservation of their culture and giving them the tools to address problems in their lives through the use of culturally oriented design thinking. 75

Education and Culture Critique

p Figure 2.6 | St. Mary’s Mission’s Teaching Environment (Heavy Religious Influence)

p Classroom Portables’ Teaching Environment (Over Crowded and Over Used) [No interior photos available]

St. Mary’s Mission The primary objective of St. Mary’s Mission was to reform the spiritual and cultural beliefs of the local Native American youth. Their aim was to strip students away from their traditional way of life and immerse them in American-European culture. Their curriculum strictly prohibited Native American culture,

as students were often disciplined for speaking in their native tongue. The curriculum of the school was not geared to empower students to think but rather to instill discipline through disciplinary teaching. Indian boarding schools were often regarded as being taught in a military style.

p Paschal Sherman Indian School’s Teaching Environment (Engaged with Native American Culture)

Paschal Sherman Indian School Paschal Sherman Indian School prides itself on providing education focused on Native American culture. This is an abrupt contrast to St. Mary’s Mission’s focus on converting native youth to American-European culture. Paschal Sherman Indian School provides culturally focused programs such as storytelling, reflections, crafts, dance, and Salish. The school also hosts various outings where students travel to other schools to share

their culture as well as hosting an annual cultural festival. These programs that are offered by the school are a great gesture to strengthening Native American culture among the youth of the Confederated Tribes of the Colville Reservation, empowering students to be carriers of their culture. This effort by the school serves as a strong foundation to build on for other culturally focused courses.

Theoretical Basis Overview of Deisgn Thinking

“Design thinking is neither art nor science nor religion . It is the capacity , ultimately , for integrative thinking.” (Tim Brown)

Summary Design thinking is a methodology for problem solving often associated with disciplines concerned with design such as fashion, product design, graphic design, and architecture. Designing requires the action of solving problems through discovery. There’s a shift underway in long established corporations and innovative start-ups that place design thinking at the center of their business process. This process leads to more innovative and successful solutions to problems rather than relying on old methods based on backward-looking data or risky bets based on instincts rather than evidence. Many people propose different ways to approach the process of design thinking but the foundational principles are to see, test, and build.22 Many people in business and education are integrating this design process into their discipline. TED speaker and global design company IDEO’s CEO and president Tim Brown feels that the methodologies and approaches of design can be applied to a broader set of issues and problems in business and society. p Figure 2.7 |Hasso Plattner Institut School of Design Thinking Ideation Process

One of the most valuable lessons in design thinking is learning how to fail forward. The idea is to embrace the mindset that trial and error leads to the best solutions, thus embedding a resilient tolerance to failure. While design culture may seem critical, the intent of the design process is meant to be nurturing. The criticism of the iterative phase of the design process is not to foster a sense of failure, but rather to recognize that it is rare to get things right the first time. The idea is to view failure as learning. Stanford Master of Engineering candidate Daniel Cheng reflected on the lessons he learned participating in Stanford’s design thinking course called d.School Boot Camp as he stated that “The will to admit failure, to build up the courage to admit failure, (I think) that’s something that a lot of people need to learn. Being okay with failing, being okay with failing so that you can move on so that you can make more progress instead of being stuck at a dead end.” Many students who participated in the d.School Boot Camp reiterated learning this same insight.23 Within the last five years, a growing number of schools across the United States and around the world have begun to test and integrate design thinking exercises in k-12 education. This includes schools in New York City, Mexico, China, Spain, South Africa, nearby Riverpoint Academy in Spokane Washington, and many more across the globe.24 In these cases, children are being empowered to become self-efficient problem solvers by developing their creative side to find innovative solutions. These exercises teach students how to be aware of their thought processes when problem solving, a critical part of being resilient to failures or problems in life. Application This idea of using design thinking to empower students to be resilient problem solvers in all aspects of their lives is valuable when trying to find ways to address youth mental resilience. In this particular proposal, design thinking exercises revolve around the students’ Native American culture to also strengthen their sense of cultural identity.

p Figure 2.8 | Nielsen Norman Groupâ&#x20AC;&#x2122;s Six Phases of Design Thinking (2016)

Proposed Storytelling Course The Storytelling Course integrates the use of design thinking in its curriculum. Specifically, this thought process is developed during the students’ ninth grade year as they design their kinetic canvas installation. The process itself takes cues from the Norman-Nielsen Group’s Design Thinking process outline.

Overview of Storytelling Curriculum LISTENING

K - 7TH

LEARNING

8TH

DOING

RETURNING

BEING

9TH

10TH

BEYOND

DESIGN THINKING

Diagram of the Storytelling Curriculumâ&#x20AC;&#x2122;s Design Thinking Section RESEARCH

OBSERVE

REFLECT

IDEATE

PROTOTYPE

TEST

PLAN

BUILD

PRESENT

RESEARCH

OBSERVE

REFLECT

IDEATE

PROTOTYPE

TEST

PLAN

BUILD

PRESENT

UNDERSTAND UNDERSTAND

RESEARCH

OBSERVE

UNDERSTAND

EXPLORE EXPLORE (Repeat)

REFLECT

IDEATE

PROTOTYPE

EXPLORE (Repeat)

MATERIALIZE MATERIALIZE

TEST

PLAN

BUILD

PRESENT

MATERIALIZE

5 82

p Paschal Sherman Indian School Playfields.

Architectural Response to Site The way an architectural intervention expresses its relationship with the land reflects its community’s values. In this case, the project is reflecting the Colville Tribes’ spiritual connection with their land and helping to reconnect and strengthen that relationship among their youth at Paschal Sherman Indian School. To achieve this, it is vital that the proposed structure architectural engages with the surrounding context, both with the land and natural phenomena. Important site related variables to consider are the area’s climate, ecology, topography, wind direction, sun exposure, and prominent views. These variables help inform design choices such as the placement and orientation of the pavilion to best capture prevailing winds to stimulate the pavilion’s canvas installation while framing a scenic view of the valley that will serve as a backdrop to the storytelling area, creating a sense of immersion with the prominent geological formations of the area by placing the pavilion within the boundaries of the valley while maintaining maximum sun exposure to provide maximum use of the space during school hours.

90°F

3 inch

70°F 2 inch

50°F

1 inch 30°F

10°F

LOW

HIGH

0 inch

PRECIPITATION

p Figure 2.9 | Climate Data for Omak Washington (2017 US Climate Data)

Climate was an important factor in determining how exposed the structure could be to create a protected intimate experience still immersed in the landscape. The area is categorized as a semiarid climate. This means that the area is dry, receiving between 10-20 inches of rain per year. Semi-arid areas also experience very cold winters, hot summers, and droughts. With this in mind, the Storytelling Pavilion’s outdoor curriculum revolves around the warmer academic months such as the fall and late spring. The pavilion is also open during the summer to provide safe and culturally engaging activities for area students during their summer vacation. 83

WEST FORK DISAUTEL INCHELIUM

NESPELEM KELLER

COULEE DAM

p Map of the Colville Reservation.

The Colville Reservation is located in Eastern Washington and encompasses a diverse set of ecosystems. These include grasslands, sagebrush steppes, ponderosa pine forests, Douglas fir, pine and larch mixed forests, meadows, many lakes and creeks, and intermountain semi-desert areas. 84

Ecological diversity can be found within a 5-mile radius of the site. This includes a sagebrush steppe to the north, light agriculture along the center of the valley, the saline lake to the south, granite rock formations and the spares pine vegetation that populate the walls of the valley.

1 SAGEBRUSH S

2 LIGTH AGRICULTURE

3 GRNITE ROCK FORMATIONS

4 SALINE LAKE

p Area Habitats Map.

p Valley Site Section.

The valley has an elevational change of 2,550 feet between its lowest and highest points. These points rest at 950 feet and 3,500 feet above sea-level. The Storytelling Pavilion itself sits at 1,240 feet above sea-level at the northern mouth of the valley. The bottom of the valley gradually slopes towards the south as it approaches Omak Lake, the valleyâ&#x20AC;&#x2122;s lowest point. The high walls of the valley cast long shadows early in the day and help funnel winds up and down the area. The edges of the valley also help block light pollution from the nearby town of Omak. 86

Keeping with the intent of fostering architectural engagement with the land, the Storytelling Pavilion’s placement on the site is informed by various elements of the valley. This includes entering the bounds of the valley while still residing on the school’s campus, framing the iconic view of the valley, capturing the prevailing wind direction, and maximizing sun exposure.

EXISTING CONDITION

WITHIN THE BOUNDS OF THE

WITHIN THE BOUNDARIES OF THE CAMPUS

MOUTH OF THE VALLEY

SOUTHERN GESTURE TO THE MIDDLE OF THE VALLEY

ORIENTED TO CATCH SOUTHERN WINDS

BEYOND THE 2:30 PM VALLEY SHADOW LINE

The Storytelling Pavilion proposal also seeks to extend the campus’ engagement with the valley. The proposed placement of the pavilion is in an undeveloped area at the southern end of the campus. This location mimics the existing march of new development extending towards the valley. This prompts the extension of the school’s existing central pathway that cuts through the center of campus. The new development reintroduces native sagebrush foliage to the campus, in contrast to the schools mowed lawn areas. This landscaping choice is meant to pull students out of the school’s artificial environment and into the natural landscape. With this new addition, students will engage with the valley as they walk to and from classes in the pavilion.

EXISTING

MAIN SCHOOL BUILDING

DORMITORY

PLAYFIELDS

DEVELOP

SOUTHERN GESTURE

PATH EXTENSION

SAGEBRUSH

6 92

p Figure 2.10 | Nk’Mip Desert Cultural Centre Exterior Rammed Earth Wall.

CASE STUDY Nk’Mip Desert Cultural Centre | Osoyoos, BC Canada Architects: Hotson Bakker Boniface Haden Materials: Rammed Earth, Concrete, Bluestain Pine Cladding Area: 17,222 ft2 Project Year: 2006 “Nk’Mip is the first of a number of new B.C. aboriginal centres, and part of a growing trend to explore the expressive potential of architecture to convey the rich past and the transforming future of aboriginal culture.”25 aNk’Mip Desert Cultural Centre is a Native American cultural center owned by the Osoyoos Indian Band of Osoyoos, BC Canada. This cultural center is fifty-five miles north of Paschal Sherman Indian School, providing a relevant case study on how architecture can express Native American culture. The Nk’Mip Desert Cultural Centre focuses specifically on the culture of the Okanogan Band of the Colville Confederated Tribes. The center hosts various indoor and outdoor exhibits that celebrate the culture of the Okanagan people and the Okanagan desert. The structure blends in with its surrounding environment as it engages with the land, blurring the threshold between the site and the building. The design values of Nk’Mip Desert Cultural Centre reflect a recent movement in architectural design that is exploring how architecture can express the rich culture of indigenous peoples who have been fighting for generations to preserve there community’s culture.26

Architectural Critique While critiquing this case study, it is important to note how the design of this cultural center approaches the main design strategies for the Storytelling Pavilion. This includes surveying how the Nk’Mip Desert Cultural Centre approached engagement with the land, traditional indigenous architecture, local materials and engagement in cultural education.

q Figure 2.11 | Nk’Mip Desert Cultural Centre Embedded in the Landscape.

q Figure 2.12 | Nk’Mip Desert Cultural Centre Plan.

1 | Engagement with the Land & Natural Phenomena

2 | Abstraction of Traditional Native Architecture

The Nk’Mip Desert Cultural Centre uses architectural gestures to engage with the surrounding environment, expressing the land’s importance to the Okanagan Indians. The structure nestles itself into the hillside, maintaining a relatively low profile as it blends into the base of the mountainous backdrop. The building also features indoor and outdoor exhibition areas that are meant to express the seamless relationship between the Okanagan people and their land.

The Nk’Mip Desert Cultural Centre’s design is a contemporary tribute to the traditional winter dwellings of the Okanagan people as it sits partially underground with a desert green roof overhead, a reference to the pit-house. The center evokes this reference again on the interior with a round volume reminiscent of the pit-house at the heart of the exhibition. This area serves as a gallery space and is meant to evoke the experience of a conversation around a fire.

q Figure 2.13 | Rammed Earth Wall, Steel Door & Blue Pine Finishes.

q Figure 2.14 | Nk’Mip Desert Cultural Centre Cultural Display.

3 | Use of Local Materials

4 | Engaging Cultural Education

Nk’Mip Desert Cultural Centre selects specific local materials to evoke a connection to the surrounding landscape, the most impressive being the structure’s bluestain pine cladding. This pine is reused from a recent infestation of pine beetles across British Columbia. Bluestain pine is local to the area but not typically used for architectural finishes where many prefer to use yellow hued pine. Regardless, the center celebrates the pine’s unique blue tint as it uses it for interior and exterior finishes. The project also features a large rammed earth wall whose prominent strata and rough finish evokes ideas of area geology and sedimentation.

Nk’Mip Desert Cultural Centre was created to showcase the endangered Okanagan Desert and the culture of the Okanagan people. The center was also created to promote conservation efforts for desert wildlife. The center does this through interactive learning environments that encourage engagement with handson displays, education stations, life size mockups of traditional structures, and a theater.

Appendix - A | Model & Video Explorations

p Collection of Process Models and Final Section Model.

Model & Video Explorations In response to the phenomenological intent of this project, many model investigations focus on abstracting the essence of natural phenomena as well as learning how to capture and manipulate various phenomena such as light, wind, and water. The models are explored in static and kinetic situations using both photography and videography. Models are also created at various scales from small boxes to a large-scale inhabitable mockup. These models not only serve as a way to practice manipulating phenomenological characteristics but also provide compelling images and videos that help express the atmospheric quality of the proposed pavilion. These explorations of abstracting natural phenomena also serve as a basis for the design phase of the revised Storytelling Curriculum. The trials and errors of these explorations help develop an outline for how students could be led through a design thinking course. This thought process includes observation, analysis, abstraction, conceptualizing, building, testing, observing, and critiquing. p Large-Scale Mockup.

p Final Site Model.

Final Thoughts

p Collection of Natural Light Folly Exploration Models.

Light Boxes: The aim of this exploration is to become familiar with different ways of manipulating light. This investigation focuses on the abstraction of sunlight interacting with natural phenomena, geological formations, or foliage. The exploration serves as the groundwork for demonstrating how the pavilion can showcase 98

natural phenomena and how to lead students through the thought of abstraction. The process of this exploration involves selecting a phenomenon, describing its unique characteristics, pulling out specific traits to mimic, developing and building a prototype, and collecting observations to apply later.

p Concept Sketch - Abstracting the Light of the Forest.

LIGHT OF THE MOON:

100

STRATEGY:

Capturing they way moonlight passes through trees on to the ground below.

• • • •

LIGHT OF THE SUN:

STRATEGY:

Exaggerating the way sun moves over the course of the day through light and shadow.

• • •

LIGHT OF THE FOREST:

STRATEGY:

Capturing the light at the edge of a forest, between the canopy and the clearing.

• • •

LIGHT OF THE CREEK:

STRATEGY:

Capturing the shimmering light reflected off of a bubbling creek.

• • •

LIGHT OF THE CAVE:

STRATEGY:

Capturing the way light dissipates through a cave.

• • •

LIGHT OF THE STARS:

STRATEGY:

Capturing the light of stars sitting in the night sky.

• • • •

Concentrated Channeled Cool Glow

Texture Vessel Aperture

Light at Lower level Filtered Dim Interior

Sparkle Movement Reflect from Below

Layers Gradient Distinction of distance

Focused Speckled Pinhole Contrast

MATERIAL:

OBSERVATIONS:

• • •

Cake Box Hot Glue Sticks Tacky Glue

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Cake Box Corrugated Paper Tacky Glue Tape

Light: Contained | Moves around vessel | Highlights / Diffused | Textured Color: Cold (when sky is backdrop) Environment: Framed

MATERIAL:

OBSERVATIONS:

• • • • • •

• • •

Cake Box Dowels Construction Paper Wafer Sheets Hot Glue Tape

Light: Channeled | Highlights / Diffused | Gradient Color: Warm Environment: Field

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Cake Box Basswood Faceted Mirror Tiles Tacky Glue

Light: Channeled | Highlights | Shimmer | Color Color: Warm Environment: Field

MATERIAL:

OBSERVATIONS:

• • • • • •

• • •

Cake Box Basswood Construction Paper Vellum Paper Shimmer Paper Tacky Glue

Light: Diffused | Gradient | Glow | Caught by Material Color: Cool Environment: Field / Framed

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Cake Box Basswood Foil Tissue Tacky Glue

Light: Controlled | Focused Pin Hole Glow Color: Warm Environment: Field

101

102

LIGHT OF THE RAIN:

STRATEGY:

Capturing the shimmer of light passing through falling raindrops.

• • • •

LIGHT OF THE SNOW:

STRATEGY:

Capturing the reflective glow of sunlight over snow.

• • •

LIGHT OF THE CLOUDS:

STRATEGY:

Capturing the airy illumination of sunlight through clouds.

• • • •

LIGHT OF THE FOG:

STRATEGY:

Capturing the way light gets caught in dense fog.

• • • •

Glisten Shimmer Move Sparkle

Glow Reflect from below Bright

Layers Glow Filter Overhead

Engulfing Glow Within Haze

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Cake Box Shimmer Paper Clear Crystal Beads Hot Glue

Light: Refracted | Shimmer | Rainbow | Changes Direction Color: Cool Environment: Field

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Cake Box Shimmer Paper Basswood Tacky Glue

Light: Reflected | Glow | Distorted Color: Warm Environment: Field / Framed

MATERIAL:

OBSERVATIONS:

• • • • •

• • •

Cake Box Dowels Basswood Tulle Fabric Tacky Glue

Light: Caught | Glow | Haze Color: Warm Environment: Field

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Cake Box Shimmer Paper Vellum Paper Tacky Glue

Light: Controlled | Focused Pin Hole Glow Color: Warm Environment: Field

103

Analysis Method American lighting designer Richard Kelly theorized a way to approach the illumination of modern architecture by sorting lighting into three different categories based on light energy impacts. These classifications include focal glow (highlight), ambient luminescence (graded washes), and play of brilliants (sharp detail.) These three categories were inspired by theatrical

8:00 AM

lighting techniques and serve as a framework for how designers could use lighting design to influence human emotion. These emotions include excitement, boredom, comfort or discomfort. In this exploration, these three categories are used as a tool to analyze and abstract instances of lighting in the natural environment.27

12:00 PM

104

6:00 PM

June 21st Noon

June 21st Overcast

t Light of the Moon Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

Internal

t Light of the Stars

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

Internal

External

Concentrated

t Light of the Sun

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

105

8:00 AM

12:00 PM

106

6:00 PM

June 21st Noon

June 21st Overcast

t Light of the Rain Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

t Light of the Snow Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

t Light of the Clouds Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

t Light of the Forest Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

107

8:00 AM

12:00 PM

108

6:00 PM

June 21st Noon

June 21st Overcast

t Light of the Cave Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

t Light of the Creek Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

109

8:00 AM

12:00 PM

110

6:00 PM

June 21st Noon

June 21st Overcast

t Light of the Fog Internal

External

Concentrated

Diffused

Smooth

Textured

Dark Closed Static

Light Open Dynamic

111

p Collection of Water Reflection Folly Exploration Models.

Light Folly â&#x20AC;&#x201C; Water Exploration This exploration focuses on how a folly can capture and interact with light reflected off of water, inspired by the many legends describing vivid encounters with different bodies of water. The exploration provides insight on various ways planar elements can be used to manipulate the light reflected off of water. This investigation involves looking at how openings and angles 112

affect light intensity, glow, color, preservation of views, and capturing the texture of the water surface. Similar to the previous explorationâ&#x20AC;&#x2122;s reference to natural encounters of light, different light scenarios relative to different bodies of water are chosen to be explored, collecting observations to be applied later.

p Concept Sketch - Different Exposure Possibilities for Water Light Reflection Folly.

113

FOLLY OVER POOL LARGE / WIDE: Exploring how to capture light reflected off of a contained water source (Pool).

FOLLY OVER POOL TAPERED MEDIUM / NARROW: Exploring how to capture light reflected off of a contained water source (Pool).

FOLLY OVER POOL TAPERED SMALL / NARROW: Exploring how to capture light reflected off of a contained water source (Pool).

FOLLY OVER THE CREEK OPEN BOX Exploring how different forms can capture reflected light over a source of streaming water (Creek).

FOLLY OVER THE CREEK CANTILEVER Exploring how different forms can capture reflected light over a source of streaming water (Creek).

FOLLY OVER THE CREEK CAVE Exploring how different forms can capture reflected light over a source of streaming water (Creek).

114

STRATEGY: • • • •

Confined Space Tapered Side Walls Angle: 70 Degrees 6” Opening

STRATEGY: • • • •

Confined Space Tapered Side Walls Angle: 70 Degrees 3” Opening

STRATEGY: • • • •

Confined Space Tapered Side Walls Angle: 70 Degrees 1.5” Opening

STRATEGY: • • •

Open box arch Short Open over long stream

STRATEGY: • • •

Open box arch Extended roof Open over long stream

STRATEGY: • • •

Open box arch Slanted roof Open over long stream

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Intense | Textured Color: Warm / Cool (Dependent on Surroundings) Illumination: Mild Gradient

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Textured Color: Warm / Cool (Dependent on Surroundings) Illumination: Gradient

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Textured Color: Warm / Cool (Dependent on Surroundings) Illumination: Intense Highlight

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Shimmer Paper Tacky Glue

Light Reflection: Strong | Smooth Color: Warm / Cool Illumination: Strong Gradient Glow

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Shimmer Paper Tacky Glue

Light Reflection: Mild | Only around edges Color: Warm / Cool Illumination: Mild Gradient Glow

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Shimmer Paper Tacky Glue

Light Reflection: Mild | Diffused | Spread Color: Warm Illumination: Gradient Glow | Strong Highlight

115

FOLLY OVER THE POND OPEN BOX Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND LOWERED SHELF Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND CLOSING BOX Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND ANGLED ROOF Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND ANGLED ROOF TIGHT Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND ANGLED ROOF TIGHTER Exploring how different forms can capture reflected light over a source of static water (Pond).

116

STRATEGY: • •

Box One Face Open

STRATEGY: • • • •

Box One Face Open Lowered Roof Extended Roof

STRATEGY: • • •

Box One Face Open Opened Faced Almost Closed

STRATEGY: • • •

One Face Open Angled Roof Opened Faced Almost Closed (Midpoint)

STRATEGY: • • •

One Face Open Angled Roof Opened Faced Almost Closed (1/4)

STRATEGY: • • •

One Face Open Angled Roof Opened Faced Almost Closed (1/8)

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Cool Illumination: Diffused | Heavy Darkness

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Cool Illumination: Diffused | Heavy Darkness

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Warmer Illumination: Diffused | Spread Light

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Warm Illumination: Diffused | Spread Light

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Color: Warm Illumination: Diffused | Spread Light | Intense Highlight

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Color: Warm Illumination: Diffused | Spread Light | Intense Highlight

117

FOLLY OVER THE POND DROPPED ANGLED ROOF Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND DROPPED ANGLED ROOF TIGHT Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND DROPPED ANGLED ROOF RECESSED Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND DROPPED ANGLED ROOF EXTENDED Exploring how different forms can capture reflected light over a source of static water (Pond).

FOLLY OVER THE POND ANGLED ROOF TAPERED WALLS Exploring how different forms can capture reflected light over a source of static water (Pond).

118

STRATEGY: • • •

One Face Open Dropped Roof Angled Opened Faced Almost Closed (1/4)

STRATEGY: • • •

One Face Open Dropped Roof Angled Opened Faced Almost Closed (1/8)

STRATEGY: • • •

One Face Open Angled Roof Recessed Opened Faced Almost Closed (1/4)

STRATEGY: • • •

One Face Open Angled Roof Extended Opened Faced Almost Closed (1/8)

STRATEGY: • • •

One Face Open Angled Roof & Walls Opened Faced Almost Closed (1/4)

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Warmer Illumination: Diffused | Spread Light | Intense Highlight

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Warm Illumination: Diffused | Spread Light | Intense Highlight

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Warm / Cool Illumination: Diffused | Heavy Darkness

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Warm / Cool Illumination: Diffused | Spread Light | Intense Highlight

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Tin Foil Tacky Glue

Light Reflection: Mild | Smooth Color: Warm Illumination: Diffused | Spread Light | Intense Highlight

119

Final Thoughts

p Collection of Sunlight Folly Exploration Models.

Light Folly â&#x20AC;&#x201C; Sun Exploration This exploration focuses on how a folly can track and exaggerate the movement of sunlight throughout the day, inspired by tribal legends involving the sun. The exploration provides insight on how one can display the passage of time through the capture of sunlight. This investigation involves looking at how different 120

angles and elongations of textured forms affect light intensity, glow, color, movement, and clarity of texture. Different from the previous explorations, light scenarios in this investigation focus on creating a vessel for marking time rather than exploring the specific characteristics of the natural phenomenon itself.

p Concept Sketch - Demonstrating Different Exposure Possibilities for Sunlight Folly.

121

SUN TUNNEL SHORT: Exploring how sunlight can be manipulated through various textured cylindrical forms. (Short)

SUN TUNNEL MEDIUM: Exploring how sunlight can be manipulated through various textured cylindrical forms. (Medium)

SUN TUNNEL LONG: Exploring how sunlight can be manipulated through various textured cylindrical forms. (Long)

SUN TUNNEL ARCH-SHORT: Exploring how sunlight can be manipulated through various textured cylindrical forms. (Arch)

SUN TUNNEL ELLIPSE: Exploring how sunlight can be manipulated through various textured cylindrical forms. (Ellipse)

SUN TUNNEL DIAGONAL: Exploring how sunlight can be manipulated through various textured cylindrical forms. (Diagonal Ellipse)

122

STRATEGY: • • • • •

Textured One Face Open Horizontal Cylindrical Form Short

STRATEGY: • • • • •

Textured One Face Open Horizontal Cylindrical Form Medium

STRATEGY: • • • • •

Textured One Face Open Horizontal Cylindrical Form Long

STRATEGY: • • • • •

Textured One Face Open Horizontal Arch Form Short

STRATEGY: • • • • •

Textured One Face Open Horizontal Cylinder with Ellipse Cut Medium

STRATEGY: • • • • •

Textured One Face Open Diagonal Cylinder with Ellipse Cut Long & Wide

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Museum Board Corrugated Paper Tacky Glue Hot Glue

Illumination Intensity: Low Color: Low Contrast View: Normal

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Museum Board Corrugated Paper Tacky Glue Hot Glue

Illumination Intensity: Medium Color: Gradient View: Normal

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Museum Board Corrugated Paper Tacky Glue Hot Glue

Illumination Intensity: High | Focal Glow Color: Gradient View: Glow

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Museum Board Corrugated Paper Tacky Glue Hot Glue

Illumination Intensity: Low Color: Low Contrast View: Normal

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Museum Board Corrugated Paper Tacky Glue Hot Glue

Illumination Intensity: Medium Color: Gradient View: Normal

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Museum Board Corrugated Paper Tacky Glue Hot Glue

Illumination Intensity: High Color: Gradient | Sharp Contrast View: Normal

123

Final Thoughts

p Collection of Canvas Material Exploration Models.

Canvas and Light Exploration This exploration focuses on how different thicknesses and colors of canvas affect the illumination and feeling of a space. The investigation provides insight on how one can use different types of canvas to create different lighting atmospheres. This analysis involves looking at how different thicknesses and colors of canvas affect light intensity, temperature, glow, room 124

illumination and color. Various canvas configurations are tested inside of a standardized box. These boxes are kept white to provide a neutral surface to capture the different hues emanating from the different types of canvases. Observations of color, intensity, and atmospheric descriptors help inform later design choices.

p Concept Sketch - How a Canvas Can Filter Light and Color.

125

OPEN ROOM CANVAS 1 (BURLAP) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

OPEN ROOM CANVAS 2 (COTTON) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

OPEN ROOM CANVAS 3 (DUCK) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

CLOSED ROOM CANVAS 1 (BURLAP) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

CLOSED ROOM CANVAS 2 (COTTON) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

CLOSED ROOM CANVAS 3 (DUCK) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

126

STRATEGY: • • •

Color – Dark | Brown Solid Canvas Once Face Open

STRATEGY: • • •

Color – Medium | Tan Solid Canvas Once Face Open

STRATEGY: • • •

Color – Light | Bleached Solid Canvas Once Face Open

STRATEGY: • • •

Color – Dark | Brown Solid Canvas All Enclosed

STRATEGY: • • •

Color – Medium | Tan Solid Canvas All Enclosed

STRATEGY: • • •

Color – Light | Bleached Solid Canvas All Enclosed

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Burlap Tacky Glue

Light: Fresh | Subtle Diffusion | Contrast Color: Warm | Cozy | Bright Focus: External

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Cotton Canvas Fabric Tacky Glue

Light: Fresh | Subtle Diffusion | Contrast Color: Mildly Warm | Bright Focus: External

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Cotton Duck Fabric Tacky Glue

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Burlap Tacky Glue

Light: Glow | Subdued Color: Warm | Cozy | Glow Focus: Internal

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Cotton Canvas Fabric Tacky Glue

Light: Glow | Subtle Color: Warm | Glow Focus: Internal

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Cotton Duck Fabric Tacky Glue

Light: Glow | Bright Color: Cool | White | Fresh | Glow Focus: Internal

127

CLOSED ROOM – SLIT CANVAS 1 (BURLAP) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

CLOSED ROOM – SLIT CANVAS 2 (COTTON) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

CLOSED ROOM – SLIT CANVAS 3 (DUCK) Exploring how light interacts with different canvas colors and thicknesses in different scenarios.

128

STRATEGY: • • •

Color – Dark | Brown Single Slit Canvas All Enclosed

STRATEGY: • • •

Color – Medium | Tan Single Slit Canvas All Enclosed

STRATEGY: • • •

Color – Light | Bleached Single Slit Canvas All Enclosed

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Burlap Tacky Glue

Light: Concentrated | Deep Contrast | Moves Color: Warm | Cozy Focus: Internal (light) or External (Sky)

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Cotton Canvas Fabric Tacky Glue

Light: Concentrated | Contrast | Moves Color: Warm Focus: Internal (light) or External (Sky)

MATERIAL:

OBSERVATIONS:

• • •

Museum Board Cotton Duck Fabric Tacky Glue

129

Final Thoughts

p Collection of Kinetic Installation Exploration Models.

Kinetic Installation Exploration â&#x20AC;&#x201C; Wind and Sun This exploration focuses on creating kinetic canvas installations sensitive to various natural phenomena such as wind and sunlight. The investigation provides insight on how canvas can be attached and articulated in various ways to capture sunlight and wind. The intent is to explore various ways a canvas installation can become sensitive to movement through the effects of rigid or loose connections, and the flow of air or sunlight through many or few panels. These ideas are categorized as sensitive, simple, 130

and complex scenarios. The canvas installations are built in standardized boxes mimicking the proportions of the proposed pavilionâ&#x20AC;&#x2122;s storytelling area at the time of this exploration. Observations are collected to inform which connection types and articulations will create more dynamic installations. The interaction of canvas with the sun and wind is documented through videos to provide insight for later experiments.

p Concept Sketch - How a Kinetic Canvas Highlights Natural Phenomena (Wind)

131

WIND INSTALLATION – STRIPS (SIMPLE)

STRATEGY: • • •

Exploring kinetic wind installations from simple, complex, and sensitive.

WIND INSTALLATION – VERTICAL PANELS (COMPLEX) Exploring kinetic wind installations from simple, complex, and sensitive.

WIND INSTALLATION – HANGING SHEET (SENSITIVE) Exploring kinetic wind installations from simple, complex, and sensitive.

SUN INSTALLATION – STRIPS (SIMPLE) Exploring kinetic sun installations from simple, complex, and sensitive.

SUN INSTALLATION – SLIT (COMPLEX) Exploring kinetic sun installations from simple, complex, and sensitive.

SUN INSTALLATION – HANGING APERTURE (SENSITIVE) Exploring kinetic sun installations from simple, complex, and sensitive.

132

Simple Few Panels:4 Easy Attachment

STRATEGY: • • •

Complex Many Panels: 24 Weaving

STRATEGY: • • •

Sensitive Few Panels:1 Loose Connections

STRATEGY: • • • • •

Simple Few Panels: 5 Easy Attachment Field of light Open

STRATEGY: • • • • •

Complex Many Support Members Cantilevered Support Distinct Line Closed

STRATEGY: • • • • •

Sensitive Few Panels: 1 Loose Connections Distinct Aperture Closed

MATERIAL:

OBSERVATIONS:

• • • •

Museum Board Burlap Basswood Tacky Glue

Light: Evenly Lit Movement: Flap | Individual | Dramatic Exposure to Sky: Subtle Focus: External

MATERIAL:

OBSERVATIONS:

• • • •

Museum Board Burlap Basswood Tacky Glue

Light: Evenly Lit Movement: Flutter | Individual | Subtle Exposure to Sky: Hidden Focus: External

MATERIAL:

OBSERVATIONS:

• • • •

Museum Board Burlap String Tacky Glue

Light: Edge Glow Movement: Wave | Ripple | Singular | Dramatic Exposure to Sky: None Focus: External

MATERIAL:

OBSERVATIONS:

• • • •

Museum Board Burlap Basswood Tacky Glue

Light: Focused | Stream | Glow Light Movement: Field Exposure to Sky: Subtle Focus: Internal

MATERIAL:

OBSERVATIONS:

• • • •

Museum Board Burlap Basswood Tacky Glue

Light: Focused Light Movement: Single Exposure to Sky: Subtle | Framed Focus: Internal / External

MATERIAL:

OBSERVATIONS:

• • • •

Museum Board Burlap String Tacky Glue

133

Final Thoughts

p Collection of Pavilion Form Exploration Models.

Pavilion Form Exploration This exploration focuses on how the pavilion’s form can create different architectural engagement with the land. This form exploration visits the conditions of cupping or hugging the users versus channeling them, as well as the pavilion’s relationship to the slope of the site. The final development of the pavilion is explored through 3D modeling. The permeations and 134

evolution of the final pavilion are documented throughout the “Research and Design” section. This brief exploration provides insight on how the canvas shape and system are affected by the pavilion’s form, as well as how natural elements interact with different forms, providing insight into what variables need to be considered in the final form development.

p Concept Sketch - How a Classroom can Engage with the Land (Topography)

135

PAVILION FORM – CURVED Exploring the pavilion’s form and engagement with the land.

PAVILION FORM – STRAIGHT Exploring the pavilion’s form and engagement with the land.

136

STRATEGY: • • • •

Flat Excavated Site Curved, Cupping Contoured Canvas *not shown Engagement with Foliage

STRATEGY: • • • •

Sloped Site Straight, Channel Rectangular Canvas Engagement with Foliage

MATERIAL:

OBSERVATIONS:

• • • •

• • •

Museum Board Chipboard Sticks Tacky Glue

MATERIAL:

OBSERVATIONS:

• • • • •

• • •

Cardboard Dowels Basswood Canvas Tacky Glue

Form: Rectilinear | Straight View: Filtered | Framed Color: Warmer | Glow

137

SERIES 1

Flutter

Video Exploration â&#x20AC;&#x201C; Wind Characteristics The proceeding sets of video explorations took place in-between the model investigations already discussed. These videos were important in understanding how to evoke the characteristics of natural phenomena. This first series of video explorations investigates various ways natural phenomena interact with the natural landscape. In this case, the wind is explored. This investigation focuses on how the wind moves various plants and trees. The recorded footage is composed into a video highlighting various verbs describing the different movements prompted by the wind. These explorations serves as a demonstration of how the characteristics abstracted from a natural phenomenon could later inspire the design of a kinetic canvas installation.

Flicker

Shake

138

Sway

Bounce

139

SERIES 1

Swipe

Video Exploration â&#x20AC;&#x201C; Shadow Characteristics In this video exploration, sunlight and shadows are explored. This investigation focuses on how sunlight casts shadows in various ways. The recorded footage is composed into a video highlighting various verbs describing the different visual characteristics of moving shadows.

140

Cast

Draw

141

SERIES 1

Drip

Video Exploration â&#x20AC;&#x201C; Water Characteristics This investigation focuses on how water reacts in various scenarios. These scenarios consist of different obstacles for water to react to such as ledges, level planes, and channels. This exploration serves as a way to become familiar with the way water behaves. These findings are highlighted in video documentation. Splash

142

Pour

Flow

Puddle

143

SERIES 2

Strips- Flap

Video Exploration – Wind Installation Exploration The second series of video explorations uses the observations from the “Series 1” video studies to inform the way canvas installations can engage with natural phenomena such as the wind, sunlight, and rain. This particular study focuses on how a canvas installation can evoke different characteristics of wind. Different canvas configurations are designed to find out how to make an installation that will be the most sensitive to wind stimulation. Explorations are documented through video.

144

Vertical Panels - Flicker

Hanging Sheet - Wave

145

SERIES 2

Strips - Solar Field

Video Exploration – Sunlight Installation Exploration This exploration focuses on how a canvas installation can manipulate light and shadows based on the the “Series 1” light and shadow study. The movement and angles of light and shadows are manipulated by a controlled light source. This allows for the testing of different sun exposures that reflect different times of the day and year. Tests are recorded and used in a video to show how different canvas configurations affect shadow and light behavior inside of the pavilion. This video helps demonstrate how the pavilion’s atmosphere can change with different installation designs.

146

Slits – Moving Line

Aperture - Swing

147

SERIES 2

Single Pinhole

Video Exploration – Canvas Water Tests #1

COTTON CANVAS: Steady Stream

This particular study focuses on how different types of canvas let water pass through their surface, inspired by characteristics observed in the “Series 1” water study. Three types of canvas are put through various water permeability trials. These tests include leaving the canvas in its natural condition, puncturing the canvas to various degrees, and stringing a thread through the fabric. Observations are collected and shown in a video to demonstrate the different ways a canvas installation can be designed to manipulate water.

Droplets Above Base

Single Pinhole

BURLAP: Slow Drips No Droplets Above Base

Multiple Pinholes

COTTON DUCK FABRIC: Steady Stream No Droplets Above Base Streams Join

Single String

BURLAP WITH STRING: Slow Drips No Droplets Above Base

Multiple Strings

BURLAP WITH STRING: Slow Drips Droplets Above Base

148

149

Multiple Pinholes BURLAP: Slow Drips Multiple Drips

Single Pinhole BURLAP: Slow Drips

Single Pinhole

COTTON DUCK FABRIC: Steady Stream Whirlpool

Multiple Pinholes COTTON CANVAS: Steady Stream

150

151

SERIES 2 Video Exploration â&#x20AC;&#x201C; Canvas Water Tests #2

Puddle

This video investigation focuses on how different types of canvas and canvas configurations channel water flow. In this case, canvas is tested for its ability to control the path of water across the canvas rather than through it. Different types of fabric are tested in various configurations demonstrating different degrees of controlling water flow. These tests are recorded and presented to provide a sense of how the design of canvas installations can vary in its manipulation of water. u

152

Flow

Channel

Cascade

COTTON CANVAS

COTTON DUCK FABRIC

BURLAP

Cotton Canvas has hydrophobic qualities and beads consistently. This allows for medium control of channeling water. Cotton Duck Fabric absorbs the most water, leaving little control in channeling water flow. Burlap is the most hydrophobic, will no beading. This allows water to be channel efficiently.

153

SERIES 3

Horizontal Panels

Video Exploration â&#x20AC;&#x201C; Large-Scale Canvas Exploration An inhabitable large-scale mockup of the pavilionâ&#x20AC;&#x2122;s storytelling area is made to demonstrate a proof of concept. This mockup allows for the testing of canvas at a larger scale, providing a better sense of how the canvas will behave in the proposed pavilion. The structure also serves as an exercise in sculpting space and getting an idea of what the atmosphere will be like inside of the pavilion. Video and photographic documentation is used to chronicle the behavior of canvas at a larger scale. These scenes are used in a final presentation video that demonstrates the atmospheric qualities of the space.

154

Vertical Panels

Taught Horizontal Panels

Triangular Horizontal Panels

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p Large-Scale Mockup Installed in Pullman Washington.

Large-Scale Mockup While the small exploration models provide provoking images, a larger version is created to get a better understanding of how the canvas will behave inside of the proposed pavilion. A scaled down abstraction of the pavilion is built to test various canvas installations. Due to cost and time, some materials from the proposed pavilion are abstracted as well as the form. This 156

includes the abstraction of the pavilionâ&#x20AC;&#x2122;s rammed earth walls into large plywood planes. The rammed earth seating area of the proposed pavilion is also abstracted into a wooden bench that serves as structural support. The focus of the mockup is to create a space that evokes the essence of the storytelling area of the pavilion rather than the whole structure.

p Digital Model for Planning Large-Scale Mockup.

p Structural System for Large-Scale Mockup Wall.

p Structural Pieces for Large-Scale Mockup.

p Interior of Large-Scale Mockup Designed to Frame a View & Funnel Wind.

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p Bolt Connections.

p Pier-block Connection.

Construction WSU Alumni Robin Olson and Craig Hoffman assisted in the building of the large-scale mockup. They provided insight on structural connections, access to power tools, as well as a place to construct the mockup. The structure is built with lumber connected by bolts for easy disassembly and moving, as well as the use of tension cables for stability. The structure sat on pier blocks to provide an even footing while being constructed. The footings were then buried to various depths once on the site. The sidewalls of the shelter were not attached until the structure was put into place on the site. 158

p Construction of Large-Scale mockup at Initial Staging Site.

p Moving of Large-Scale mockup onto the Top of the Dirt Mound via CAT Skid Steer Loader.

p Mockup Set in Place on Top of Dirt Mound, Oriented NE.

p Gerardo Villalobos Installing Side Panels.

Placement Pullman Washington mobile home park property owner Kevin Zakarison offered a space to install the shelter as well as transportation for the structure. WSU student Gerardo Villalobos also assisted with the moving and placement of the structure as well as the assembly of the sidewalls. The shelter was transported in whole on a flatbed trailer across Pullman to NW Parkwest Drive, where it was placed on the peak of a large dirt mound behind some residential mobile homes. The shelter was oriented to frame a vista while capturing the prevailing SW-NE winds. The spot was also chosen to avoid shadows cast by nearby trees. Once placed on the site, the shelterâ&#x20AC;&#x2122;s walls were added. 159

p View of Elevated Wood Bench Inside of the Large-Scale Mockup.

Users Experience The large-scale mockup is not intended to be a direct replication of the final pavilion proposal. The intent of the shelter’s design decisions is to create as space that provides an atmospheric experience that is similar to what is expected inside of the pavilion’s storytelling area underneath the students’ kinetic canvas installations. This choice was made due to cost, time, space, structural stability, and transportation. This mockup focuses on framing a scenic view, integrating the contour of the site, exposure to natural elements, providing connections for hanging a canvas, and creating a cozy space of prospect and refuge.

160

p View of Canvas Installed Inside of Large-Scale Mockup.

Explorations The mockup is conceived to test how large-scale canvas reacts to natural phenomena. Many tests are done, mimicking the explorations that were previously conducted at a smaller scale. These investigations include exploring how the canvas responds to sunlight, rain, and wind.

161

p Test Scene for Experiential Video. [Framing the Pavilion in the Landscape] - Not Used in Final Video.

Filming The shelter serves as the main prop for the experiential video presented during the final defense presentation. The larger scale canvas and exposure to real natural phenomena provides the audience with a unique visual experience that cannot be created with 2D renderings. Experiments in framing and timing of scenes are explored in telling the narrative about how the pavilion exists in the natural landscape.

162

p View of Installed Large-Scale Mockup in the Evening - Not Used in Final Video.

Further Use While the shelter is constructed to test various design ideas related to this project, the space created in the structure is provoking in its own right. The mockup provides a unique space to watch sunrises, rain showers, thunderstorms, snowfall, or to just look at the stars, reaffirming the pavilionâ&#x20AC;&#x2122;s ability to connect its users with natural phenomena. The shelter prompts curiosity from neighborhood adults and children alike.

163

Appendix - B | Final Models

164

p Close-up View of Final Sections Model Interior. (Seating Area & Installing Pad)

Final Models Two professional quality models are made for this project. This includes a large site model and a detailed section model. These serve as visual aids for viewers to understand the project’s structure and how it sits in the surrounding landscape. Both models are thoughtfully planned, highlighting specific features. One feature highlighted is the pavilion’s engagement with the topography from a micro and macro scale. The large site model focuses on conveying the pavilion’s gesture towards the surrounding topographical environment while the section model focuses on how the structure’s floor merges into the contour of the site’s slope, both demonstrating the pavilion’s attention to the land. The section model also provides a 3D visual of what the pavilion feels like inside as well as structural details showing how the pavilion sits in the topography.

p Close-up View of Final Site Model. (Looking South)

165

Final Thoughts

p Final Section Model from Above.

Detailed Section Model

Materials:

Tools:

The intent of the detailed section model of the Storytelling Pavilion is to highlight structural details, the sequencing of spaces, and how the topography flows through the structure. The section model is built at a 1/4-inch scale, measuring 30 inches long and 6.5 inches wide.

• • • • • • • • • •

• • • • • • • • •

166

Wood Veneer Chipboard MDF Wooden Dowel Basswood Cotton Canvas Fishing Line Baby’s Breath Acrylic Paint Textured Spray Paint

Sketchup Laser Cutter Clamps Needle Saw X-Acto Knife Sandpaper Dremel Tacky Glue

p Final Section Model Showing the Exterior of the Storytelling Pavilion. q Final Section Model Showing the Interior of the Storytelling Pavilion.

167

p Final Site Model from Above.

Large Site Model

Materials:

Tools:

The large site model encompasses the main school building, the old mission and some geological context beyond. The intent of the model is to highlight how the pavilion is oriented relative to the school complex and valley, as well as demonstrating the elevation changes of the valley. The site model built is at a 1:1500 scale, measuring 40 inches long and 20 inches wide.

• • • • •

• • • • • •

168

Polystyrene Insulation Board MDF Chipboard Latex Paint Sagebrush twigs

Rhino Laser Cutter CNC Router X-Acto Knife Sandpaper Tacky Glue

p CNC Router Etching Out Site Contours from Expanded Polystyrene Insulation Board. t Close-up of Final Site Model.

169

Appendix - C | Presentations

170

p Live-Props - Materials Collected from Around the Colville Reservation (Part of Final Defense Presentation)

Presentation Design For any proposal, it is important to be able to compellingly communicate your ideas to your audience, allowing them to fully understand and connect with the merit of the project. In this case, it is important to create a presentation that allows the audience to connect with the projectâ&#x20AC;&#x2122;s surrounding landscape, the atmosphere inside of the pavilion, and how the pavilion engages with its environment. These exterior and interior experiences highlight the most compelling parts of the project, the pavilionâ&#x20AC;&#x2122;s engagement with the land and natural phenomena.

171

p Final Hallway Display for Final Defense Presentation.

Final Defense Presentation The curation of the final defense presentation is carefully designed to immerse the audience in an engaging experience that evokes the qualities of the projectâ&#x20AC;&#x2122;s surrounding landscape and the atmosphere inside of the pavilion. This includes using an airy color palette similar to the dry sagebrush steppe surrounding the site, the staging of live-props collected from around the reservation such as large pieces of granite, basalt, ponderosa pine live rounds, beach pebbles and sagebrush, as well as a tangible palette of the materials used in the pavilion. The presentation space also showcases a large site model demonstrating the sharp geographical changes in the topography of the valley and a small detailed section model highlighting the pavilionâ&#x20AC;&#x2122;s structural system and storytelling area. One of the most compelling pieces of the presentation is the experiential video that demonstrates what the atmosphere of the pavilion will feel like, both on the interior and its exterior relationship to the land and natural phenomena. These presentation pieces are key in communicating the phenomenological nature of the proposed Storytelling Pavilion.

172

p View of Digital and Physical Presentation in Hallway.

p Tangible Material Palette of Materials Used in the Pavilion Proposal.

p Close-up of Final Site Model.

173

174

The Final Digital Presentation Outline • The architectural intent of the proposal

• The proposed pavilion’s engagement with the land

• A walkthrough of the revised Storytelling Course

• The issues of Colville youth mental health

• Form development

• The steps for students to design a canvas

• Review of PSIS’s statistics & architectural history

• Chosen material palette

• The life of a canvas

• An overview of the surrounding landscape

• Sequencing of experiences as one travels to the pavilion

• An overview of the project’s intent and strategy

• An evaluation of site placement

• A brief overview of structural details

• An experiential video

• A description of a student’s experience through the site

• A review of the canvas pulley system

175

Experiential Video One of the main focal points of the final defense presentation is the experiential video. This film is intended to give the viewers a sense of the atmosphere of the Storytelling Pavilion. The narrative of the video explores the life of the pavilion and canvas installation when people are not around. Various filming techniques are used to engage the viewers and immerse them in the essence of this space. These strategies include tight shots that focus on the phenomena at play, filming through foliage to create an immersive feeling, compositions that blur the actual context around the large-scale mockup that may be distracting, and long pauses between scenes to evoke the idea that the pavilion is always in a constant state of being with or without people around.

Environment 1. Sky 2. Landscape 3. Structure

Event 1. View

2. Sunlight 3.Wind

Being 1. Rain 2. Drip

3. Silence

Leaving 1. Expose

2. Decompose 3. Gone

176

177

p Graduate Show Display.

Graduate Show and Public Presentation The display at the graduate show is a condensed version of the final defense presentation. The display provides layers of information for users to engage with on various levels. This content includes diagrams, drawings and renderings as well as the tangible material palette, a detailed section model and a menagerie of live-props. The graduate show display was presented to Okanogan County Tourism Council member Lane Priest. As a Colville Tribal member and former student at the old Paschal Sherman Indian School building, Priest appreciated the proposal’s celebration of the Tribes’ culture through architecture and the novelty of the proposed curriculum. Priest thought that the proposal was imaginative and that it shared similar values to the Tribes’ current effort to strengthen their cultural identity through tourism, tribally owned businesses, and youth programs. Linking the project to a greater effort in cultural tourism brings up an opportunity to academically integrate the proposed Storytelling Pavilion’s narrative into the Tribes’ bigger objective through promoting public engagement among different aspects of 178

the Storytelling Pavilion proposal. This integration with tribal tourism could include the proposal of special public access and events during the summer as well as designated scenic hiking trails to where the kinetic canvases will be released. Having this link with the Tribes’ larger tourism effort would further strengthen the students’ sense of being an integral part of their community and their capability in preserving their culture, as their work would help bring tourism to the area and educate others. The public presentation led to a later conversation with Priest on the Tribes’ effort to promote tourism through new tribal member owned businesses. This led to a lively brainstorming of various business opportunities the Tribes could invest in that celebrated the scenic quality of the area and their culture. Overall, the presentation and following conversation with Priest was one that was informative and energetic. Hopefully, this interaction was beneficial to Priest, providing him with some insight on design strategies that he can share with the Okanogan County Tourism Council and the Tribes.

p SDC Graduate Show Gallery.

p Live-Props â&#x20AC;&#x201C; Beach Pebbles & Ponderosa.

p Final section model

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Appendix - D | Colville Tribal Legends

180

p Figure D.1 | The Storyteller (From the Confederated Tribes of the Colville Reservation Upper Columbia River Book of Legends.)

Legends & Native American Culture Tribal legends provide a link to a tribe’s past, sharing traditions, lessons, beliefs, and the ways of living of their ancestors from centuries ago. It is with oral storytelling that these legends have continued to live and be passed down through generations. To the Native American people, these stories are not considered to be myths but rather their spiritual and religious beliefs that connect them with their land. These legends tell stories with moral lessons, chronicle historical events, and provide spiritual guidance.

The Confederated Tribes of the Colville Reservation Upper Columbia River Book of Legends is an active effort by the Tribes’ History and Archaeology Program to archive their oral legends before they disappear. The Tribes’ main concern stems from younger generations loosing interest in carrying on the tradition of storytelling, thus they have begun to collect and chronicle the legends of the Tribes for historical preservation. The fifty-eight legends recorded in this book only represent a handful of legends from the reservation. Many of the Tribes’ other legends are exclusively shared privately within tribal families. 181

Origins of Legends The origin of all the legends collected in the Confederated Tribes of the Colville Reservation Upper Columbia River Book of Legends can be traced to actual locations around the reservation, reinforcing the historical value and validity of these stories to the Tribes. These locations are documented in the Upper Columbia River Book of Legends.

Locations of Legends A | Folk Tales of Salishan and Sahaptin Tribes, Okanogan and Sanpoil Tales 1. Left-Arm

11. The Five Wolves

2. The Warrior and His Faithless Wife

12. The Origin of Fire

3. Coyote Becomes Chief of the Salmon

13. The Eagles

4. The Tick and the Deer

14. The Poisoned Arrows

5. The Rolling Stone

15. The Race between Turtle and Frog

6. How the Cold Lost Its Power

16. The Origin of the Different Languages

7. Chipmunk and Meadow-Lark

17. The Weeping Woman

8. The Toad

18. The Island of Death

9. The Origin of Death

19. Starvation

10. Skunk and Badger B | Folk-Tales of Salishan and Sahaptin Tribes, Okanogan Tales 20. Coyote

22. Coyote and the Water or Rain

21. Origin of the Columbia River

23. Introduction of Salmon

C | Sanpoil Folk Tales

p Location of Upper Columbia River Legends

24. Origin of the Sun and Moon

28. Coyote Introduces Salmon

25. Wolf Straightens His Sister’s Hair

29. Bungling Host

26. Arrow Chain and Theft of Fire

30. The Grizzly Bear Hunter

27. Chipmunk, Coyote, and the Dangerous Beings, Owl Sisters D | Coyote Stories 31. Rattlesnake and Salmon

33. Why Mosquitoes Bite People

32. Why Badger Is So Humble

34. Coyote and Chickadee

E | Tales of the Okanogans 35. How Coyote Broke the Salmon Dam

37. Coyote Kills Wind

36. The Great Spirit Names the Animal People, How Coyote Came By His Power F | Indian Legend of the Pacific Northwest 38. The Animal People of Long Ago

41. The Origin of Guardian Spirits and Sweat Lodge

39. How Coyote Got His Special Power

42. How Beaver Stole the Fire

40. Why Coyote Changed the Course Of The Columbia River G | Coyote and the Colville 43. Boy and Bear H | Traditional Teachings of the Colville Confederated Tribes 44. Unsuccessful Suitor I | Indian Land Use and Occupancy in the Franklin D. Roosevelt Lake Area of Washington State 45. Whitestone

49. Kettle River Gorge “Pinched Land”

46. Bite-Hand Place

50. Frogs Race With Turtle

47. Crawfish Races Coyote “small lake in the area”

51. Grizzly Bear Was A Monster

48. Woolly Hide

52. Nespelem and Daughters of Crawfish

J | Native River: The Columbia Remembered 53. Legend of Kettle Falls

55. Whitestone Rock

54. Hell Gate

56. Water-Monster

K | Occasional Papers in Linguistics 57. Coyote Juggles His Eyes L | The Geography of Memory Recovering Stories of a Landscape’s First People 58. Mountain Goat and the Origin of Huckleberry

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p Locations of Legends from the Confederated Tribes of the Colville Reservation Upper Columbia River Book of Legends

183

#37 Coyote Kills Wind Told By Mourning Dove, Okanogan Coyote grew tired of his own country. One day he told his wife, Mole that he wished to travel. He took her and the children to the lodge of his friend, Badger and asked him to care for the children. He said to Badger, “I am going away to hunt the enemy, going where there is great danger.” Coyote gave Badger a small sack to hang on his tepee pole. He said to Badger, “Should this pack fall from the pole, you will know by that sign that I am killed. But if it does not drop down, then you will know that I am alive.” Leaving this sign-token with Badger, Coyote went traveling. He had traveled for a few sundown’s when he heard singing on the trail ahead of him. As he drew close to the brow of the high cliff, he saw that someone was sweat- housing on the edge of the cliff. Drawing nearer, he noticed the beautiful buckskins of the sweat -house singer. As was his way, Coyote wished to obtain the clothing through mischief. He asked to sweat-house with the one singing inside, who happened to be Wind. Wind said to Coyote gladly agreed. Taking the water basket, he ran down to bring the water. When he returned, he lifted the door flap of the sweat-house on pretense of giving Wind the water. Instead, he threw all the water on the hot rocks and quickly closed the door. Wind was scalded and burned to death. Coyote took all the buckskin clothes of Wind, which were decorated with beads and fine shells. Putting them on, he resumed his journey. He had not gone far until he wished he had wind to blow his clothing. He wanted to hear the jingling of the ornaments. Wind arose; not swift, but it rattled the shells. Coyote laughed! He wished for higher winds to come. The wind came stronger. Coyote was lifted off his feet and taken into the air. He was carried to the top of the cliffs which hang over the falls of the big river. Coyote caught hold of a small bush overlooking the falls, which happened to be Hemp and her sister. Hemp and her sister took all the clothes belonging to Wind off of Coyote. They held Coyote down under the edge of the cliff. When Coyote had wished for the high winds, Wind came back to life. He followed on the trail of Coyote. When Wind came to Hemp and her sister, he asked them, “Where is Coyote?”

184

The women answered, “Coyote fell into the waterfalls and was drowned.” Satisfied, Wind took his clothes and went on his way. After Wind was gone, Hemp and her sister pulled Coyote up to the top of the cliff. Coyote was glad. He asked the two women what they wished as pay in return for shielding him from Wind. Hemp requested water. She said to Coyote, “We merely exist. We suffer all the time from thirst. Only the moisture from the falls keeps us alive.” Coyote said, “I will give you water.” Coyote now walked a short distance from Hemp and her sister. He threw his water on the rocks and there came a stream of good water. It is thus that hemp grows only where there is wet earth. Coyote left Hemp and her sister, continuing on his journey. He had not gone far till he came to a great encampment of people by a lakeside. He told them that the enemy people were coming. This scared them, and they gathered their weapons and their canoes in readiness for war. Coyote then called on his power and put all the people to sleep. He took their weapons and food, which he loaded into one canoe. Then, breaking all the other craft, he paddled the loaded canoe out on the lake. Soon the people awoke from their sleep, and found all their canoes broken, and Coyote gone with their weapons and food. They made new canoes and went in pursuit of Coyote. When Coyote saw them coming, he made a fog with his power, and was lost to sight. The people could not find him. But Frogwoman urged her people to follow the trail of Coyote. As Coyote was far ahead, he thought that he was safe. He went ashore and fell asleep. Soon the people caught up with him, guided by Frog-woman. They killed Coyote while he slept. They took all their weapons and food away, leaving his body to rot by the lakeside. It was many moons later when Panther was traveling the mountain tops of the county. He went from one mountain to another; and as he came close by the death place of Coyote he thought to go down to the lake and drink. When he came there, he found the remains of Coyote. Panther gathered the bones of Coyote and restored him to life. Coyote jumped up and said, “Eh! I slept a long time.”

Panther said to Coyote, “You have not been sleeping. You were killed by the Arrow Lake people.” Coyote wanted to go with Panther. Panther told him that he was traveling alone, but that Coyote could go with him provided he did not get into mischief. Coyote promised to be good, and he and Panther traveled together. When evening came, they camped on the top of a mountain. Panther produced a small bag of food. Coyote wished that there was more, for he was hungry. Coyote was always hungry. Panther knew coyote’s thoughts and said, “There is plenty of food for both of us. You will not be hungry.” Coyote ate till he was filled; yet, still, the small amount of food remained unchanged, undiminished. Panther told Coyote to throw the leavings away, but Coyote wished to keep them. Panther) insisted that Coyote throw the remaining food away, and he did so. The next morning Panther brought out another deer bladder of food. They both ate their fill without lessening the amount of food, as the evening before. Panther and Coyote then continued their journey. They had not gone far until they came to the top of another high mountain. Panther showed Coyote his home and said I must now go to my children. They are hungry.” He gave Coyote two arrows and said to him, “This first arrow is to kill the deer. Whenever you see a divide in the hill, you are to shoot through that divide. There you will find the deer. This second arrow is for the birds. You are not to mix the arrows. If you mix them, you will lose them. You are never to shoot the deer with the bird arrow. You are not to shoot the birds with the deer arrow.” After Panther left Coyote, Coyote thought to try his arrows. He went close to a divide of the hill and shot his deer arrow through the divide. Going through the pass, he found a deer lying dead, killed by the arrow. Coyote ate the deer and continued on. He had not gone far until he saw a pheasant and shot it with his bird arrow. The pheasant fell from the tree. Coyote ate the pheasant then continued on his journey. Going a short ways, he saw another pheasant on a tree and shot it

with his deer arrow. The bird did not fall. It still sat on the tree with the arrow sticking through it. Coyote shot it with his bird arrow. The pheasant flew away with both arrows, down the mountainside. Coyote followed the flying pheasant in search of his arrows. He came to a tepee; he went inside. There he saw Fisher sitting by the fire with the lost arrows. Coyote wanted his arrows, but Fisher refused him. Fisher said, “These arrows belonged to my oldest brother, Panther. I have found them and will keep them. I will give you two of my arrows. They are just like these of Panther.” Coyote took the arrows of Fisher and went on his way. Soon he forgot the rule of the arrows. He shot a pheasant with the deer arrow. The pheasant was not killed, so he shot it with the bird arrow. The Pheasant flew away with both arrows, as before. Coyote followed the pheasant to find his arrows. He came to a small tepee, and entering he found Marten sitting by the fire with the arrows given him by Fisher. Coyote wanted the arrows, but Marten said to him, “I have found the arrows of my oldest brother, Fisher I will keep them. But I will give you other arrows of my own which are the same as these of Fisher.” Coyote took Marten’s arrows and traveled on. He had not gone far until he again broke the rules of the arrows and lost them. This time he searched for them in vain. He was glad to return home to his wife and children. He found Badger crying because his friend Coyote was dead. The little sign-sack had fallen from the tepee pole many moons before. Coyote stood at the tepee door. Suddenly the youngest son of Coyote said, “Father!” Badger said to the child, “Your father is dead! He will never return again.” The child said, “No! I see my father at the doorway!” Badger looked where the child pointed. He saw Coyote peeking at them through the drawn door-flap. He said to Coyote, “You were dead! The pack fell from the tepee pole when you were killed. It fell many moons ago.” Coyote answered Badger “I was tired! I slept by the side of the water. The Arrow Lake people followed me in new canoes. Panther found my bones and helped me back to life.” Badger was glad to see his friend Coyote as were his wife and children.

185

Appendix - E | Endnotes, Bibliography, & Figures Endnotes 1.

Graman, Kevin. “Colville Tribal Leaders Seek Help with High Suicide Rate.” Spokesman.com. June 30, 2009. Accessed July 11, 2017. http://www.spokesman.com/stories/2006/oct/10/colville-triballeaders-seek-help-with-high/.

22.

Brown, Tim. “Design Thinking.” Harvard Business Review. August 28, 2015. Accessed July 11, 2017. https://hbr.org/2008/06/design-thinking.

“Suicide - Fact Sheet.” World Health Organization. March 2017. Accessed July 11, 2017. http://www. who.int/mediacentre/factsheets/fs398/en/.

23.

D.school Bootcamp: The Student Experience. Youtube, Stanford Graduate School of Business. September 15, 2011. Accessed July 11, 2017. https://www.youtube.com/watch?v=kAvVd1Ipw68&list= PLAD1F87125529A918&index=1&feature=plpp_video.

“NAMI: Infographics & Fact Sheets.” NAMI.org. 2017. Accessed July 11, 2017. https://www.nami.org/ Learn-More/Fact-Sheet-Library.

24.

IDEO, and K12 Lab Network Stanford D.school. “Design Thinking in Schools K12 Directory.” Design Thinking in Schools. 2017. Accessed July 25, 2017. https://www.designthinkinginschools.com/.

Mapes, Lynda V. “Tribes Fight Suicide, a Leading Killer of Native Youth.” The Seattle Times. May 13, 2013. Accessed July 11, 2017. http://www.seattletimes.com/seattle-news/tribes-fight-suicide-aleading-killer-of-native-youth/.

25.

“RAIC Awards of Excellence - 2007 Recipient: Nk’Mip Desert Cultural Centre (Art Category).” Raic. org. 2007. Accessed July 11, 2017. https://www.raic.org/raic/awards-excellence-%E2%80%94-2007recipient-5.

Pan, Deanna. “Young Warriors.” Inlander. May 22, 2013. Accessed July 11, 2017. https://www. inlander.com/spokane/young-warriors/Content?oid=2155410.

26.

Del Vecchio, Paolo. “The Impact of Historical and Intergenerational Trauma on American Indian and Alaska Native Communities.” SAMHSA.gov. November 25, 2015. Accessed July 11, 2017. https://blog. samhsa.gov/2015/11/25/the-impact-of-historical-and-intergenerational-trauma-on-american-indianand-alaska-native-communities/#.WWRYbcaZOCQ.

27.

Kelly, Richard, Dietrich Neumann, and D. Michelle Addington. 2010. The structure of light: Richard Kelly and the illumination of modern architecture. New Haven: Yale University Press in association with the Yale School of Architecture.

“Making Suicide Every Ones Business: A Native American Community Approach, Builds on Cultural Strengths of Balancing Physical, Mental, Emotional, and Spiritual Lives.” SPRC.org. January 2012. Accessed July 11, 2017. http://www.sprc.org/grantees/confederated-tribescolville-reservation-2.

Leaver, Raymond. “Executive Summary - Paschal Sherman Indian School.” Advanc-ED.org. March 13, 2013. Accessed July 11, 2017. http://www.advanc-ed.org/oasis2/u/par/accreditation/summary/ pdf;jsessionid= 1765D8210FB35C3CA5A63BC76EA61C75?institutionId=53026; Marr, Carolyn J. “Assimilation Through Education: Indian Boarding Schools in the Pacific Northwest.” University of Washington Libraries. Accessed July 11, 2017. https://content.lib.washington.edu/aipnw/marr.html; King, Marsha. “Tribes Confront Painful Legacy of Indian Boarding Schools.” The Seattle Times. February 03, 2008. Accessed July 11, 2017. http://www.seattletimes.com/seattle-news/tribes-confrontpainful-legacy-of-indian-boarding-schools/.

Walker, Richard. “New Paschal Sherman School Reflects Colville Tribal Heritage.” Indian Country Media Network. June 26, 2003. Accessed July 11, 2017. https://indiancountrymedianetwork.com/ news/new-paschal-sherman-school-reflects-colville-tribal-heritage/.

10.

“Colville Indian School Gets $16.7M to Rebuild.” Daily Journal of Commerce Oregon. February 22, 2002. Accessed July 11, 2017. http://djcoregon.com/news/2002/02/22/colville-indian-school-gets167m-to-rebuild/.

11.

Richard. “New Paschal Sherman School Reflects Colville Tribal Heritage.”; “Paschal Sherman Indian School.” ALSCArchitects.com. Accessed July 11, 2017. http://www.alscarchitects.com/portfolio/k-12education/paschal-sherman-school/.

12.

“Paschal Sherman Indian School Mission.” Paschal Sherman Indian School. Accessed July 11, 2017. http://www.psischiefs.org/.

13.

Raymond. “Executive Summary - Paschal Sherman Indian School.

14.

“Sunflower Festival Expected to Draw Hundreds.” Sunflower Festival Expected to Draw Hundreds. May 24, 2013. Accessed July 11, 2017. http://www.omakchronicle.com/news/2013/may/22/sunflowerfestival-expected-draw-hundreds/.

15.

“Paschal Sherman Indian School.” ALSCArchitects.com.

16.

Heidegger, Martin. “Building Dwelling Thinking.” Basic Writings, 1993, 343-364. Accessed July 11, 2017. http://designtheory.fiu.edu/readings/heidegger_bdt.pdf.

17.

Martin. “Building Dwelling Thinking.” 354.

18.

“The Plateau People - Environment & Housing.” Firstpeoplesofcanada.com. 2007. Accessed July 11, 2017. http://firstpeoplesofcanada.com/fp_groups/fp_plateau2.html.

19.

Ibid.

20.

Ibid.

21.

Pallasmaa, Juhani. 2005. The eyes of the skin: architecture and the senses. Chichester: WileyAcademy.

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“Nk’Mip Desert Cultural Centre - HBBH Architects / HBBH Architects.” ArchDaily. December 22, 2008. Accessed July 11, 2017. http://www.archdaily.com/10629/nkmip-desert-cultural-centre-hbbharchitects. Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli, 1996. Nrcs. “Web Soil Survey (WSS).” USDA NRCS. Accessed July 18, 2017. https://websoilsurvey.sc.egov.usda. gov/App/HomePage.htm. Oard, Michael J., and John Woodmorappe. “Field Studies in the Columbia River Basalt, Northwest USA.” Answers in Genesis. April 01, 2002. Accessed July 18, 2017. https://answersingenesis.org/geology/ field-studies-in-the-columbia-river-basalt-northwest-usa/. Pallasmaa, Juhani, and Peter Zumthor. OASE 91: Building Atmosphere: Material, Detail and Atmosphere in Architectural Practice. Rotterdam: NAI, 2013. Pan, Deanna. “Young Warriors.” Inlander. May 22, 2013. Accessed July 11, 2017. https://www.inlander. com/spokane/young-warriors/Content?oid=2155410. “Paschal Sherman Indian School.” ALSCArchitects.com. Accessed July 11, 2017. http://www.alscarchitects. com/portfolio/k-12-education/paschal-sherman-school/. “Paschal Sherman Indian School Mission.” Paschal Sherman Indian School. Accessed July 11, 2017. http:// www.psischiefs.org/. Pauls, Elizabeth Prine. “Plateau Indian.” Encyclopædia Britannica. Accessed July 11, 2017. https://www. britannica.com/topic/Plateau-Indian. “The Plateau People - Environment & Housing.” Firstpeoplesofcanada.com. 2007. Accessed July 11, 2017. http://firstpeoplesofcanada.com/fp_groups/fp_plateau2.html. “The Pleistocene Epoch: The Ice Age.” Pleistocene Ice Age and the Glacial Lake Missoula Floods. Accessed July 18, 2017. http://hugefloods.com/Pleistocene.html. “Ponderosa Pine.” National Parks Service. February 24, 2015. Accessed July 18, 2017. https://www.nps.gov/ brca/learn/nature/ponderosapine.htm. “RAIC Awards of Excellence - 2007 Recipient: Nk’Mip Desert Cultural Centre (Art Category).” Raic.org. 2007. Accessed July 11, 2017. https://www.raic.org/raic/awards-excellence-%E2%80%94-2007recipient-5. Royal Academy of Arts. “Kengo Kuma.” YouTube. January 22, 2014. Accessed July 12, 2017. https://www. youtube.com/watch?v=Ew4rx6oQOgY. “Suicide - Fact Sheet.” World Health Organization. March 2017. Accessed July 11, 2017. http://www.who. int/mediacentre/factsheets/fs398/en/. “Sunflower Festival Expected to Draw Hundreds.” Sunflower Festival Expected to Draw Hundreds. May 24, 2013. Accessed July 11, 2017. http://www.omakchronicle.com/news/2013/may/22/sunflowerfestival-expected-draw-hundreds/. Traverso, Giovanni. Modelling Daylight: A Manual for Natural Light Experimentation. Gütersloh, Germany?: VIA Verlag, 2015. USDA Forest Service. “Firewood Cutting.” US Forest Service. Accessed July 18, 2017. http://www.fs.usda. gov/detail/colville/passes-permits/forestproducts?cid=fsbdev3_035239. Walker, Richard. “New Paschal Sherman School Reflects Colville Tribal Heritage.” Indian Country Media Network. June 26, 2003. Accessed July 11, 2017. https://indiancountrymedianetwork.com/news/ new-paschal-sherman-school-reflects-colville-tribal-heritage/. WDFW, Bureau of Reclamation, USFS, and Okanogan Conservation District. “Okanogan County Integrated Aquatic Vegetation Management Plan.” 2014. Accessed July 18, 2017. https://fortress. wa.gov/ecy/gisresources/lakes/iavmp_reports/iavmp_Okanogan.pdf. Weaver, Harold. “Fire and Its Relationship to Ponderosa Pine.” Tall Timbers E.V. Komarek Fire Ecology Database. 1968. Accessed July 18, 2017. https://www.frames.gov/rcs/ttrs/5000/5921.html. Yoshida, Nobuyuki. RCR Arquitectes Journey. Tokyo: U Publishing, 2015.

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Figures Any figure not listed was created or photographed by M.Arch Candidate Rachel Martinez Figure 1.1

Data for Diagram

Youth Mental Health Statistics – National Alliance on Mental Illness (NAMI) (2016)

https://www.nami.org/Learn-More/Mental-Health-By-the-Numbers Figure 1.2

Photograph

Colville youth at “Cultural Camp”

http://www.critcallebs.com/survival/cultural-camps/ Figure 1.3

Photograph

Colville Tribes Youth “Warrior Camp” – Nespelem, WA

https://www.inlander.com/Bloglander/archives/2015/09/17/which-presidential-candidates-does-the-inland-northwest-like Figure 1.4

Data for Diagram

[Data] Paschal Sherman Indian School Report. (Reflective of 2013 Report by AdvancED)

[Image of Students] http://www.hunterbarnes.com/the-people/paschal-sherman-indian-school/67/ Figure 1.5

Photograph

Paschal Sherman Indian School 2017 Sunflower Princess

http://www.psischiefs.org Figure 2.1

Image

Martin Heidegger’s Book “Poetry, Language and Love (1975)

https://www.amazon.co.uk/Poetry-Language-Thought-Martin-Heidegger/dp/0060904305 Figure 2.2

Photograph

Traditional Plateau Indian Pit House

http://plateaupeopleofcanada.weebly.com Figure 2.3

Photograph

Traditional Nez Perce Longhouse

https://www.tes.com/lessons/ELLEosqHlo7dLA/native-americans Figure 2.4

Photograph

Colville Tule-Mat Teepee C. 1900-1905

http://www.webpages.uidaho.edu/L3/Sites/ShowOneContentContentID426.html Figure 2.5

Image

Juhani Pallasmaa’s The Eyes of the Skin: Architecture and the Senses (2005)

https://www.amazon.co.uk/Eyes-Skin-Architecture-Senses/dp/0470015780 Figure 2.6

Photograph

Colville boys hold mending for Sr. Martona at the sewing machine, St. Mary’s Mission School, Omak, Washington, 1959

http://digitalcollections.lib.washington.edu/cdm/singleitem/collection/loc/id/496 Figure 2.7

Photograph

Hasso Plattner Institut School of Design Thinking Ideation Process

https://hpi.de/school-of-design-thinking/design-thinking.html Figure 2.8

Diagram

Nielsen Norman Group’s Six Phases of Design Thinking (2016)

https://www.nngroup.com/articles/design-thinking/ Figure 2.9

Chart

Climate data for Omak Washington - 2017 US Climate Data

http://www.usclimatedata.com/climate/omak/washington/united-states/uswa0320 Figure 2.10

Photograph

Nk’Mip Desert Cultural Centre Exterior Rammed Earth Wall

https://www.aadnc-aandc.gc.ca/eng/1361492159201/1361492317350 Figure 2.11

Photograph

Nk’Mip Desert Cultural Centre in the Landscape

http://www.archdaily.com/10629/nkmip-desert-cultural-centre-hbbh-architects Figure 2.12

Architectural Plan

Nk’Mip Desert Cultural Centre Plan

http://www.archdaily.com/10629/nkmip-desert-cultural-centre-hbbh-architects Figure 2.13

Photograph

Nk’Mip Desert Cultural Centre Rammed earth wall and Blue Pine Finishes

http://www.archdaily.com/10629/nkmip-desert-cultural-centre-hbbh-architects Figure 2.14

Photograph

Nk’Mip Desert Cultural Centre Cultural Display

https://www.aboriginalbc.com/deals/10-off-special/ Figure D.1

Illustration

The Storyteller - From the Confederated Tribes of the Colville Reservation Upper Columbia River Book of Legends. http://colville.whydevelop.com/book_of_legends.php

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