Paul's Final Project

Design Process

My design thinking was really influenced by the book, Third Millenium Churches, which advocated simplicity of forms and effects, contrasted to the classical churches. Whereas last project I used a complicated system, this time It was more simplistic and probably more ideal to the author of the book I read. I avoided extreme, complicated systems to avoid an impressive architecture, because I want to have a design where at first it wouldn't really say much, but the beauty is expressed through the experience of chapel. Rather, as the author suggested, I use the experience to display the sacredness of the buildings. (See first process post to see more of how my design concept came about, and quotes). Treated them as secular/multipurpose buildings, displaying no overt Christian symbols or group-exclusive insignias.

First I started with the circulation. To start off an inviting entry, with the focus on the pool/fountain , using a framing view as inspired by Scarpa (a framed view at an entrance in Brion) but using rectangular geometries instead for the openings. This beloved detail of mine preparies them for a dark corridor, guided by soft natural light, with the intent of going towards the ocean (with another framed zen vista view), which at the end will give an enlightened peaceful de-stressing feeling.

Inspiration

My inspirations from Scarpa and Holl can be seen as an integration of Scarpa’s framing views (i.e Brion monument complex) and Holl’s rectangular affinity, and his beautiful ways of letting light in indirectly (i.e in St Ignatius church) as seen in my lightwells. I also used the site slope to carve out pathways which stairs down to the flat area of the site (about 1.5-2.5 feet down) and make a small side-circulation path which leads to (first) the class room’s side door) then to the main corridor (which is a smooth sloped ramp for disabled and for most people).

Scarpa- Brion monumental complex




Holl- St Ignatius Church

Theme

The landscaping pretty much evolved into a theme of a light tower by the ocean, which helps sailors to find their way, symbolizing a guiding light to safety and tranquility. Thus, the tower (also a lightwell that pipes light through the chapel, and office, and the side chapel, where it is used for meditation when lookin up to the blue sky), would be the end of continuous circulation, or rather the place to find.The roofs are also slightly sloped (5 degrees) to display a peaceful portrayal of the ocean waves.

Geometry

As can be seen in the plans, I used the square/rectangular geometry with my motif of intersecting diamonds (also can be seen in my view framing system). This also was an idea in one of our tool kits, of intersecting spaces, shared spaces (my zen vista space where people could gather between the chapel and classroom and enjoy the ocean view.

The intersecting diamond and squares cant be found in the chapel section because I was afraid that the symbol is read as an insignia or that it reveals a certain religious symbol.

Expressive lights

My expressive light’s objective was to guide the people, its soft simple light expresses comfort and aids for de-stressing. The light wells pipe soft lights in, with intent to have light all the way to the ground floor. The side light wells of the chapel also become seats.

Conclusion

I really enjoyed the project, almost has grown to love it too much that I wanted to keep working on it until I see every problem. My process in constructing the ¼ model (see other process post) was really helpful in that it allowed me to see and change really fast without gluing or taping the walls down, the down side only is that I over used this advantage and thus took a long time to satisfy myself. I would definitely use this technique to put pieces in place without permanently gluing them together. One big challenge was constructing the site on a sloped topography, (especially since my buildings aren't all sitting on one plane).

Final Note:

All the roofs and some walls are removable so you can see inside, almost all of each spaces. Feel free to remove what is removable to explore the design and effects.

Process

Here are some process pictures of my beloved detail

and below is my construction process, where I basically cut out the plan so I can insert and remove easily the walls. It turned out a really good idea for me because it made things easier, and staying true to the scale.

Few light studies

I really like the lighting effect of the sun, here. This one shows how far down the sunlight can go (all the way down to the ground, and about halfway on the wall is when it started to be less shiny. On the right side of the picture where the altar space is, the light is very bright (i will be fixing this to decrease the intensity/disperse the light more), but i like how the roof has a reflection of the light from the bright wall (which does not touch the roof system), making it seem continuous/contingent with one another. This adds to the effect of a light roof/space. This seems to dissolve boundaries and planes, that though the space is physically enclosed, the mind/spirit is not bounded like the line that visually continues up despite another plane.
I hope to keep this effect when choosing actual materials, since foam core board has reflective qualities.

From the sides of the chapel (mostly the west where the sun sets), the light effect would be more like this (left).
The soft orange light adds a peaceful ambiance to the chapel. There is a nice reflection here also, that is very tranquil. I am going to play more with meaningful light/reflection effects.

process

For this project, I chose to have a simpler design (in contrast to my wall project) that corresponds with my last post. Therefore, my chapel's design intentions are not to impress (Forms will be mostly functional, and minimum intricate designs) but to through experiencing the inside/circulation paths

My 1st study mass model showing the box forms, so that I start out very simple, easy to fix later.



I then received advise to make the corridor (a quiet darker pathway guided by soft light between the roof and the other wall, leading to a framed ocean view) very interesting/welcoming for people, because here is where the enlightening moment is experienced. A peaceful walk, ending in a very bright zen room/entrance to the chapel, with the ocean view to uplift the person, after a semi-gloomy walk, guided by soft light and the view of the ocean. This version also gave me challenges, for example I cannot seem to know where to place the lobby, without it being (1) hidden, (2) blocking circulation, (3) not enough space for a small gathering. For now I left it as an optional lobby, where you can enter to wait for people, and also a glance to the ocean view. Also, I am worried about the roof system for that small pathway created.

I am currently working on resolving these problems.

some of my design considerations...

I am quite worried what makes (not so traditional Christian) sacred architecture sacred, so I did a couple of research and here's some ideas to consider (one way to look at it):

"the more positive and impressive the architecture, the more it is culturally impregnated, the more it inhibits new thinking"
"liturgy becomes pure theatre and magic when it is enacted upon such a fantastic and dreamlike stage set"
"the most eloquent worship space may, in the long run, be that which at first appears to say very little." the "system of forces," expressed with subtlety and understatement, should be recognized or become obvious after habituation, revealing assets slowly, and the mind being drawn to its form and beauty.

-basically, simplicity is the safest way to go, in order to avoid digression from the message/focus. this also avoids setting messages or preaching "sermons in stone." The circulation paths should reveal slowly the beauty and assets of the building/chapel and its message or mood.
Bearing that this is a non-denominational church, it warns that the complexities would confuse and complicated symbol-systems (like the stations of the cross) would speak loud, gearing towards a narrower thinking. But of course, there are ways to avoid these without being too simple or cliche of sacred architecture (the author also mentions how very efficient a box form is - and I actually notice this in most of the modern church plans I've looked at).
At least this is my short interpretation of a couple of chapters (Third Millennium Churches by Peter Smith), some of which are difficult to summarize.

This research (still going) impacts my design thinking, which is why i initially started using box forms to keep at simplest and manipulate from there, to see how much i am becoming too complex. My design goal is ultimately to keep the forms simple, at the same time adding minimal manipulations, accommodating secular and religious activities, zen views, utilizing the ocean view but not making it too important,, and keeping an enlightening/de-stressing mood.

Some of the author's good points or additional considerations
for the chapel area:

-the chair arrangement (people) should be in close vicinity of the speaker (for visual and auditory contact). An arc around the speaker is a good area, rather than longitudinal, because its shape produces a more coherent idea of a congregation/group, the symbolic system becomes more about fellowship/family.
-a focal point would give coherence to the whole space, it being the pivot.
-corners enable the mind to locate position and dimensions
- a single space should be maintained
-light should not be in high proportion to avoid glare eye strains. Definitely, do not place the minister behind a large window/curtain wall as the sharp contrast would darken him.
-"simplicity and uniformity in wall finish" is desirable

Paul's Sculpture Wall

I started the project with the concept/theme of a sculpture functioning as a wall. The idea is that public sculptures link the older population with the younger (children) population in that they give interests to mature audiences with their artistic appeal, and to the kids with their noticeable design that kids find a way to play around with. This idea fits with the community area, especially since it can be seen from the outside, while it functions as a wall (providing shade, breakinp up spaces, and blocking/restricting the views). The sculpture is not part of a wall, but rather it is a wall functioning as a wall, and as a sculpture. This theme, I thought, also shows a further breeding/merging with the arts and architecture, and merging with playful and more serious design/mood.

First, I created a model with hard paper (easy to cut and fold and move around).







Then, on creating the main "sculpture" I decided to use the fins to create a familiar symbolic image, or rather sculpture. I abstracted the form of a child and the parent to fit into squares (one small one, and another twice the size). I ended up with this design, the sky blue squares represent translucent panels to conceal most of what's behind the wall, while the dark blue represent voided squares which would allow for spaces to inhabit and look out/in to.

Then, I modeled the design in Revit (which helped me produce precise measurements from drawing to model). Here it shows the grid system I used. You can also see how I begin to merge the sculpture system on the left with the more skeletal vertical (rotated) walls, which also have their own fins for the play of light, and solar heating. The orientation of the rotated walls at the right side also limits the view form inside to outside to the trees, (both of my walls are oriented to view the trees (rather than out to the streets) to frame different zen views.



On the right, is a process photo of the opaque materials. You can also see how I put them together, using templates with little cuts that allow the pieces to fit together tightly. Drawing this on Adobe Illustrator for the laser printer to cut, and getting the right precise measurement so that each piece would fit is a real challenge! I ended up having to print multiple times to find out they do not fit, right. You can also see how the sculpture part begins to have lots of different sizes (three verticals are wider, and they go deeper form left to right). Also, the depth varies in location, many go out to make a seating wall, and the higher ones for as small sun shade. This also goes in for a seating wall from the inside, which makes the sculpture inhabitable, and more accessible to play around with, sit on (theres one part where it is 3 feet high seat one could climb on).
The translucent panels are also placed in different places to vary the light effects and to show the skeleton/insides of the sculpture. The panels create a perfect chance to show off the abstracted image, when artificial light is turned on at night.


Here is a view from the inside, showing the details on the stairs and the railings (both of which resemble the template I used for the fins on the non-sculpture side. I thought it creates movement and playfulness that I experimented and went ahead on using them.









The Complete Product:


I really enjoyed this project, and learned a lot with playing additive/subtractive and skeletal vs. mass. I also learned how to use a laser cutter, Adobe Illustrator, and better ways to conserve time. I have relied mostly in the laser cutter to provide a very precise cut. It also made possible for the cutting of intricate designs (like the rails), and other materials, without the wood breaking or chipping (which usually happens when I use a knife). Another thing I wish I handled more carefully, if I had more time, is my craftsmanship (the cutting, and gluing, and handling of the materials).