Darwin Yellowhair's Final Chapel Project

I had a few major themes and ideas starting this project: the ocean, the sky, symmetry, triangular forms and hierarchy through height. I wanted the architecture and major forms of the building to bring a sense of sacredness to create a sanctuary. I felt that triangular forms were exotic, but if used correctly could be simple and astounding. This combination could create a wonderful experience, which I strived for in my design. I felt that the irregularity of the forms could be controlled if symmetry was incorporated.

The main structure of the chapel is where my design started with other spaces branching off. I chose the make the chapel not face the ocean, but face north to avoid since the wall between the pews and ocean is glass. So if they turn they can see the ocean, which adds to the experience. My zen view uses this same pane to view the ocean. It is seen in transition in the lobby where a slit, much like those outside, is cut through the thickened wall between the ocean and lobby.

I wanted a hierarchy of height to symbolize the journey to the "heavens" or "god" from Earth. The ground floor of the building is at 10' which surrounds most of the building. A 20' scoop can be seen in the lobby as the person journeys to the chapel. Then I used the 30' vertical limit in the chapel to give the feeling of ascending to "god's hands" or "heaven". The vertical beams at the highest point symbolize this as well as add expressive light for the chapel.

Interior:

The spaces within the chapel determined much of how the building was shaped. They all revolved around the pre-determined chapel structure. The side chapel is directly of the chapel proper on the south wing of the building. The classroom is on the east side of the building opposite of the chapel, which was intentional for optimum noise control. The play area is accessed directly from the classroom through a sliding door. In the center of the building are the restrooms and storage room. A thickened wall will separate these from chapel. The offices are on the north side of the building at the end of the hallway/lobby. The administrator's office is directly tied to the hall. The minister's office is past the admin. office and also directly ties to a private restroom and, more importantly, the alter. This is one of my strong points in my plan.

I tried to follow a clear and logical circulation with the chapel being the center of the building while maintaining the symmetry. It was difficult since the walls of the main chapel structure are angeled. So this naturally carried on to some of the interior walls, which I feel adds to the wonder of the building. In the chapel I wanted to maintain the concave shape of the greater chapel structure for the alter. This goal along with the angeled walls made the corridor from the office to chapel hardest to resolve. However, in the end it all worked out making the minister appear from the alter.

Expressive Lighting:

Each of the rooms excluding storage and restrooms have some form of expressive lighting. The chapel has a scoop formed by vertical pillars and translucent material. The outside rooms have slits that bring in various forms of light. The lobby has two translucent windows and two transparent windows that let in interesting light since they are in irregular triangle shapes.

Half-inch section model:

My section is cut through the center of the chapel and bounded at on the front pain to act as a henge so the chapel can open for viewing the inside.

Eighth-inch Site Model:

Inspirations:

Here's the link for the PDF of images that inspired my final design in one way or another:

http://docs.google.com/fileview?id=0B2IxVOaCmBSSYjBkYTM5ZTUtNDBmZS00OWE0LWJiZWMtZmM5ZDBhMGE3ZmEw&hl=en

Thanks to all for an awesome quarter!

Darwin's Wall Assignment

For my design I wanted to stay practical and realistically feasible. I modeled in SketchUp and had an an intention of using "interlocking spaces" as my primary theme in the sense that two walls could be pushed together to form a cube. However, I found a greater appeal in basically interlocking and protruding shapes (rectilinear shapes) and additive vs. subrative. I also wanted to incorporate "skeletal vs. mass" in my design. I divided the facade into a 8x5 grid, which conveniently made 4x4 squares. The protrusions are by one foot, which is the smallest increment used.

I wanted the wall to be very interactive, which accounts the many habitable spaces. There are two upstairs and two downstairs. The one downstairs closest to the park has benches while the other is a standing, both with views of the courtyard. Upstairs, the balcony gives a great view of the park and courtyard. On the right is a more isolated room which can be separated by a screen to give a private zen view of the courtyard. The room can be reached by the exterior and interior balcony. I envisioned the stairway to be on the outdoor balcony side to further isolate the zen room.

The inside trees can be touched by those on the inside balcony, which could create a corridor effect to the zen room, for a more private feel. The last habitable space is the benches attached to the outside of the wall. One wraps around the park-side corner and the other is an extension on the opposite side of the wall. As for material, concrete for the structure would be most suitable, since I picture huge rectilinear shapes jutting out to form a wall.

Corners of the shapes are exposed to solidify the motif. Also, I placed a large vertical monolith to offset the number of vertical elements on the wall. I kept the entrance more symmetrical for an orderly feel. The glass surrounding the entrance makes it more visible from both courtyard entrances. Overall I was pleased with the final product.