Architecture Portfolio Stage 3
t. ARC3001 Enclosed Order
Tobias Evan Himawan 160012875
Semester One - Primer
The final year of the undergraduate programme has proven to be the most experimental year for me. Being interested in prefabricated construction and highly functional architecture in stage 2, my architectural journey faced a challenge when I was assigned to be in a studio that focuses on the metaphysical quality of architecture: the atmosphere. From Rem Koolhaas and Bjarke Ingels to Peter Zumthor and Alvaro Siza, my approach of architecture has been forced to take a 180 degrees turn. However, choosing a protagonist that presents my personal life manifesto has turned the problems encountered to be an enjoyable learning process. The project has transformed from something distant to a personal one, reflective of my faith and my stance in architecture. Doing a different approach has also expanded my knowledge of various aspects of architecture that, in previous years, have never appeared to mind. Upon graduating from the degree, I am fortunate enough to have undergone a productive and educative year, accompanied by two great tutors that have always given constructive criticisms and spent their personal times for the purpose of education. This portfolio then presents the year long research and work towards the critical understanding of architecture that I obtain now.
3
From left to right: Irene, Maga, Anna, Eda, Mark, Nathan, Tobias (author), Rocky, Jason, Emily, Kareemah, Sarah, Karishma
4
STUDIO 04
ENCLOSED 0RDER The studio, led by tutors Christos Kakalis and Ivan MarquezMunoz, focuses on the production of monastic architecture, specifically the sacred atmosphere. The studio encourages exploration through casting and hand modelling, experimenting with the stereotomic and tectonic language. Some of the authors on the studio’s reading lists include Juhani Pallasmaa, Peter Zumthor, Alberto Perez-Gomez, and Junichiro Tanizaki
5
PRIMER
8-35
REALISATION
APPENDIX
60-79
126-143
STAGING
REFINEMENT
36-59
80-125
Preamble
ABSTRACT SPACES In Search for Sensory Experience
In the beginning of the year, the studio explores the production of non-contextual spaces through the method of modelling with various materials. The aim is to achieve a sacred atmosphere using nothing but intuition, as the context of the space is unknown. Experiments on materiality, textures, and light is encouraged, differentiating stereotomic and tectonic languages in architecture using methods such as casting, carving, cutting. The models are then reimagined to be inhabited and contextualized, using photograph and collage with intentional lights that reveals the quality of spaces of the models.
8
Semester One - Primer
THE POETRY OF
CONCRETE The polarity of concrete has been responsible for countless production of spaces. On one hand, its fluidity and flexibility allow the creation of endless form, constrained only by gravity. On the other, its solidity is permanent, withstanding the trial of time and nature. It is consistent in materiality, yet flexible in feel. The mould defines the texture and defines the spatial quality, ultimately activates the sense within it.
10
The two sectional models above test the ability of concrete to form multiple geometries and textures that evoke different feelings and senses, open to interpretation of the viewer, and both contributes to an understanding of the space. Light, the last missing element, complete the quality of space, and photography encaptures it.
Semester One - Primer
Water
Fire
Gravity
The fluidity of water erodes the mould, made with soap, creating curvatures and folds that gives a sense of softness. When moulded, the concrete reveals a smooth, slippery texture that implies a dialogue with liquid form.
Fire dominates the wooden mould, charring and reducing it to ashes. The concrete experience the result of this process, losing a lot of its moisture and appearing dry and burning, yet warm and comforting, much like the fire.
The plastic stretches as the gravity pull, pushing the boundary of flexibility of the material. When the concrete dries, the stretch marks are clearly apparent. The tension quality produce a heavy appearance, exceeding its actual weight.
TENSION +
COMPROMISE Concrete as a man made mixture is created to last against time and nature. It is a cold material that, although made from nature, appears to be distant from it. However, it is by the force of nature that a concrete mixture can settle into a solid object. The tension between concrete and nature results in a compromise that is the solid object casted.
To investigate the relationship between the mixture and nature, i created a series of experiment to mould or break the mould of concrete using different forces of nature; water, fire, and gravity. The experiment results in varied spatial qualities that is spontaneously produced by these forces, with little to no control from the human force.
11
Semester One - Primer
O how far beneath Your glory Does Your kindness extend the path From where Your feet rest on the sunrise To where You sweep the sinner’s past
In the Highlands
12
Semester One - Primer
O how high would I climb mountains If the mountains were where You hide O how far I’d scale the valleys If You graced the other side
On the Mountains
13
The assembly of models from various students
14
Semester One - Primer
Conceptual plan and section drawn after assembling the complex
ASSEMBLAGE The final task of this preliminary stage is to combine the abstract models as a studio to form an imaginary complex. The lack of connection or coherence between each invidual model is obvious, but this rather becomes the drive to assemble the complex. By forcing the models to ‘connect’ with each other, the mind is spatially challenged to redefine spatial sequence and to intuitively reimagine the idea of an atmosphere.
15
Chapter One
THE PROTAGONIST The Blind Worshipper
The second part of the Primer stage marks the beginning of the design project, involving a declaration of a protagonist and designing his/her monastic cell. Carrying on from the early exploration, my interest full engagement of the senses results in the choice of the Blind Worshipper as the client of the project. The elimination of one sense leads to an alternative method of resolving space and communicating atmospheres through the engagement with the other senses. The exhibition then concludes the Primer stage, with a final design of a cell that informs the next stage in designing a whole monastic complex for the protagonist.
16
Semester One - Primer
A conceptual plan evolution of the Church reveals how worship spaces evolves along with the worship form Based on Liturgical Space by Nigel Yates
18
Semester One - Primer
Typical arrangement of the modern Protestant churches
THE EVOLUTION OF
WORSHIP FORMS Worship is an act of feeling and expressing reverence and adoration to God. Worshipping Jesus in Christianity is an expression of gratefulness and love to the Savior who has reconciled the broken relationship of human and God as a result of their sins and promised the eternal life through His crucifixion. Throughout the religion’s development, however, the form of worship has evolved along with the denomination of the religion itself, specifically Protestant movement, where music is heavily used. Martin Luther, the initiator of the movement and a music enthusiast, composed hymns that are still used and sung by the congregation of the churches today. In modern evolution of the Protestant movement, such as Pentecostals and Charismatics, the traditional hymns are replaced with contemporary songs that adopts the popular
music genre. Singing remains a routine in the service, accompanied by preach and prayer. The term ‘worship leader’ refers to a person who prompts the congregation to sing and pray, along with the ‘worship team’ which consists of musicians using modern musical instruments. The congregation then read the bible and hear the sermon delivery from a pastor. The modern movement also encourages spontaneity and full congregational participation, targeting on each individual to be transformed through worship. During the service, the songs are not constrained by a certain structure, and the chorus is often repeated spontaneously to intensify the worship. Various testimonies are also allowed to be delivered by the congregation at any time during the service, contrasting with the more restricted liturgy of the early protestant movement such as Lutheranism and Methodism.
19
Semester One - Primer
WELCOME GR
10.15 am
Gathering of the congregation to the church, starting with socializing with each other over a cup of coffee or tea, activity happens in the lounge area
10.30 am
The start of the service, begins with a greeting and a prayer from one member of the congregation, followed by three to four songs from the worship team
During the time of worship, any member of the congregation is allowed to come up to the front to share testimonies or a scripture from the Bible
11.00 am
End of the first worship session, onto the weekly announcements presented by a member of the church
11.10 am
Start of the sermon. Preaches are usually delivered by the elders or occassionally by a visiting pastor
11.50 am
End of the sermon, the pastor closes with a prayer and asks for the worship band to come up to the front
LEADING WORSHIP
11.55 am
Start of the closing worship session, usually two to three songs will be sung in respond to the sermon delivered
During this time of worship, it is encouraged to share a response to the sermon with each other, or pray about it with the pastor who usually stands at the back
12.15 am
End of the service, the congregation spreads out to further socialize or get another cup of tea or coffee
12.40am
The congregation leaves the church building
20
A
MEETING
This is a typical Sunday meeting at my local church, which includes themselves into the modern Protestant movement. The church inhabits a space in an office building, spontaneously set up on Sunday morning and set down on Sunday afternoon. The flexible worship form of the modern Protestant which focuses more on singing the songs and hearing the sermon has eliminated the need for a specific architectural gesture that the older Christianity movements have often been criticized for. Although it exists, the structure of the service is flexible to fit spontaneous events happening during the service
REETINGS
OVER TEAS AND COFFEES
ENGAGING IN WORSHIP
SERMON DELIVERY
Semester One - Primer
THE TRADITIONAL HYMNS
THE CONTEMPORARY SONGS
22
Semester One - Primer
INTERVAL
VERSE/CHORUS
FINAL CHORUS
DYNAMICS OF WORSHIP As music is the drive of the modern worship form, the spontaneity of the modern Protestant worship is reflected into the dynamic of the contemporary songs which replace the traditional hymns. To investigate the architectural quality through the senses, i created a series of ‘tactile tracings’, produced using watercolor paint and ink. The painting traces the progression of the worship songs from the hearing of the ears through the movement of the hands. The ink line moves along with the articulation of the singing, while the black paint traces the composition of the musical instruments. The yellow
paint then paints the subjective emotion on each specific point of the song, showing the emotional alongside the musical progression, explaining the atmosphere of the sound. An interval before the final chorus is a repeated typology found upon doing this experiment, producing a compression before a climactic release. When translated into spatial form, particularly a section, the emotional dynamic of the music can be more understood.
23
Semester One - Primer
HEARING
SIGHT
TOUCH
TASTE
SMELL Fluidity of the senses
HEARING
TOUCH TASTE
SMELL Adaptation when one sense is muted
CONTESTATION OF
THE SENSES The mind is the centre of the production of architecture. Louis Kahn argued that the feeling is more important than thinking in designing buildings. It is the human instinct, their desire to create space, their memory of past space and expectation for future space. The feeling is a fluid form, unconstrained and floating freely. It is the task of thinking to contain it, to “stand back from an idea and evaluate it objectively�. Thinking is not possible without the human senses; seeing, hearing, touching, smelling, and tasting. Without the senses, human cannot grasp the idea of their existence, as the feeling will be over-liberated, irrationalized. The senses and the mind are constantly debating and conversing, and the end result, a compromise between the two, is what the human perceive as an understanding. The five senses are also free-moving, however encapsulated in a rigid form. Each extends and shrinks accordingly to accommodate the ever-changing dominance of the others. In the act of eating, where the tongue is the clear protagonist, the other senses retract to enhance the experience of tasting the food. However, they are not muted, and each still play their 24
individual roles to support the overall sensation of the dining experience, as Junichiro Tanizaki argued in his book In Praise of Shadows. On certain circumstances when one sense struggles to define what it is confronted with, the others are forced to fill the gap, working simultaneously to gather information to be sent to the mind. In architecture and the creation of space, the eyes play the dominant role in a chain of sensuous hierarchy. Through vision, human is enabled to understand the idea of a space. But vision alone only reveals a fraction of the whole image of space. George Berkeley expressed that the vision needs the help of touch. The skin provides a further understanding of what the eyes see, therefore it is placed after the eyes in the hierarchy. Hearing and smelling are what comes next, supporting the visual and the sensory experience. They are difficult to control, harder to grasp, but somehow involuntarily coexist with the others. Lastly, the sense of taste, which does not hold the direct power, but exist through the idea evoked by the vision.
Semester One - Primer
ACTIVE WHEN BLIND INTRINSICALLY PHOTOSENSITIVE RETINAL GANGLION CELLS (ipRCGs)
Transmit signal to Visual Cortex (brain)
OPTIC NERVE
Perceive light, converting it to electronic signal
Transmit light
RETINA
VITREOUS BODY
Further focuses light
LENS
Controlling the amount of light
PUPIL
Controlling the amount of light
IRIS
CORNEA
Focusing Light
Not found on the retina proper, but on the layer of nerves that transmits signals from rods and cones to the brain, distribute signal to several parts of brain
INACTIVE WHEN BLIND
ARCHITECTURE FOR
THE BLIND
To begin designing architecture for the blind, an understanding of the impairment is felt necessary. In contrast to the common conception, the state of being blind in most cases does not mean the total lost of vision. Instead, the brain is connected to a set of photosensitive cells called ipRCGs, which is still transmitting signal of lights to the brain even though the eyes themselves do not. This means that in most cases, people with blindness can still differentiate light and shadow, even speckles of colors. When the vision is no longer dominant, the way of understanding spatial arrangement is passed on to the remaining senses. Touch and hearing plays a huge role to fill the missing information typically provided by the vision. Instead of perceiving space as a three dimensional visual, the use of touch and hearing resulted in a sequential journey of spaces. Space can be reimagined as a ribbon, folding and unfolding new discoveries which will then be memorized by the brain and transcripted into an understanding of space.
With visual impairment, a space is not perceived as a three dimensional entity, but as a sequence of experience
25
Semester One - Primer
VISION
VISION
SOUND
TACTILE
THE NEW ALTAR
THE NEW WINDOW
THE NEW CHANCEL
THE NEW PEW
Set the direction of the church Project information Project the scripture
Creates a warming atmosphere Provides lighting Decorate the church
Project the sound to the space Creates an auditory atmosphere
Provides seatings for people Creates an intimate atmosphere
Can the church function without a directional view? Can the congregation reach an engagement of worship without the ornamentation?
SACRED WITHOUT VISION Question is then raised on how the blind can experience a sacred space, which Thomas Barrie argues involves a dynamic visual experience. To choreograph this experience, a sacred place has unfortunately been led to the production of ornamentations that try to project this ‘sacredness’. However, the critical engagement with the other senses, Barrie further argues, is equally as important in achieving a feeling of sacredness. The ear, as John Calvin argues, holds more importance than the eye as they are required to hear the word
26
and listen to the holy spirit within. The eye, he further argues, were felt to be unable to fulfill this, and were even considered corrupting. The modern worship form, with its focus on music and congregation participation, thus questions the importance of the visual. The existence of the front and back of the church, the stage and the seatings, creates a segregation between the worship leaders and the rest of the wcongregation, caused by the false dominancy of the eye in worship.
Semester One - Primer
The act of worship requires the engagement of the human senses. The tangible experience of worship is evoked through the atmosphere created by the space it is contained, and how appropriate it responds to the activity. However, the current architecture of the modern worship spaces does not provide the right response to the intended full participation and individual transformation that is intended. The priority of directional visuality to the stage at the front reduce the sense of togetherness of the congregation and creating a separation that leads to a performer-audience relationship. The elimination of vision by choosing the visually impaired as a protagonist thus challenges the hierarchy of the senses in the manifestation of architecture. When the aesthetic is reduced to the least concern, the design must communicate its quality through the interaction with the other senses. The project then will try to provide an alternate typology of worship space with the aim of fully engaging all the senses through the architecture generated by the typology of the worship itself. Senses of tactility and auditory which can be actively manipulated through architecture will be prioritized, considering different materiality and form that contains the experience.
27
Semester One - Primer
28
Semester One - Primer
A
TACTILE DAY
The drawing starts the investigation of spatial production based on the manifesto, showing another tactile painting produced from a collective of tactile memories that is experienced throughout my preparation in the morning, from waking up to leaving the house. This experiment helps to understand the importance of touch in everyday activity.
29
Semester One - Primer
DIMENSION
SPATIAL
Using the same technique, i produced another set of drawings that depict the three-dimensional spatiality of a contemporary worship song, which the early investigation lacks.
30
The drawing is then retraced and reinterpreted to start defining boundaries, tresholds, and circulation to imagine the inhabitation of these spaces.
Semester One - Primer
SPACE OF SPONTANEITY The free-form and dynamic worship, together with the intervalfinal chorus concept inform the design of the cell. Through regular and irregular walls, the circulation is shaped to create a journey that draws inspiration from the worship form itself. The walls are also closely placed at human scale, ensuring
their tactility and enabling the blind worshipper to use them as his/her circulatory guidance. Lastly, the ‘final chorus’ takes form in the worship corner, expressed through the level drop of the floor and the opening that allows contrasting light and air to penetrate.
31
Semester One - Primer
PRIMER The Exhibition As a studio, the exhibition displays our collective work throughout the Primer stage which includes early models and final cell designs. The exhibition space itself tries to comply with the studio brief and provide a sacred atmosphere without being specific to a religion, accommodating the diverse range of protagonists throughout the studio.
32
Semester One - Primer
R SHOW 12.11.2018
33
Semester One - Primer
THE TACTILE
WORSHIP CELL
The final cell design concludes the investigation of the protagonist. The dynamic discovered in the early tactile paintings is translated into the section of the cell, which plays with different floor level and ceiling height. The plan explores the spontaneity of the worship, where the regular form that
34
contains the daily activity is interrupted by the angular form that provides a space for the individual worship. The idea of the opening is also carried on to the final design to accentuate the feeling of liberation upon inhabiting the worship space.
Semester One - Primer
35
Chapter Two
THE CONTEXT The Blind Congregation
The Staging stage anchors the project to a specific site and requires an expansion of design from a single cell to a whole complex. This requires further declaring the programmes and applying the previous findings to a larger scale. The chosen site for the studio is located in Ouseburn, where the site span accross the river and a complex is to be contextualized without reducing the importance of the protagonist. The stage sets the foundational elements for the complex, dealing firstly with the analysis of the site. The site analysis, combined with the Primer exploration, sets the schedule of accommodation for the complex, which is then translated into a concrete scheme on the next stage.
36
OUSE STREET, OUSEBURN VALLEY
Semester One - Staging
38
Semester One - Staging
Ouseburn has been renowned as the growth centre for creative industry for the last few years. The lively neighborhood of offices, studios, workshops, bars and restaurants are contained alongside the Ouseburn river which feeds to the Tyne river. The brief challenges the site through the contextualization of a religious establishment, which intervenes the predominantly secular activities
the region. The church converses with the site not only with the typology, but also through the interaction of two groups of people; the physically blind worshippers of the church and the public members of the Ouseburn community. This series of challenges do not act as a set of restrictions, but rather provide opportunities to raises questions of the position of contemporary Christianity in the secular society of today.
39
Semester One - Staging
RELIGION
VS
CULTURE
In Galatians 6:1, Paul spoke to the Galatian community about approaching those in transgressions with gentleness. These words have been practiced by the contemporary churches by gently use the popular culture in order to spread the gospel, most obviously through the use of pop genre in worship songs. As observed by Stephen Ellingson, this form of worship has been proven to have more impact on the society than expected, even so that even early Protestant churches such as the Lutheran Church in America adapt the music to their liturgy which they argue can ‘speak to the unchurched in the language of our culture’. However, the use of popular culture in religious practice might lead to the dillution of the gospel, and the conformity of the believers to the worldly pleasure, as Paul warned. The church then needs to create a boundary, engaging with the culture while still maintain its Godly characters, remain unconformed with the world. The architecture of the church therefore faces an interesting challenge of balancing between the cultural adaptation and rejection. The two should be expressed through the building, juxtaposing the intangibles through the tangible body of the architecture.
40
Semester One - Staging
Cultural programmes of Ouseburn raise the question of the way to contextualize the church
41
Semester One - Primer
JESMOND PARISH CHURCH NE2 4DJ PARISH
ST. THOMAS’ CHURCH NE1 7PF ANGLICAN ST. JAMES’ CHURCH NE2 4DJ PARISH
TRUE JESUS CHURCH NE2 1AP NON-DENOMINATIONAL
CORNERSTONE CHURCH NE1 6BH NON-DENOMINATIONAL
CITY CHURCH NE1 2JQ METHODIST ST ANDREW’S NE1 5SS ST. NICHOLAS’ CATHEDRAL PARISH NE1 1PF ANGLICAN HILLSONG CHURCH NE4 5QD PENTECOSTAL
42
HOPE CITY CHURCH NE2 1AQ NON-DENOMINATIONAL ST. ANN’S CHURCH NE1 6PY PARISH
CHRIST CHURCH NE6 5QF CONFESSIONAL
THE NEW CHURCH
CHURCHES OF
NEWCASTLE 43
Semester One - Staging
Collage of churches in Newcastle showing the prominent ‘gates’ that separate the church from the public
44
Semester One - Staging
THRESHOLD TO
REPENTANCE PUBLIC
CHURCH
PUBLIC CHURCH GARDEN
CHURCH
The role of the church to spread the gospel means that the architecture that contains it needs to ensure its accessibility to the public. However, the current church buildings, such as observed in Newcastle, appears to share similar typologies of threshold that filters the public route into the church; either having a grand, apparent entrance, or a transitional garden or courtyard that distance the church from the environment. This, as observed, creates both tangible and intangible boundaries for the public, especially those ‘outside’ the church that prevents the church to reach the public. As a compensation of this, banners and signs need to be added to attract the mass. The proposed church will try to deal with this discourse, ensuring the engagement of the public with the church.
45
"Brothers and sisters, if someone is caught in a sin, you who live by the Spirit should restore that person gently. But watch yourselves, or you also may be tempted." Galatians 6:1 (NIV)
Semester One - Staging
NEWCASTLE UPON TYNE 56.4% 27.8% 6.3% 9.5% OUSEBURN
43.2% 40.9% 12.4%
JESMOND
45.8% 40.8%
EVANGELIZE
3.5%
2.2% 11.2% BYKER
2.2% 9.4%
CATER
56.4% 32%
CHRISTIAN NON-RELIGIOUS MUSLIM OTHERS
Demographic around the site sets the target for the church
Existing routes to reach and to reach out from the church
IN SEARCH OF THE
Direction of evangelism to the east of the site
As a region with the lowest number of Christians of 43% against the city’s average of 56%, being located in Ouseburn could not be a better challenge for the contemporary church to fulfill their mission to spread the gospel. The blind worshippers are challenged to evangelize the secular community of Ouseburn, leading the ‘spiritually blind’ to the light of God and their conversions. The lack of other churches on the east side of the church orientates the direction of evangelism to this region, encouraging the spread of the gospel to East Ouseburn, Byker, and Jesmond. The church should not only seek for the spiritually blinds, but also guides them to the building, where they will be lead to conversion through the experience of worship.
47
Sound, Sun, and River Flow analysis
Semester One - Staging
Collage of the overlapping activities on the riverside
FINDING THE
GENIUS LOCI The idea of gentle approach of the proposed church must first be seen from its adaptation with the site, the intangible aspects of it, the genius loci. This ‘spirit’ exist in the site’s natural phenomenology, beginning with the importance of the river. The importance of Ouse Burn has resulted in overlapping programmes of private and semi public, but there is a lack of a true public space to fully respect the river. The river also contains various sensory experience, from the glaring south sun, to the dynamic noise of the infrastructure surrounding it. The public/private programmes on the riverside
48
Semester One - Staging
CIRCULATION vehicular access pedestrian access
LINE
MESH
50
Exploded axonometric of the layers of contour
Semester One - Staging
BUILT ON
LAYERS The sloping contour towards the river also plays a role in defining the experience of the site. The slope involuntarily guides the public down to the river, forcing the architecture of the surrounding to submit to this ‘rule’. The varied level changes results in dynamic building heights and roads that becomes one of the defining characteristics of the area.
51
52
1
OPENING UP The first response to the site analysis is to lift the church up, opening the ground for the public. In doing this, the architecture brings back the site to the public and highlights the importance of the river for Ouseburn. Moreover, the strategy will diffuse the threshold between the complex and the surrounding, allowing public to penetrate through the complex.
CONTENT
2
FLOWING DOWN The complex also adapts the phenomenology of the river, being fluid in circulation. The gradually increasing complexity as the circulation flows down from the secular space to the baptized and finally to the living quarter narrates the story of the life of coming to repentance, from conforming to rejecting the earthly values and engaging closer to God through worship.
53
Semester One - Primer
54
Semester One -Staging
Initial image representing the adaptation to the contour Initial sketch of adopting the Ouse Street’s sloping contour
OF GENTLENESS LANDSCAPE To approach with the spirit of gentleness, the proposed church complex will not appear as an object on the site, but rather emerges from it and becomes part of the landscape. By adapting the sloping contour and the sloping Ouse Street, the complex is envisioned to become an extension of the landscape form.
The complex also proposes to connect the east and west sides of the site, with the main programmes located on the west to fully dedicate the east side for the public. By utilizing the contour shape, the public coming from the east will be guided down and accross the river to the church on the west.
55
Semester One - Staging
COMMUNAL WORSHIP SPACE
The space of community worship, communal living, teaching and sharing, meeting point between the two protagonists
GO
SP
EL
CO M
MU
THE DISCIPLES CELLS
CORRIDORS
Accommodating public who wishes to undergo conversion into Christianity
Connecting one gospel community to the other
NI
TY
THE WORSHIPPER CELLS
Accommodating the blind worshippers whose role is to teach and spread the gospel
OF GENTLENESS COMMUNITY The idea of gentleness is also reflected in the proposed programme for the complex. To contextualize the protagonist, the blind worshippers have a role to evangelize the area. The complex will accommodate the evangelism by providing accommodations for the evangelized (the disciples), together with the blind worshippers. By living and sharing experiences together as a community, the form of evangelism is implied and applied to the daily routine.
56
The rest of the complex holds the supporting programme for the ‘gospel communities’ as well as the rest of the public. The dynamic of the worship songs that was investigated in Primer stage is indirectly reflected with the dynamic of the programme. The complex forms a route that flows from high intensity programme for the mass (the church) to the smaller, more intimate programme (the gospel communities).
Semester One - Staging
GOSPEL COMMUNITIES (32 RESIDENTS)
REFRACTORY + KITCHEN (150M2) RECEPTION (60M2)
REHEARSAL (30M2)
STORAGE (40M2)
80 SEATS LECTURE HALL (100M2)
MEP (40M2)
LEARNING
LIVING
PRIVATE
TOILETS (60M2 TOTAL)
CHURCH (150 PEOPLE CAPACITY) (270M2)
RECEPTION (30M2) OFFICE (30M2)
WORSHIPPING
COURTYARD (INTERLUDE)
SOUND ROOM (30M2)
PUBLIC
BAPTISM CHAPEL (50M2)
MUSIC ROOMS (20M2 EACH)
57
Monday
58
Tuesday
Wednesday
Thursday
Friday Night Prayer and Sleep 22.00
Communal Activity 21.00
22.00 Night Prayer and Sleep
21.00 Communal Activity
17.00 Worship Rehearsal 19.00 Dinner at Refractory
Worship Rehearsal 17.00
13.00 Lunch at Refractory 14.00 Music Teaching to Public
08.00 Morning Worship and Breakfast 09.00 Music Teaching to Public
07.00 Individual Morning Devotion
Dinner at Refractory 19.00
Individual Morning Devotion 07.00 Morning Worship and Breakfast 09.00 Daily Activity (Working) 09.00
22.00 Night Prayer and Sleep
21.00 Communal Activity
Night Prayer and Sleep 22.00
19.00 Dinner at Refractory
Communal Activity 21.00
13.00 Lunch at Refractory 14.00 Music Teaching to Public
08.00 Morning Worship and Breakfast 09.00 Music Teaching to Public
07.00 Individual Morning Devotion
Dinner at Refractory 19.00
Individual Morning Devotion 07.00 Morning Worship and Breakfast 09.00 Daily Activity (Working) 09.00
22.00 Night Prayer and Sleep
21.00 Communal Activity
Night Prayer and Sleep 22.00
19.00 Dinner at Refractory
Communal Activity 21.00
16.00 Music Teaching
13.00 Lunch at Refractory
08.00 Morning Worship and Breakfast 09.00 Social Activity / Evangelism
07.00 Individual Morning Devotion
Dinner at Refractory 19.00
Music Lesson 16.00
Individual Morning Devotion 07.00 Morning Worship and Breakfast 09.00 Daily Activity (Working) 09.00
22.00 Night Prayer and Sleep
21.00 Communal Activity
Night Prayer and Sleep 22.00
19.00 Dinner at Refractory
Communal Activity 21.00
13.00 Lunch at Refractory
08.00 Morning Worship and Breakfast 09.00 Social Activity / Evangelism
07.00 Individual Morning Devotion
Dinner at Refractory 19.00
Individual Morning Devotion 07.00 Morning Worship and Breakfast 09.00 Daily Activity (Working) 09.00
22.00 Night Prayer and Sleep
21.00 Communal Activity
Night Prayer and Sleep 22.00
19.00 Dinner at Refractory
Communal Activity 21.00
13.00 Lunch at Refractory 14.00 Music Practice
08.00 Morning Worship and Breakfast 09.00 Social Activity / Evangelism
07.00 Individual Morning Devotion
Dinner at Refractory 19.00
Individual Morning Devotion 07.00 Morning Worship and Breakfast 09.00 Daily Activity (Working) 09.00
Semester One - Staging
Saturday
Sunday Night Prayer and Sleep 22.00
Communal Activity 21.00
Dinner at Refractory 19.00
Sunday Market / Baptism 09.00
Sunday Market 13.00
Church Service 10.00
Individual Morning Devotion 07.00 Morning Worship and Breakfast 09.00 Church Set Up 09.00
Night Prayer and Sleep 22.00
Prayer and Praise 21.00
Dinner at Refractory 19.00
Discipleship Class Training 14.00
Lunch at Refractory 13.00
Discipleship Class Training 09.00
Individual Morning Devotion 07.00 Morning Worship and Breakfast 09.00
Public Interruption
22.00 Night Prayer and Sleep
21.00 Communal Activity
19.00 Dinner at Refractory
13.00 Sunday Market 14.00 Sunday Market / Baptism
10.00 Church Service
08.00 Morning Worship and Breakfast 09.00 Church Set Up
07.00 Individual Morning Devotion
22.00 Night Prayer and Sleep
21.00 Prayer and Praise
19.00 Dinner at Refractory
13.00 Lunch at Refractory 14.00 Discipleship Class Teaching
08.00 Morning Worship and Breakfast 09.00 Discipleship Class Teaching
07.00 Individual Morning Devotion
Semester One - Staging
The Blind Worshipper The Disciples
RITUAL
USE OF LARGER COMPLEX
USE OF GOSPEL COMMUNITIES
59
Chapter Three
THE TRANSLATION The Tactile Architecture
The Realisation stage translates the findings and initial ideas in the previous stage into a concrete design scheme that slowly transforms into a realised building. In this stage, the church complex starts to take form with a design scheme proposal of the Parallel grid, which links the Primer research and the protagonist with the contextual questions set during the Staging period. The result of this translation is a complex proposal with working set of drawings that allows a more detailed refinement in the final stage of the project.
Semester Two - Realisation
Edge of wall to inform division of spaces and fast movement Body of wall to inform scale of space and accommodation/dwelling
X
mm
00
*10
mm
00
30 mm
00
20 mm
00
10
WITHIN THE
PARALLEL GRID The concept of walls from Primer is carried on to the complex
62
The investigation of the tactile architecture of the Primer cell design informs the idea to design a tactile complex, using a scheme of parallel walls. The walls act as guidance of movement through spaces for the blind worshippers, as well as defining the scale of spaces. The grid also allows for superimposition to suit the program that the space contains.
Semester Two - Realisation
Superimposition of the Parallel Grid
63
Semester Two - Realisation
1
4
2
5
3 1. 2. 3. 4. 5.
Adapting to the Context Extending the River Phenomenology Sculpting the Routes Dividing the Programmes Superimposing the Dynamics
64
PLACEMENT
EMERGENCE The concrete parallel walls emerges from the ground and adapts to the landscape. The walls also hover over the proposed pool that extends the phenomenology of the water from the river into the complex. The grid opens up on the east for public penetration and adjusts to the programmes on the west. The grid also sculpts the routes inside the complex, creating a dynamic and spontaneous movement inspired by the form of worship.
Semester Two - Realisation
Seeking
Adapting
Semester Two - Realisation
MATERIAL X SOUND TIME
=
MATERIAL X LIGHT SPACE
PRECEDENT STUDY:
WALLS OF MUSIC Stretto House, Dallas, Texas 1991 by Steven Holl Throughout the design process, Steven Holl’s architecture has been a constant influence in designing atmospheres based on the senses. One building in particular that sets a precedent for the project is the Stretto House, which investigates the overlapping phenomena between the light (strings) and the heavy (percussion) and its translation to architecture. With this project, Holl also defines the equation that similarizes sound in music with light in architecture.
66
The house plays with the idea of an aqueous space, with generous light penetration created by arched walls, creating a movement that penetrates and connect the four concrete ‘spatial dams’. This movement, inspired by music and the water of the site, flows like music cutting through the percussive rhythms of the concrete walls. This idea forms an initial idea for the movement through spaces inside the church complex taking the dynamic idea of the worship songs.
Semester Two - Realisation
Installing the stereotomic block to the tectonic frame
Model with all four sides attached, Post spray painting, adjusting the ready to be spray painted block for the second experiment
The canvases showing the result, black paint representing light
ARTEFACT STUDY:
GRID OF LIGHT
Caja Granada, Granada, Spain 2001 by Alberto Campo Baeza The group study of Caja Granada by Alberto Campo Baeza also sets an idea of utilizing a volumetric grid. In the building, Baeza plays with the idea of stereotomic and tectonic architecture that forms a cube that is raised on a longitudinal ‘public plinth’. Inside the cube, Baeza incorporates the idea of ‘impluvium of light’, where he carves the roof to allow sun penetration into the empty volume of the cube core, using a 3x3m grid that also informs the scale of each spaces in this
office building. Furthermore, his juxtaposition of light and heavy material that filters or allows natural light creates a dynamic light interplay on the internal space. This grid-informed light penetration is then explored through model making by creating a tectonic frame that allows cuboic volume to be inserted. The insertion is juxtaposed and then sprayed with black paint, representing the South light, and the base ‘canvas’ with traces of the paint informs where the light is filtered.
67
Semester Two - Realisation
Following the precedent study of Stretto House, the complex adapts to the dynamics of worship songs through the adaptation of the walls. The flow of movement as a result of this adaptation goes through a series of constraints and relieves, creating spontaneous squares for the community of the complex. The result is a fluid circulation through the rigid form of the parallel walls.
68
Semester Two - Realisation
The grid also adapts to the angle of the sun. With the orientation of the grid almost perpendicular to the south sun, the walls adapt to the need of bringing light in by extending out to catch the light into the space within. Like musical notation, the walls are carved out to create different notes of light, creating a dynamic of indirect light reflection on the wall and into the interior space.
69
Semester Two - Realisation
Architecture as Landscape
70
Semester Two - Realisation
Form of Gentleness
71
Semester Two - TTMW
90mm at 1:10 Scale model
Thinking Through
Making Week
INSER TION
The model made during Thinking Through Making Week explores further the idea of the tactile grid by representing a section of the wall. Modeled in concrete, the 1:10 model explores the tactile sense by materializing the tactile wall with the concrete texture. Further development of the wall introduces the idea of inserting a ‘human’ material that adds warmth to the tactility, contrasting it with the coldness and roughness of the concrete.
72
Semester Two - TTMW
Process of making the timber insert
500mm at 1:1 Scale model
By experimenting with form and materials such as rubber, fabric, and timber, the different intensity of touch is tested. The end decision is to use curved timber, shaped to follow the sillhouette of the hand, and is made by working in tension and compromise between the sheet of plywood and the mould. The dimension of 500mm in height is regarded ideal to suit the scale of the hand, and the timber insertion is placed at 900mm height off the ground, ideal to touch while standing.
73
Semester Two - Realisation
WORSHIP ‘TESSERACT’
ENMESHED
PARALLEL WALLS
THE WORSHIP
TESSERACTS The concept of insertion carried on from Primer stage and Thinking Through Making to the design of the complex. The idea of inserting a timber structure that contains the worship activity, or the ‘Worship Tesseracts’ into the parallel walls creates spontaneous moments when the two are enmeshed. The irregular form of the tesseracts is contextualized and projects the phenomenology of the site by taking the existing axis; the river, the main roads, and the approaching angle of the sun. As a result, the tesseracts do not have a directional focus, further translating the idea from Primer of a sacred space without the dominancy of vision.
74
The spontaneous form interrupts the parallel wall of the Primer cell
Semester Two - Realisation
Existing Axis
Shaping the Tesseracts
75
Semester Two - Realisation
76
Semester Two - Realisation
Tectonic model of the church
Insertion of the tesseracts
When inserted into the parallel grid, the form language of the tesseracts is contrasted with the landscape-like concrete walls. The tesseracts appear to sit on the landscape rather than emerge from it as with the walls. The models presented explores this idea of insertion and the contrasting language of form and materiality.
77
Semester One - Primer
Juhani Pallasmaa argues that through sketches, the senses are activated, putting the designer in a haptic contact with the space. In designing the complex, sketches and traces have helped to understand the human scale and the tactile function of each wall created. Sketches also becomes particularly helpful in iterating the shape of each tesseract.
78
Semester One - Primer
79
LIM
ES
Chapter Four
THE PROPOSAL The Architectonics of Worship
The final proposal is an articulation of the research throughout the year, from the investigation of the Protagonist, the contemporary worship and the modern Protestantism, to the contextualization of Ouseburn and the aim of gentle evangelism. The complex proposal accumulates the ideas and translates it to a complex design that reflects the spontaneity of the modern worship form through the engagement of the senses, suppressing the visual focus to allow tactility and the other senses to be stimulated and drawing away from visual distraction in worship. The complex also becomes a public realm, allowing the majority of its spaces to be accessible by public and accentuating the importance of the river.
T
KE R
BA NK
E
BY
FO
RD
T.
ST .
OW
RR XO U L
E
5
20 M
LAC RP SHE KIN GFI
BURN
ST.
0
E
OUSE
SE
OU
Scale 1:600
Global Axonometric
Semester One - Primer
Section E-E Scale 1:200 0
5
20 M
SEEKING The Public Entrance The public from east is greeted with an open square, gently steps down towards the river. The walls form spaces for shops that overlooks the river. The protruding shapes of the tesseracts and the baptism pool is visible from the area, stimulating the interest to cross the bridge onto the west side. The public may sit, walk down to the river, interact, socialize, watch or even do a public performance on the amphitheatre-like steps.
84
Semester One - Primer
85
Semester One - Primer
HEARING
TOUCH
SIGHT
TASTE
SMELL
The grid runs accross the river to create a bridge that connects both sides of the site and cuts through the complex into the interval courtyard and onto the Ouse Street. The public is invited and guided by the walls that form the bridge to enter the complex, to dwell in the courtyard or simply to enjoy the view of the river and the valley.
86
Semester One - Primer
87
1
2
3
4
GROUND FLOOR PLAN The Blind Worshipper
N Scale 1:250 0
5
20 M
D 9
5
11 10
14
8
13 15
6
12
7
D 1. 2. 3. 4. 5.
The Worship Tesseract Communal Bathroom Breakout Square Cells Lecture Hall
6. 7. 8. 9. 10.
Refractory Kitchen Toilets Storage Room Office / Consultation Rooms
11. 12. 13. 14. 15.
Discipleship Classrooms Baptism Chapel Changing Rooms Toilets Plant Room + Storage
3
2
1
4
FIRST FLOOR PLAN
The Disciples
N Scale 1:250 0
5
20 M
D 5
10
12 6
9
7
8 11
13
14
D 1. 2. 3. 4. 5.
The Worship Tesseract Study Room Library / Lounge Toilets Lecture Hall
6. 7. 8. 9. 10.
Reception Office Rehearsal Room Visiting Area Interval Courtyard Cafe
11. 12. 13. 14.
Main Church Toilets Breakout Space Prayer Room
1
2 3
SECOND FLOOR PLAN The Public Realm
N Scale 1:250 0
5
20 M
D 6 5
4
7
8
9
D 1. 2. 3. 4. 5.
Bike Stands Outdoor Seatings Roof Garden Public Courtyard Music School / Practice Rooms
6. 7. 8. 9.
Toilets Main Storage Room Breakout Space Outdoor Seatings
Section A-A Scale 1:250 0
5
94
20 M
The translation of the dynamic of the modern worship form is apparent in the section of the complex, where the worship tesseracts generate spontaneous spaces throughout the complex and where the courtyard acts as the interval space that prepares the public to enter the church as the final chorus.
95
PUBLIC PRIVATE
Semester Two - Refinement
Section B-B Scale 1:250
WORSHIPPING The Church and the Baptistery On the right side of the courtyard, the church opens up for the public, allowing public penetration throughout the building. The main worship tesseract sits at the centre, defining movements and spatial dynamic. The irregular space of the tesseract allows flexibility of service, and the seats are removable. Movement up to the music school and down to the baptism is wrapped around this timber form, encouraging public to touch and experience the tangible form of worship.
97
Semester One - Primer
98
Semester One - Primer
HEARING
TOUCH
TASTE
SIGHT
SMELL
The dynamic of the corridors are formed when the insertion of the worship tesseracts into the parallel grid happens. The contrast of materiality trigger the tactile sense toHEARING experience the contrasting spatial quality of movement and worship. The lower ceiling of the corridor also causes the condensing of TOUCH sound, creating ‘interval space’ before entering theSIGHT tesseract. TASTE
SMELL
99
Semester Two - Refinement
The contrast of the tesseract with the grid is further explained through its materiality and construction. Being set apart from the floor of the parallel space, the tesseract appears ‘floating’, further emphasizing the idea of insertion. The gap also allows light to wraps around it, creating a warm atmosphere that enclose the tesseract.
100
Semester Two - Refinement
20mm Triple Glazed Safety Glass on Aluminium Window Frame
Glue-Laminated Timber Frame 150mm Mineral Wool Insulation Waterproof Membrane 25mm Timber Battens 20mm Timber Cladding 50mm Acoustic Insulation 20mm Timber Cladding
Thermal Break 20mm Screed Waterproof Membrane 75mm Mineral Wool Insulation 300mm Hollow Concrete Slab
Steel Plate Gutter 20mm Triple Glazed Safety Glass on Ventilated Aluminium Window Frame wiwith Lighting Channel 150x280mm Reinforced Concrete Beam
Triple Glazed Window on Aluminium Window Frame 20mm Screed with Under Floor Heating Waterproof Membrane 75mm Mineral Wool Insulation 300mm Hollow Concrete Slab
Glue-Laminated Timber Frame 25mm Timber Battens 20mm Timber Cladding
Scale 1:40
HEARING
TOUCH
TASTE
SIGHT
SMELL
HEARING TOUCH
TASTE
SIGHT
SMELL
The main worship space immediately creates a dramatic contrast with the rest of the building upon entering. The skylight produces warmth, the timber produces the acoustical experience, and the scale and the height relieve the sense of touch from being condensed by the parallel walls. The stage sits at the centre, avoiding a one directional view in service and supports the feeling of inclusion for the congregation.
Semester Two - Refinement
Section D-D Scale 1:250
LEARNING The Communal Quarter The movement of the public from the courtyard continues to penetrate inside the communal quarter through the reception areas and the lecture hall. In this quarter, most of the communal activity of the blind worshippers and the disciples is contained. The quarter also acts as the gate to enter the gospel communities when the public registers to be a disciple.
104
PUBLIC PRIVATE
Semester One - Primer
106
Semester One - Primer
HEARING
TOUCH
SIGHT
TASTE
SMELL
Eating at the Refractory stimulates the sense of taste and smell. The grid adjusts to this programme and opens up HEARING to allow the smell of the food to travel accross the space. Floating above the refractory is the rehearsal space, which, when used during lunch or dinner time, projects the music TOUCH sound to the Refractory space below. SIGHT TASTE
SMELL
107
Semester One - Primer PUBLIC PRIVATE
108
Semester Two - Refinement
Section C-C Scale 1:250
LIVING The Gospel Community The accommodation of the blind worshippers and the disciples are designed to focus on different senses. The level for the blind worshippers emphasizes more on tactility that helps with their navigation, while the level for the disciples allows more light penetration. However, the two levels are stitched through the insertion of the tesseract, which joins the two groups in living and worship.
109
Semester One - Primer
HEARING
TOUCH
SIGHT
TASTE
SMELL
HEARING
TOUCH
TASTE
SIGHT
SMELL
The corridor of the blind worshipper cells utilizes the parallel walls as a method of navigation. Through touching the protruding section of the walls, and the slopes on the floor the blind worshippers are guided to and from the church. The skylight that allows indirect light is placed in front of the entrance to the tesseract, allowing the blind worshippers to acknowledge the space upon approaching it.
110
Semester One - Primer
111
Through the details, design intentions of the Gospel Community that interplay with the senses are further explained and explored with the expression of materiality. The details are adapted to the programmatic requirement of both groups, and define the atmosphere of the space. Ventilation allows for deliberate temperature contrast, while acoustic insulation and choice of materiality differentiates the sound experience.
Scale 1:50 0
1
5M
Safety Glass Railing 50mm Screed Waterproof Membrane Water Spout 2mm Steel Gutter 75mm Mineral Wool Insulation Thermal Break 300mm Hollow Concrete Slab Plasterboard False Ceiling Pivot Door 25mm Acoustic Insulation 25mm Timber Battens 20mm Timber Cladding
2mm Steel Plate 80mm CLT Panel Under Floor Heating 20mm Timber Flooring 150mm Hollow Concrete Floor Slab 75mm Screed with Under Floor Heating Cantilevered 100mm Concrete Floor Waterproof Membrane 20mm Timber Flooring
20mm Timber Cladding 25mm Timber Battens Waterproof Membrane Glue-Laminated Timber Frame 75mm Mineral Wool Insulation 25mm Acoustic Insulation
150mm Hollow Concrete Floor Slab Waterproof Membrane 75mm Mineral Wool Insulation 75mm Concrete Screed with Under Floor Heating
Glue-Laminated Timber Joist
500mm Pool with Concrete Structure
Scale 1:20
150mm Reinforced Concrete between 40mm Concrete render with Polished Finish
Thermal Break Double Glazed Window on Aluminium Window Frame 100mm Reinforced Concrete between 2x75mm Mineral Wool Insulation 25mm Acoustic Insulation 20mm Timber Cladding
40mm Concrete Render
Pivot Door
50mm Perforated Metal Plate
150x280mm Reinforced Concrete Beam
500mm Reinforced Concrete Retaining Wall
Double Glazed Window on Aluminium Window Frame
Roller Blind
Plasterboard False Ceiling
40mm Solid Timber Plate 40mm Timber Pantry Countertop
Scale 1:20
20mm Triple Glazed Safety Glass on Aluminium Window Frame
Glue-Laminated Timber Frame 75mm Mineral Wool Insulation Waterproof Membrane 25mm Timber Battens 20mm Timber Cladding 25mm Acoustic Insulation 20mm Timber Cladding
20mm Triple Glazed Safety Glass on Aluminium Window Frame with Lighting Channel Steel Plate Gutter 20mm Triple Glazed Safety Glass on Ventilated Aluminium Window Frame Lighting Channel
150x280mm Reinforced Concrete Beam 1mm ETFE Light Diffuser Sheet
HEARING
TOUCH
SIGHT
TASTE
SMELL
The library, located on the discples level, inhabits the corridor space sculpted by the tesseracts. The light penetrates generously through the openings on the roof and the gap with the retaining wall, enabling the disciples to move easily. The seatings and the shelves are integrated to wrap the tesseracts, further engaging the disciples with the sense of touch.
Semester Two - Refinement
REPRESENTING
MATERIALITY The expression of the tactile experience and atmospheric quality of the concrete walls is further explored through making the physical model. The model is split into sections which cut through the tesseracts to try to depict the spatial quality formed by the insertion.
120
Semester Two - Refinement
121
122
123
Semester Two - Refinement
THE REVIEW The Tactile Representation On the final review, the plans of the complex are represented with protrusions of the section lines. This tactile plan allows the visitor to experience a glimpse of the tactility experience of the parallel walls and the tesseracts inside the complex. The plan also explores the intertwining of space and the dynamics of the walls through the sense of touch.
124
125
Appendix E
Barrie, Thomas, The Sacred In-Between: The Mediating Roles of Architecture (London: Routledge, 2010) Ellingson, Stephen, The Megachurch and the Mainline: Remaking Religious Tradition in the Twenty-first Century (London: The University of Chicago Press, 2007) Herssens, Jasmien, ‘Haptic Design Research: A Blind Sense of Space’, (doctoral Thesis, University College Hasselt, 2012) Holl, Steven, ‘The Architectonics of Music’, PAJ, 116(2017) 50-64 Holl, Steven, Anchoring (New York: Princeton Architectural Press, 1991) Holl, Steven, Intertwining (New York: Princeton Architectural Press, 1996) Holl, Steven, Juhani Pallasmaa, Alberto Perez-Gomez, Questions of Perception: Phenomenology of Architecture (San Fransisco: William Stout Publishers, 2006) Holl, Steven, Parallax (New York: Princeton Architectural Press, 2000) Holl, Steven, Stone & Feather (Kansas City: The Nelson-Atkins Museum of Art, 2007) Pallasmaa, Juhani, The Eyes of the Skin: Architecture and the Senses (West Sussex: Wiley, 2012) Roome, Jason, ‘Back to Basics: Rethinking the Motives behind Charismatic Church Architecture’, (Masters Thesis, Unitec Institute of Technology, 2012) Testa, Peter, Alvaro Siza (Basel: Birkhauser, 1996) Yates, Nigel, Liturgical Space: Christian Worship and Church Buildings in Western Europe 1500-2000 (Hampshire: Ashgate, 2008) Zumthor, Peter, Atmospheres: Architectural Environments, Surrounding Objects (Basell: Birkhauser, 2006) Bible References: Acts 2:38 Mark 16:15 Matthew 9:37-38 Galatians 6:1
142
Appendix E
PAGE 66: Holl, Steven, Parallax (New York: Princeton Architectural Press, 2000) PAGE 67: Alberto Campo Baeza, â&#x20AC;&#x2DC;2001 Caja Granada Headquarters, Alberto Campo Baeza (revised 2019) <https://www. campobaeza.com/caja-granada/> PAGE 100: Reillustrated from ARC3013 Technology Report PAGE 114-117: Reillustrated from ARC3013 Technology Report PAGE 135: Holl, Steven, Parallax (New York: Princeton Architectural Press, 2000) PAGE 136: from ARC3013 Technology Report
143
Tobias Evan Himawan 160012875 t.e.himawan2@newcastle.ac.uk https://issuu.com/tobiasevanh
To God be the Glory