Imprint: In search of sacred space

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Christian Menna Undergraduate Architectural Thesis NSAD 2015

In Search of Sacred Space 1

cover image 0.1

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image 1.1

Imprint In Search of Sacred Space A Thesis Presented to the Undergraduate Faculty of NewSchool of Architecture & Design By Christian Menna June 2015 San Diego, California U.S. In Partial Fullfillment of the Requiremens for the Degree of Bachelor of Architecture

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2015 Š Christian Menna All Rights Reserved

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Imprint A Thesis Presented to the Undergraduate Faculty of NewSchool of Architecture & Design

By:

Christian Menna

Approved by:

______________________________________________________________________________________ Undergraduate Chair

Len Zegarski

Date

______________________________________________________________________________________ Studio Instructor

James Enos

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Date

Thesis Abstract

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Thesis Abstract

Thesis Abstract

Imprint: In search of sacred space began exploring the role of sacred

space as a retreat from the everyday life, in which the program began as a cemetery. However it shifted when the research began to reflect an alteration occurring in a generation spending so much of their lives on the internet. A cemetery without bodies is interpreted as a memorial for the remainder of the thesis. Although cemeteries and memorials are still being used, the current architecture is not addressing contemporary methods of dying or mourning for today’s society, where technology is sacred. This cemetery will require the body to make a journey and would no longer house bodies but memories.

Therefore if this ‘cemetery’ stores no corpses it is simply a memorial, something designed to preserve the memory, the imprints of lives. The site needed to find an architectural relic without any ties to “sacred space” to hold on to the balance between life and death. A decommissioned set of train tracks in Anza Borrego State Park, California became the site introducing a journey, and the life and decay of a structure. With the proposed site of the Goat Canyon Trestle for this project, the thesis had a unique opportunity to embrace the journey. This journey consists of three architectural narratives inspired by 3 different stages in life.

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Dedications

When I come to the end of my journey And I travel my last weary mile Just forget if you can, that I ever frowned And remember only the smile Forget unkind words I have spoken Remember some good I have done Forget that I ever had heartache And remember I’ve had loads of fun Forget that I’ve stumbled and blundered And sometimes fell by the way Remember I have fought some hard battles And won, ere the close of the day Then forget to grieve for my going I would not have you sad for a day But in summer just gather some flowers And remember the place where I lay And come in the shade of evening When the sun paints the sky in the west Stand for a few moments beside me And remember only my best When I’m Gone

by Mrs. Lyman Hancock

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Dedications

To Boris Ivshn, The inspiration for this thesis topic, I’ll meet you at the end, Save me a seat buddy.

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Acknowledgements

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Acknowledgements

This book could not have been prepared or published without the assistance of James Enos, Thesis Advisor, & A great deal of gratitude and appreciation goes to:

Rosa Garcia Ana Menna Raul Menna Crystal Wilson Peers from NewSchool of Architecture & Design Erik T. Robin B. Jeremy H. Bill W. Roy K. All for being present at the time of this book’s progression.

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Contents

Contents 17 Title Page

Introduction to Essay

Copyright Signature Page Thesis Abstract

19

Introduction & Intent

Dedications & Acknowledgements

21

Development & Approach

Table of Conents

23

Background

25

Problem Statement

27

Critical Position

29

Thesis Statement

105

185

Results/ Design Prototype

Conclusion

107

Master Planning

190

Wall Detail

120

Architectural Program

197

Renderings

123

Site Development

208

Presentation

129

Building Development

209

Feedback/ Evalutions

174

Green Technology

211

Statement of Learning

178

Process Work

212

Model

14

Contents

31

49

Thesis Essay

Reseach Methods

35

Rational of Study

51

Case Studies

37

Scope of the Study

77

Programming

43

Summary of Study

91

Contextual Analysis

213 Appendices 214

References

219

Figures

223

Images

15

Chapter 1

16

Chapter 1

Introduction to Essay 19

Introduction & Intent

21

Development & Approach

23

Background

25

Problem Statement

27

Critical Position

29

Thesis Statement

17

Chapter 1

18

image 1.2

Introduction & Intent

Introduction & Intent

When the identity of an individual

from being present and leveled in

extends from physical into digital

reality. This thesis explores the role

space, the line separating death

of sacred space as a retreat from

and life blurs when they pass away.

the everyday life. Sacred space is

Dr.

research

defined as somewhere with ties to

fellow in science and technology

a spiritual realm, therefore, through

argues that the body is becoming

research

hybridized with the internet, and as

design for death was introduced.

such a progression continues, no

This thesis makes use of a universal

form of de-escalation is in sight.

program,

An over indulgence in technology

original sacred spaces were used

and digital media causes difficulty

for

for individuals to be present and

and self-reflection. This project’s

grounded in reality. Therefore the

intent was to promote this same

intention is for the body to not lose its

opportunity for self-reflection and

importance by way of the individual

meditation in a location remote for

not losing sight of the body’s

one to possibly retreat to or journey

significance. A recent study showed

to. The intent of this thesis project

the impairment that taking photos

is to generate spiritual contact

can have on an individual’s memory.

with its users, in regards to space

The study concluded that taking so

through the use of materials, light

many photos can prevent moments

and sensory deprivation (i.e. the

from fully sinking”( Grossman, 2013).

restricted use of technology in the

This study is an example of how

project).

Conor

Graham,

a

technology distracts an individual 19

and

the

investigations

cemetery.

meditation,

a

These

contemplation

Chapter 1

20

image 1.3

Development & Approach

Development & Approach

In approaching an architecture that has ties to a spiritual realm, through the design, man is encouraged to grow weak in the body as to grow stronger in mind and in spirit. Phones and cameras are required to be left at the beginning of this journey and if not cell phone jammers are implemented into the design of the structures. Through this approach, users are invited to journey on a three mile hike to reach several moments and opportunities of solitude and

for meditation. The

design is an architectural narrative representative life

stages

of along

three

different

three

different

landscapes. The concept of life is implemented in the design process because of it’s relationship with death.

Throughout the development of the project light progressively diminishes with in the spaces and is shown diagrammatically and brought up in chapters to come.

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1900

1870

1850

1831

1700

1600

Chapter 1

BURIAL MOUNDS. 400BCE - 1800 TYPEWRITER EARLY 1800s CONVENTIONAL AMERICAN CEMETERY. 1831 TELEGRAPH 1838 TELEPHONE 1848 MAUSOLEUM. 1876 CREMATORY. 1876 -

RADIO 1896

TIMELINE COMMUNICATION DATA CENTER CEMETERY SIGNIFICANT MOMENT This image was designed to express the background of some of the developing issues brought up. The diagram shows the history of the data center, American cemeteries, and the distancing between the people’s face to face interactions through the evolution of communication via media.

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figure 1.1

2014

1995

1980

1970

1930

1900

Background

1876 -

RADIO 1896 TELEVISION 1927 ELECTRONIC NUMERICAL INTEGRATOR AND COMPUTER (ENIAC) 1946 TRANSISTORIZED COMPUTER (TRADIC) 1960s COMPUTER NETWORKING 1969 XEROX ALTO BECOMES THE 1st DESKTOP COMPUTER 1973 FIRST PC 1981 FIRST COMMERCIALLY SOLD MOBILE PHONE 1983 INTERNET 1983 COMPUTER CREATING SERVER ROOMS LATE 1980s “.COM” - DESIRE FOR MORE INTERNET 1994 BLOGGING 1994 GOOGLE 1998 FACEBOOK 2004 CLOUD COMPUTING 2006 MODULAR DATA CENTER 2007

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Chapter 1

CEMETERY

DATA CENTER

CLOUD

USB

MILLENNIALS

USB

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image 1.2

Problem Statement

Problem Statement

“Technology ruins death”

The type writer was developed in

the early ninteenth century, and

- Alberto Pérez-Gómez Built Upon Love

has

impacted

communicate

the with

way one

people another

since. This form of communication evolved from telephone to television, computer blogging to now social media. Generation Y has grown up in an environment immersed in technology and “while Generation Y grew up with computers, Generation Z is growing up with touch-screens” (Elmore, 2014).

The immersion in

technology has had a steady growth and there aren’t any descalating signs of this obsession.

Although

millenials still use their mind and body to function in their everyday lives, digital media blurs this line when someone passes away because of a person’s digital trail, consequently the process of mourning and grieving is changing and the developing digital culture has led society to address death in different ways than previous generations. “Today man [sic] has no physical body, he [sic] is translated into information, on an image,” (McLuhan, 2003).

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Chapter 1

Cemetery CEMETERY

DATA CENTER

Memorial

Cloud CLOUD USB

MILLENNIALS Millenials

USB

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figure 1.3

Critical Position

Critical Position

According

to

the

a

philosopher,

Memorial

Jacques Ellul, for the contemporary man, technology is sacred, therefore

something designed to preserve

sacred space [the cemetery] needs

the memory of a person, event,

to adapt to this form of sacred

etc., as a monument or a holiday

technology

and

if

architecture b

were to address this new type of

Memory

cemetery the result would not need to be a cemetery at all, but rather a

the mental capacity or faculty

memorial. The cemetery wouldn’t

of retaining and facts events,

include dead bodies therefore can

imprints etc., or of recalling or

be defined as a memorial, that being

recognizing previous experiences

something designed to preserve c

memories. As generations continue

Imprint

to immerse themselves into digital worlds, it would seem as if the body

a mark made by pressure; a mark

is losing significance and therefore

or figure impressed or printed on

this thesis project encouraged the

something

heightened awareness of the body through a procession and journey to site and structure, as well as the use of materials and light throughout the project.

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Chapter 1

Memorial

Memories

Imprint

A memorial is defined as something designed to preserve the memory of a person, event, etc., as a monument or a holiday.

This diagram is an example of a memorial, it was inspired by the Arlington Memorial Cemetery in Washington D.C.

Memory is defined as the mental capacity or faculty of retaining and facts events, imprints etc., or of recalling or recognizing previous experiences.

Memories in this diagram are depicted as photos.

A mark made by pressure; a mark or figure impressed or printed on something.

This term is applied in terms of personal relationships where an individual is impacted, imprinted by another one’s life.

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figure 1.4

Thesis Statement

Thesis Statement

Although cemeteries and memorials are still being used, the

current architecture is not addressing contemporary methods of dying or mourning for today’s society, where technology is sacred. This cemetery will require the body to make a journey and would no longer house bodies but information. Therefore if this ‘cemetery’ stores no corpses it is simply a memorial, something designed to preserve the memory, the imprints of lives.

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Chapter 2

The celebration of life, shared in the beginning, and again, in the end.

Yet we forget to celebrate it, in every moment we live.

Time, days, years, go on, but are we alive?

Alive and do not know it, sleeping in the world and dead to the life we are to live.

To celebrate all life, the sparrow who sang in the morning, and died in the night, why do we not celebrate its life?

To know thyself is to know you are alive to give, to love, to seek truth, beauty, and suffer pain.

In life as it is meant to be, pain is forgotten, and strength is all that’s left to be gained in the moment by moment celebration of life.

The celebration of life

by Deborah Peabody

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Chapter 2

Thesis Essay 35

Rational for Study

37

Scope of Study

43

Summary of Study

31

Chapter 2

32

Chapter 2

“Sacred architecture is a built myth...”

- Thomas Barrie,

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Spiritual Path - Sacred Place

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Chapter 2

Rational For Study

This thesis began by exploring the role of sacred space as a retreat

from everyday life. Through out the investigation it has become evident that the term sacred to today’s society is changing and technology can now be recognized as being sacred. Therefore this thesis has taken note of the current societies involvement in digital media and how it appears that the body is losing value. The body is losing it’s value in that the digital identity that is formed can carry a life of its own separate from the life that is lived outside of the digital world. When a person passes away, digital media blurs this line because of a person’s involvement on the internet. The way people are grieving is changing and there’s no form of Architecture addressing these phenomenons today.

If this line between life and death is to be blurred when or how can

one find peace after the loss of a loved one? It is an individual journey when in the process of grieving. The act of a pilgrimage is parallel to this process and has always centered on the individual. “It was and still is, both an outer and an inner journey to distant locations, that leads the ‘pilgrim’ to a deeper spiritual understanding (Barrie,1996).” This research pursues to generate a sacred space for people to come reach a deeper understanding.

image 2.1

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Chapter 2

Scope of Study

To design a sacred space, multiple case studies had to be researched

and the term sacred needed to be defined. The Latin root word for sacred is known as sacrare meaning ‘to consecrate; immortalize, to set apart and to make sacred’ (Merriam-Webster, 2014). In his book Sacred Architecture, A.T. Mann asserts that sacred space is a space with ties to a spiritual realm.

This spiritual realm is also encouraged by various other sources such as, architect, Thomas Barrie in his book Spiritual Path: Sacred Space, which specifies that a sacred space is a place known as axis mundi. Axis mundi is defined as “a place where three regions of the world - heaven, earth and the underworld - are joined” (Barrie 1996).

Upon further research, the study as previously mentioned, lead into

cemeteries and how they were America’s first public parks (Greenfield, 2011).

They were originally out of the urban environment and a journey to a retreat to self reflect and meditate. Historically, cemeteries have illustrated how a space to retreat to and civic places could become sacred. These spaces represent a terminal resting space with ties to the spiritual realm. Because cemeteries were looked into for the scope of study, the process and evolution of mourning/grieving and celebrating death were also researched.

Cemeteries offer a pilgrimage which separates a person from

their everyday surroundings. When a sacred space acts as a separation it “suggests physical as well as psychological distance” (Barrie, 1996). Most spiritual pilgrimages, are similar to Joseph Campbell’s myth The Hero’s Journey, in how they share similar characteristics. These being: “spiritual preparation for the journey; separating from one’s society and everyday life; trials and rituals along the way, arrival at the sacred place; and the return in a changed state” (Barrie, 1996).

image 2.2

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Chapter 2

Scope of Study

Universal chapels became of interest during the research of this

thesis as well because of it’s lack of domination and exclusion. Death is eminent, yet it is often feared and people fear what is unknown. Perhaps what has become most intriguing is the ability death has to ‘level’ an individual.

The leveling which becomes necessary in a society overstimulated in a hyper-realistic digital world. Dr. Connor Graham, a research fellow at the University of Singapore asserts people become leveled by death in so much that they are “reminded of their anonymity, fragility, and fleeting importance” which is clear “in an era of the ‘mediating frame’ of ubiquitous, momentary celebrity” (Graham et al., 2013).

A recent study from Pew Research conveyed today’s rising

generation, that generation being referred to as Generation Y, to be ‘digital natives’ and disassociating themselves with politics and religion, roughly three in 10 Millenials (29 percent) claim no religious affiliation (Pew Research 2014). Cemeteries originally said to be derived from religion now no longer need to be tied to religion but still lean into the possibility of a spiritual realm, Pew Research also observed in the same study that 86 percent still profess a belief in God.

Dr. Graham and philosopher Jacques Ellul among other researchers

have helped make it clear that in today’s society “technology is sacred”.

This sacred technology has manifested through the evolution of face to face interactions via media communication. Approaching these theories as a designer, artists and sculptors came to mind. This distortion that has been caused by digital media speaks to the artist Lee Bonticou’s work in how she eludes to technology of a damaged future and black holes among various other things which are looked into further in the following chapter of this book. When looking into today’s rising generation, Generation Y, studies show that over 90% of the generation is on social media (Hoffman, 2014).

The online presence of an individual is powerful and the location of this presence/ identity needed to be located, thus introducing the research into data centers.

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Chapter 2

Scope of Study

Data centers are modern monuments that require both security and

energy-efficiency. Monuments, in the way they take up massive amounts of space and in the level of security they require. Because of this, it “has led Cloud companies to place their centers far away from urban society...”

(Quirk, 2012). In a lecture at Princeton University entitled Data Drama it was said architecture is to be the expression of a society’s values and beliefs, people are so invested in technology and digital information, leading these data centers to be of high importance that house significant material. Data centers and cemeteries form parallel stories and relate in so much in how they are remote facilities of a type of storage.

These correlations continue to speak to a journey that the body

must accomplish to reach sacred space. Therefore a remote site is needed for further exploration and the design of this thesis. The idea of a journey to a remote site introduces the idea of a spiritual path. The spiritual path and place is a recurring theme in world religions, mythology and sacred architecture. For example, in mythology there are many renditions of heroic and spiritual journeys from Greek Mythology to Japanese folktales (Barrie, 1996). Barrie also writes that a few reasons for spiritual journeys can be limited to the following: for physical,emotional or spiritual healing, part of a seasonal festivity or as simply an escape from everyday life in spiritual setting. The project’s site is to stay consistent with the idea of memory, life, death and its imprint left on people and places. Therefore, the site has an opportunity to be an architectural relic without any ties to “sacred space”. In doing so the thesis has a unique opportunity to reactivate something which used to hold purpose and now has become abandoned. To design for sacred space the relationship between circle and square came up frequently as well as the term axis mundi, of which both are diagrammed and defined on the following page.

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Chapter 2

Scope of Study

Circle + Square There is a symbolic relationship between the circle and the square, it is that of human and divine, physical world and spiritual world, imperfect and perfect qualities� (Mann, 1993).

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figure 2.1

Chapter 2

Scope of Study

Level

Axis Mundi,

Elevated

“A place where three regions of the world - heaven, earth and the underworld - were joined� (Barrie 1996).

Buried

Half Buried

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figure 2.2

42

Chapter 2

Summary of Study

Summary of Study

Due to digital identity being created the design for a modern

cemetery doesn’t need to house corpses. This program is still for that of remembering, memorializing and self reflection, the program is a memorial.

The program almost speaks to that of a funeral home in a way but would not necessarily host any bodies. Therefore the program still eludes to a cemetery and still withholds all concepts of this sacred space.

This facility stores information and documentation like that of a

data center of sorts. When designing for the mourning of death the contrast of celebrating life was also researched. This research lead to the philosopher Michael Washburn and his theories on life. According to Washburn, there are three different stages of life, infancy, ego and transcendence (ref. figure 4.4). To narrate an architecture addressing death, the design of the memorial is to address the three different stages of life. These three stages are further defined on the following page. This program is planted along three different landscapes addressing these three different stages. “Sacred Architecture symbolizes a path, the spiritual path, the sacred journey” (Barrie, 1996).

Due to this hybridization occurring between the body and the digital,

the memorial would require the body to make a journey. The journey causes the site to be a significant distance away from any lively, heavily populated area. This journey emphasizes the importance of the body and because the body is important the mind is too. The mourning and grieving of one who has passed away brings peace of mind afterward and this memorial offers opportunities to appropriately grieve and mourn with other opportunities to relax/escape. “A journey is generally divided into four segments: the finding of the path, trials along the path, the attainment of the spiritual place, and the return” (Barrie, 1996).

image 2.3

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Chapter 2

Summary of Study

Three Stages of Life

a

Infancy childhood, birth, fragile, light, developmental, very early stage Ego

b knowledge of self, being aware of who one is and having/ finding identity - the part of the psychic apparatus that experiences and reacts to the outside world and mediates

between

the

primitive

drives of the id and the demands of the social and physical environment.

c

Transcendence departing, reaching beyond and ascending to further depths

As mentioned on the previous page this research lead to the philosopher Michael Washburn and his theories on life. According to Washburn, there are three different stages of life. These are the three stages of life broken down into definitions and descriptive words.

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Chapter 2

Summary of Study

Barrie suggests that sacred architecture is in many examples a ‘built

myth’. This comparison is due to the symbolism woven into narratives as a myth and sacred architecture’s narrative of symbolic images and spaces.

This memorial is not intended to be captured on film or seen on paper. It is a journey to the unknown like that of the hero’s quest exactly that: “The hero’s quest is a journey from the known to the unknown” (Barrie, 1996).

Finally, as previously mentioned the project’s site selection needed

to stay consistent with the concept of memorial, death and life and its imprint left on people and places. Therefore, the site needed to find an architectural relic without any ties to “sacred space”. A decommissioned set of train tracks in Anza Borrego State Park, California will host the site introducing journey, life and decay. With the proposed site of the Goat Canyon Trestle for this project, the thesis has a unique opportunity to reactive something which used to hold purpose and now has become abandoned.

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Chapter 2

Summary of Study

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image 2.4

Chapter 2

Summary of Study

The Carrizo Gorge Wilderness is located approximately 70 miles

east of San Diego in the Anza Borrego State Park. Along the gorge lies a lonely railway stretching 11 miles, consisting of 13 trestles and 17 tunnels. At the heart of the rail line in Goat Canyon crosses the longest, tallest, curved wooden trestle ever built in the United States. This engineering marvel is no longer in use due to budgeting. The finances were going towards the collapsing tunnels due to the climate of Anza Borrego State Park.

The Site is located in Anza Borrego State Park but it’s on a strip

of Land that is private property of the City of San Diego. The structure on site is owned by the San Diego Metropolitan Transit Systems. It had been leased to Carrizo Gorge Railway Company, until like most other ‘owners’, the Carrizo Gorge Railway Company couldn’t even afford taxes on the railline. The rail-line now has now been leased to Pacific Imperial Railroad by two men Charles McHaffie and Dwight Jory. San Diego is now speculating the legality of the situation and are questioning whether the two men are attempting fraud from their previous financial dilemmas.

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Chapter 3

48

Chapter 3

Research Methods 51

Case Studies

77

Programming

93

Contextual Analysis

49

Chapter 3

50

Case Studies 52

Locations

54

Igualada Cemetery

58

Steilneset Memorial

60

MIT Chapel

66

Lee Bonticou

68

City

72

Prineville Data Center

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Chapter 3

Oregon Nevada

Massachusetts

52

Spain

Norway

Location

Case Studies

The case studies correspond as follows: Oregon - Data Center Nevada - Inhabitable

Sculpture

Spain - Cemetery Norway - Memorial Massachusetts - Chapel

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figure 3.1

Chapter 3

Igualada Cemetery 1984

by Enric Miralles & Carme Pinos

The Igualada Cemtery

was completed in 1994 as a place for reflection and memories (Kroll, 2011). Miralles & Pino designed a cemetery where occupants can relate to the site physically and personally (Zabalbeascoa, 1996).

The architecture is part of the site and sunken into the ground. The layers of program and history are represented in the natural and man made. This mesh is matched by the layers of stone material and vegetation.

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Case Studies

Cemetery

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figure 3.2 & 3.3

Chapter 3

The program includes a main-

gate, chapel, mortuary and rows of stacked burial vaults. The burial vaults cause for a non organic form and are placed at the end of site.

The diagrams to the right

signify the scale of the vaults as well as their placement along the topography.

The vaults work with the site and don’t leave as big an impact on the site. A reason this case study was selected was because of the way the architects designed the vaults and what they represent. Each vault, an individual, a drawer of information, memories, stories and the like. As a whole the faced creates a simple geometry, individually the vaults have a direction encouraging movement. Miralles and Pinos’ designed the vaults to “neither be neglected nor monumentalized.

They simply occupy their place in landscape side by side along the path; allowing for others continually to enter the place” (Zabalbeascoa, 1996).

figure 3.4

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figure 3.5

Case Studies

Cemetery

The location of the vaults

makes the users travel from the top of the site to the bottom, leading them downward into the site until they are ‘buried’.

The diagrams to the right

depict the subtle distress the architects pose on the occupants. One was this is accomplished is by ending a landing/ pathway a few inches off the ground.

The circulation isn’t direct and leads users into obscure angles redirecting their trajectories. As the circulation is skewed in plan so are the walls slanted in section adding to the discomfort/ paranoia of the cemetery.

the

It is important to note how architecture

accomplished

a

place designed where users can have different experiences, “one can mourn in static solidarity, or one can choose to traverse the site as a simple landscape” (Zabalbeascoa, 1996). figure 3.6

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figure 3.7

Chapter 3

Steilneset Memorial 2011

by Peter Zumthor

In

the

17th

century

in

Finnmark, Norway, 91 victims were accused of being witches and after the Witchcraft Trails were murdered.

The

monument

rests

along

the

Barents Sea coastline in Vardø, Norway (Rosenfield, 2012). Zumthor’s monument

commemorates

the

91 individuals in a ominous dark form. Zumthor’s use of materials for the monument help cultivate an uncommon space fit in it’s context and still portray it’s dark tone in atmosphere. The pine scaffolding supports a suspended silk cocoon.

Within the cocoon, visitors walk along a 400-foot long oak-floored corridor figure 3.8

(Rosenfield, 2012).

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image 3.1

Case Studies

Memorial

Zumthor’s memorial is a floating passageway of fabric. The fabric material is made of fiberglass canvas coated with Teflon which echo sailcloth.

image 3.2

The memorial is a monument whether because of it’s ties to the spiritual realm or because of it’s presence on the site and the vast space it occupies.

The monument ‘moves with the constant coastal wind. The light bulbs suspended in front of the windows sway gently.’ (Zumthor, 2013) The puckered openings, also resemble the work of a female artist, Lee Bontecou, whose work often includes structured voids that evoke terror and the infinite.

(Brake, 2011)

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image 3.3

Chapter 3

The individuality that this memorial introduces to it’s commemorated individuals is something to be noted.

Plan

Plan The monument has 91 windows, each specific for the individuals accused of sorcery and burnt at the stake (Rosenfield, 2012). Behind each window short biographical texts were written for each of those burned as witches. The inscribed texts were on silk-cloths, the texts also read ‘the absurd actions to which the victims confessed after a few days’ trail’(Zumthor, 2013).

Front Elevation

Back Elevation

Front Elevation Front Elevation

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figure 3.9

Case Studies

The

monument

Memorial

memorializes

the

burning at the stake in an installation

by Louise Bourgeios, offering a good contrast in scale and intimacy on site. The installation along with the monument give occupants multiple methods

and

opportunities

for

reflection.

For every window there is also a small light inside ‘always burning’, the reason for this being contextual to ancient customs of the site; a lamp was lit at nightfall (Zumthor, 2013).

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figure 3.10

Chapter 3

Vicinity Map

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figure 3.11

MIT Chapel 1955 by Eero Saarinen

The MIT Chapel is located on the Massachusetts’s Institute of

Technology campus and was completed in 1955. The chapel consists of simple geometry and is said to have mystical qualities about it. (Kroll, 2011) This case study is located tucked away from it’s busy environment and offers staff and students a sanctuary for prayer and meditate or relaxation. The Chapel is similar to the Rothko Chapel in Houston, Texas in how they both are non-denominational chapels. The chapel is intended to be more than just a religious building, rather it is meant to be a place of solitude and escape that includes a process of reflections (Kroll, 2011).

63

image 3.4

Chapter 3

The Chapel’s ability to host multiple events and be an open sacred space to all different types of people was the main purpose of the study. Another factor looked into with the chapel was it’s use of light and methods of channeling the light.

8

64

16

32

64

figure 3.12

Case Studies

Chapel

Similar to the previous case study, this precedent also has an art installation incorporated into the experience. A metal sculpture skylight

hangs above

from the

the

chapel’s

altar, reflecting and distributing sunlight into the space.

Approaching encounters

the a

chapel, shallow

one moat

surrounding the structure. Once passing this threshold one enters into the sacred space. The chapel has a windowless facade and uses different methods for lighting. The cylindrical space has small lifted arches in specific moments around the perimeter. Through these arches water reflects light into the space and create dynamic patterns along the interior. Once the user enters the space they are transported into

8

an unexpected space because the chapel has ‘atmospheric qualities that are enhanced by filtered natural light’ (Kroll, 2011). This occurs not through an aperture in the center of the ceiling and apertures slightly above the floor.

8

65

16

32

64

image 3.5 & figure 3.13

16 8

16 32

3

Chapter 3

Lee Bonticou Early Sculptures: brutral

primitive technology

blurred boundaries between

mechanical and the biological

Evoke:

ancient civilizations

technology of a damaged future

These evocations parrallel an arguement of a distorted perception of living that has effected death in so much that the process of mourning has become damaged.

sex

primordial beginnings of life,

black holes

the expanses of the heavens (Rexer, 2003)

Bontecou’s

predominantly

abstract

work

has consistently incorporated figurative, organic, and mechanistic references to states of transformation between the natural and the man-made. (Smith, 2003)

66

Case Studies

Artist

1

2

3

4

67

image 3.6, image 3.7, image 3.8, image 3.9

Chapter 3

City (1972 - Present)

by Micheal Heizer

Heizer’s Enormous sculpture is hard to find and rarely seen in person, it’s not clear whether or not people are supposed to find it and see it, almost like a forbidden city or secret monument.

Micheal Heizer’s “City” is a sculpture at one and a quarter miles

long in Lincoln County, Nevada, he chose the site for it’s silence and distance from civilization (Kimmelman 1999). “City”, though a ‘sculpture’ consists of mounds, pits, passageways, plazas, ramps and terraced dirt (Kimmelman, 2005). He calls the structures of “City” ‘complexes’ a term archaeologists use for buildings at ancient sites (Kimmelman, 1999).

Those complexes at ancient sites, once occupied then abandoned by their users, whom are long deceased by the time the structures resurface.

The sculpture incorporates upright slabs and projected

geometries from specific complexes. The slabs, known as steles, rise as much as 70 feet and weigh up to a thousand tons each. One of Heizer’s goals with “City” was to link contemporary American art with the gravity of ancient civilizations in the Americas (Kimmelman 1999).

68

figure 3.14

Case Studies Case Studies

Inhabitable Sculpture

m

o

Perspective 1

m

o

Perspective 2 Perspective 3

35

69

figure 3.15

Case Studies

Chapter 3

o

m

Perspective 1

This case study shows modern art turned into monumental

This case study into monumental abstract architecture, with shows ancientmodern ruins asart theturned model (Kimmelman abstract architecture, with ancient ruinsmakes as the model 1999).

1999).

The question comes up what “City” (Kimmelman monumental?

IsThe it the vastness of “City” ormakes the ties to ancient ruins? Is The project question comes up what “City” monumental? it the vastness isofout of context and yet still completely in context according to “City” or the ties to ancient ruins? The project is out of context and Heizer. Of “City” he said “I’m building this work for later. I’m interyet still in context to Heizer. all Of the “City” he said “I’m ested incompletely making a work of artaccording that will represent civilization building this work for later.1976).

I’m interested in making a work of art that will to this point” (Gottschalk represent all the civilization to this point” (Gottschalk, 1976).

This monument is very remote and aloof, similar to the original cemeteries in America. Heizer specified he did not care if no one person were to see this monument.

36

70

figure 3.16

Case Studies

Case Studies

Perspective 2

o

m

Perspective 3

o 37

m

71

figure 3.17

Case Studies Chapter 3

Data Centers

The Data Center. These monuments require

both security and energy-efficiency. Because of this,

The Data Center. These monuments reit “hasboth led Cloud companies to place their centers quire security and energy-efficiency.

Be-far away from urban cause of this, it society...” “has led (Quirk, Cloud 2012). companies to place their centers far away from urban society...”

(Quirk, 2012).

Most Data Centers are far out and removed from the urban environment for protection. They require high security and are usually very remote.

Facebook Data Center, Facebook Data Center, Prineville Oregon Prineville Oregon

72 38

figuree 3.18

Case Studies

Case Studies

Data Center

In a lecture at Princeton University entitled Data

Architecture is the expression of a society’s

Drama it was said data center is the new typology. values and the beliefs, thus these datacultural centers are of Architecture is said toand be house the expression a society’s high importance significantof material.

In

a lecture at Princeton entitled Drama it values and beliefs, people University are so invested in Data technology saidinformation, the data center is the newdata cultural typology. andwas digital leading these centers to be Data Centers’ goals are to “become so technically

of high importance house significant Data efficient that thethat architecture becomesmaterial. the machinCenters’ goals to “become so technically ery, and theare machinery architecture” (Quirk,efficient 2012).

hybrids existbecomes in the digital realms transferring/ thatThese the architecture the machinery, and the

transforming incoming and2012). outgoing data.

Humans machinery architecture” (Quirk, These hybrids exist are becoming increasingly more hybrid amidst the increasing usage of the internet and social networks outgoing data.

(Graham et Humans al. 2013).are becoming increasingly more

in the digital realms transferring/transforming incoming and hybrid amidst the increasing usage of the internet and social networks (Graham et al. 2013).

39

photo retrieved from http://perspectives.mvdirona.com/2011/04/09/OpenComimage 3.10 & figure 3.19 puteMechanicalSystemDesign.aspx

73

Chapter 3 Studies Case

FacebookData Data Center, Facebook Center, PrinevilleOregon Oregon Prineville

u

50 0

Facebook Data Center Elevation Facebook Data Center Elevation

40

74

figure 3.20

Case Studies Case Studies

Data Center

The sensitive information being stored in these centers prevent

any interaction average being personstored and these architectural The between sensitivethe information in these centers prevent any interaction between the average person andfor these monuments. It also has made it difficult to access any drawings data architectural monuments.

It also has made it difficult to access centers. The Data Center is a monument, it stores a plethora of information any drawings for data centers. The Data Center is a monument, it in our society.

The Dataofcenter is tucked away from the busy environment. stores a plethora information in our society.

The Data center is The tucked specificaway data from center is being looked into the Facebook Data thethat busy environment.

The is specific data center that is being looked into is the Facebook Data Center in Prineville, Center in Prineville, Oregon. It is a more contemporary design and open a more contemporary design and open in“There it’s facade, in it’sOregon. facade,Itit is aims to create a space that is approachable. are no it aims to create a space that is approachable. “There are no scary scary unbrokenfacades facadeshere. here.Prineville Prineville boasts boasts large large windows, unbroken windows,welcoming welcomnatural local memorabilia - a human for man for and ing materials, natural materials, local memorabilia - a environment human environment man and a machine.

Perhaps they will eventually go back to their a machine. Perhaps they will eventually go back to their roots, becoming roots, becoming integrated into our cities, transparent and proud integrated into our cities, transparent and proud ‘glasshouses’ (Quirk, ‘glasshouses’ (Quirk, 2012). Until then they are fortresses.

2012). Until then they are fortresses.

u

50 0

41

75

200 100

figure 3.21

Chapter 3

76

Programming

78

Typology

80

Program Spaces

82

Programmatic Adjacencies

86

Summation

77

Chapter 3

A cemetery without bodies wouldn’t really be a cemetery which is why the typology decided upon for this thesis was a memorial.

78

Programming

Memorial a

Memorial something designed to preserve the memory of a person, event, etc., as a monument or a holiday

b

Memory the mental capacity or faculty of retaining and facts events, imprints etc., or of recalling or recognizing previous experiences

c

Imprint a mark made by pressure; a mark or figure impressed or printed on something

79

Death

Context: Millennial Generation Digital Blogging Grief Loss Ritual

Program:

Ceremonial Space Chapel Offices Crematory Mausoleum Lobby Counseling Emballement Room Space: Silent Isolated To Honor To Rest To Mourn Reconcile To Remember To Reflect

Geometry: Grid Simple Reminiscent of Culture Traditional Religious Organized Rhythm Hierarchy (W/W/O)

Services: Security Cremation Emballment Counseling

Context: Current Society Invested into Internet

Program:

Offices Creative Space Lecture Hall Work Space Conference Rooms Lounge Racking Storage Modem Rooms Space:

Space: Monumental Analytical Digital Nature Silent Enclosed Safe

DC & AC Power-rooms Standby Generators Racking Systems Transformers and HV Power Systems Data Cabling Infrastructure Power Management Environmental Monitoring Systems Building Management Systems Humidification Systems Isolated Rooms

Circulation: Clear Formatted Constructive

Geometry:

Simple Monumental Contemporary Expressing Culture Enclosure:

Structure:

Geometry: Grid Boxes Factory Large No Apertures

Services: Meditation Room Offices Instructing Yoga Mental Health

Circulation: Direct Open Grid-like Spaces for Interaction

Minimal Openings Fully Exposed Concealed Secluded

Context: Cloud Computing Digital Storage As Related To Social Media Internet Death in a Digital Culture

Program: Museum Memorial Counseling Parks Sculptures Playground Fountain

Enclosure: Dramatic Apertures Monumental Open Air In Earth

Data

Circulation: Processional Pattern Complicated Distressed Free

Reflection

Enclosure: Air tight Waterproof No Apertures

Services: Security Education Production Relief

Glass Water Earth Concrete Fabric Contextual Large

Structure: Large Cold Unbroken Facades Clean Neat-freak-like Plain Concrete

Structure: Concrete Sculpture Earth Large

80

Programming

The preliminary lists to the left show potential context in so

much as what the typology could be related to whether physical or atmospheric. The lists have a breakdown of circulation correlating to specific programmatic spaces and potential program spaces were listed as possible fits for the typology. Geometry along with types of enclosure were also suggested such as pattern geometry being fully exposed, rhythmic with dramatic apertures, or rectilinear with no apertures. To progress along with the typologies potential services were listed with structure.

81

Chapter 3

A Program

information space for visitiors

Program place of silence/ worship or ceremony

A space designated for the praise or mourning

(320 sf)

a.k.a. lobby info kiosk

Quantity 2

Inside

entry space

Dimensions 8 x 20

B Dimensions 10 x 20

(600 sf) (200 sf)

a.k.a. chapel temple

2

Inside

15 x 40

Quantity

C Program

Dimensions 10 x 15 9x9 9x9 9x9

(150 sf) a.k.a.

(243 sf) office service station kiosk

Quantity 4

Inside

administrative area

space for administrative work to be done

D space to display

space for the exhibition of art (representing life, culture and context)

Dimensions (1000 sf) 50 x 20

space distorting reality and depicting something with no real existance

Dimensions 20 x 35 10 x 10

a.k.a. gallery installation museum

Quantity 8

Inside/ Outside

Program

E Program

Program

room for modems and racking systems

2 6

F Dimensions (2400 sf) 15 x 20

a.k.a. racking & cabinet rooms

Quantity 8

Inside

storage space

a.k.a.

(300 sf) simulation (600 sf) room

Inside

hyperreality room

Quantity

G Program

space for general security and surveillance

(180 sf)

a.k.a. surveillance room

Quantity 1

Inside

security

Dimensions 12 x 15

H filter rooms

mixing room with fans to filter air

Dimensions 12 x 6

(288 sf)

a.k.a. filter room

Quantity 4

Inside/Outside

Program

R workshop rooms

82

rooms for families or individuals to upload/ update memorial

Dimensions 20 x 30 10 x 15

(384 sf (150 sf)

a.k.a. refinement room

Quantity 4 2

Inside/Outside

Program

figure 3.22

Programming

I Program

space for yoga, prayer, meditation

8x8

(512 sf)

a.k.a. prayer room

Quantity 6

Inside

place for meditation

Dimensions

J Program

air conditioning units to preserve room remperature

(384 sf)

a.k.a. hvac room

Quantity 2

Inside

hvac rooms

Dimensions 8x6

K Program

space for relaxing, resting, meeting with people

15 x 40

a.k.a.

(1200 sf) lounge

Quantity 2

Inside

resting room

Dimensions

L operation center

computer room with fact checking and data collection

Dimensions 8x6

(384 sf)

a.k.a. main office

Quantity 2

Inside/Outside

Program

M Program

space for viewing and displaying an individual

a.k.a. digital library of sorts

Quantity 8

Inside

digital archive rooms

Dimensions 18 x 36 (4536 sf)

Potential Spaces N Program

spaces list dimensions

back up generator room

and square footage.

emergency power system, batteries

Dimensions 20 x 20

(400 sf)

a.k.a. generator room

Quantity 2

These were preliminary spaces and not all were

O Program bathroom

thesis.

toilets, showers, sinks

Dimensions 15 x 20

(300 sf) a.k.a. bathroom

Quantity 6 Inside

incorporated in the final

Inside/Outside

The programmatic

P support rooms

technician and support systems, excess cabling

Dimensions 12 x 6

(72 sf)

a.k.a. technician room

Quantity 4

Inside/Outside

Program

Q temporary dwelling space

83

space for backpackers to stay overnight

Dimensions 8x6

(384 sf)

a.k.a. shelter

Quantity 8

Inside/Outside

Program

figure 3.23

Chapter 3

84

Programming

What Didn’t Work A.

After feedback on these types of configurations, it was noted that these concepts were not integrating with the site enough, nor were these concepts applying any principles of design for sacred space. These principles/ basic guidelines that were set up are referred to in previous chapters, but to recap,

B.

these guidelines consisted of axis mundi and the circle and square dynamic. The guidelines suggest/ require the program to be half buried into the ground and have some relationship between a circle and square.

C.

85

image 3.11 - 3.13

Programming

Final Program & Materials The decision was made for the final program to consist of a: Terminal Chapel and Grieving Pods

Terminal: steel fabric

metal mesh concrete Evoke:

technology of a damaged future

beginnings of life, infancy

black holes

Chapel:

concrete exterior

steel reinforcing

interior - wood Evoke:

ancient civilizations technology of a damaged future the expanses of the heavens whole, knowledge of self

Grieving Rooms:

wood exterior

concrete interior

steel reinforcing glass Evoke: brutral

black hole

primitive technology

blurred boundaries between

interior and the exterior, transcedence, departing

86

Further explanation on individual programmatic spaces can be found in Chapter 4.

Programming

Terminal

image 3.14, image 3.15, image 3.16

Chapel

image 3.17, image 3.18, image 3.19

Grieving Pods

image 3.20, image 3.21

87

Chapter 3

Code Analysis Occupancy Type: A - 2 Cafe

A - 3

Chapel, Memorial Rooms, Terminal

B

Offices, Ticketing, Information Booth

R - 2 Lodging S Storage

S - 2

Food Products and Freezer

M Ticket Counters U Retaining Walls Type of Construction: Type I - B Maximum Height: 160 ft.

Allowable Floor Areas - ft2, Maximum number of stories

A - 2 : 11 stories, unlimited

A - 3 : 11 stories, unlimited

B : 11 stories, unlimited

R - 2 : 11 stories, unlimited

S : 11 stories, 48,000

S - 2: 11 stories, 79,000

M : 11 stories, unlimited

U : unlimited, unlimited

Fire Resistance Rating:

Primary Structural Frame: 2 (hours)

Secondary Seperations : 1 (hour)

88

Programming

Preliminary Load Factor Program:

Load Factor:

Ft2 :

Kitchen/ Cafe

200 gross/ 60 gross

600 / 300

Chapel

30 net

820

Memorials/ Galleries

30 net

1800

Terminal

15 gross

3960

Offices

100 gross

480

Dormatory

50 gross

500

Storage

300 gross

800

Food Storage

300 gross

300

Ticketing/ Information

60 gross

250

Retaining Walls/

300 gross

800

Mechanical/ Total: 19,442 sq. ft.

Equipment Room

- Located 7 miles from sewer and plumbing, lines provided by Borrego Water District - The facility will be powered by private solar generation and will try to not rely as heavily on the SDG&E grid - California State Accessibility Guidelines:

- must provide exterior and interior routes of access

to park as well as outdoor recreation access to

nature trails

- according to the shower code there must be at

least 1 wheelchair accessible entrance/facility (for

lodging).

89

Chapter 3

90

Contextual Analysis

92

Location

94

Site Photos & Information

98

Wildlife & Vegetation

99

History

100

Wind & Sun

102

Parcel & Property

91

Chapter 3

Cleveland National Forest

La P stoaTurckTrail

130

0

00

o rlo neOev o Scato

I8

Mount Tule (1413)

1000

1100

32째

Anz Des P

Old ay

hw

Hig

Goat Mountain (1097) Music Mountain (1087)

1000

12

k

80

La Pos ta

Road

00

12

ay Old Highw

80

2 km

32째36'

92

Mrote ro

Can yon

Roa d

CarrizooGreg Rao d

Contextual Analysis

Anza-Borrego Desert State Park s

Do

e aCb

70

R

oad

I8

sC ae bzo s

Anza-Borrego Desert State Park

y n r nC treo No

beza Roa d

Ca

0

100

Anza-Borrego Desert State Park

Dos

Roa d

za

Canyon Jojoba

0

11

00

80

600

0

500

0

30

600

90

CA 98

400

Do

700

I8

0

70

20

0

0

12

00

Anza-Borrego 90 Desert State 0 Park 11

00

32째40'

Anza-Borrego Desert State Park Anza-Borrego Desert State Park

between the United States and Mexico. and the

Table Mountain (1245)

10

00

curved black line is the Interstate 8 Highway. Lastly

Squaw Tit (1184) 0 110

Gray Mountain (1113)

Round MountainI 8 (1014)

900 Jacumba Peak (1025)

This map shows the location of the site.

The thick black line below represents the border

Anza-Borrego Desert State Park

for better context the small grid directly above this paragaph is Ocotillo, California.

I8

d

Ol

0

y8

wa

gh Hi

93

figure 3.30

94

Contextual Analysis

Anza Borrego State Park Anza Borrego State Park

Orientation 650 ft.

610 ft.

1,230 ft 1,160 ft.

N

Site Plan Anza Borrego State Park Anza Borrego

Site

State Park

Property Lines Railroad Tracks Trail to Site

0’

125’ 250’

500’

1,000’

N

Site Plan Site Property Lines Train Tracks Trail to Site

0’

100’

300’

600’

1200’

The Carrizo Gorge Wilderness is located approximately 70 miles east of San Diego in the Anza Borrego

State Park. Along the gorge lies a lonely railway stretching 11 miles, consisting of 13 trestles and 17 tunnels.

At the heart of the rail line in Goat Canyon crosses the longest, tallest, curved wooden trestle ever built in the United States. This engineering marvel is no longer in use due to budgeting. The finances were going towards the collapsing tunnels due to the climate of Anza Borrego State Park. This canyon, Goat Canyon, along with the trestle is the site selected.

The Site is located in Anza Borrego State Park but it’s on a strip of Land that is private property of the City

of San Diego. The structure on site is owned by the San Diego Metropolitan Transit Systems. It had been leased to Carrizo Gorge Railway Company, until like most other ‘owners’, the Carrizo Gorge Railway Company couldn’t even afford taxes on the rail-line. The rail-line now has now been leased to Pacific Imperial Railroad by two men Charles McHaffie and Dwight Jory. San Diego is now speculating the legality of the situation and are questioning whether the two men are attempting fraud from their previous financial dilemmas. It was last decommissioned in 2011.

image 3.22

95

figure 3.31

Chapter 3

Hike to the site.

96

image 3.23

Contextual Analysis

Goat Canyon Trestle looking southwest.

97

image 3.24

Chapter 3

wildlife A. Desert Horn Sheeps B. Flat-Tailed Horned Lizards C. Brown Tarantulas D. Rattle Snakes E. Jack Rabbits F. Scorpians

Anza Borrego State Park

CON TEX T Explanation vegetation

n- Reaching the Space Between -Circulation & Emergency Egress

Vegetation: 33600 Encelia Scrub And 33100 Sonoran Creosote Bush Scrub. Species include Encelia farinosa, Fouquieria splendens, Larrea tridentata.

A. Purple Asters B. Yellow Pincushions C. Goldfields D. Wooly Threads E. Fireweed F. Lupine G. Shooting Stars H. California Poppy I. Tidy Tips

98

figure 3.32

Contextual Analysis

Historical Documentation

1873

1887

Population of San Diego 5,000

Millionaire John D. Spreckles sails to San Diego

1930 Population of San Diego 148,000

1982 Line closed by storm damage

2011 Carrizo Gorge Railway, Inc. (CZRY) discontinue operations of Tijuana-Tecate segment

1907

1932

1940

A four-day fire and landslides collapses and destroys tunnels

Population of San Diego reaches 203,000

1984

2004

Line Closed

2012

1911

1916

Population of Imperial Heavy San Diego County is flooding tops 35,000. created.

Spreckles Mexican begins Revolution. construction of railroad

Line reopened, tunnel repaired

2012

1942

1951

1920 Avalanche in Gorge

1976

U.S. Army Last Hurricane Railroad Patrols Passenger Kathleen almost railroad Train does heavy abandamage in dons for saboteurs Carrizo route Gorge

2004

2008

2009

Started Line in Tunnel 3 freight operation (Lindero) is service to damaged by a fire plaster city

2014

SD&AE enter Operating rights Pacific into a 50-yr of Carrizo Gorge Imperial Railroad operating lease Railway, Inc. Company’s with Pacific ended legitimacy Imperial Railroad questioned company. (for freight trains)

99

figure 3.33

Railroad Tim 1873: Popula 1887: Sugar 1907: Popula railroad.

1911: Imperi 1916: Heavy 1919: First p 1920: Avalan 1930: Popula 1932: A four destroyed by 1940: Popula 1942: U.S. Ar 1951: Last pa 1976: Hurric abandons ro 1982: Line cl 1984: Line C 2004: Line re 2008: Line in 2009: Tunne 2011: Carrizo na-Tecate se 2012: The SD Railroad com ended.

2013: They a

Chapter 3

Average Annual Precipitation Average Annual Precipitation

Various site analysis was done to explore different

Average Annual Precipitation

Record Single D

possibilities for site location, as well as site integration in regards to

sustainable technologies. Features that are incorporated thanks to these studies are the use of thermal energy, a solar chimney, photo

3.44 3.44

3.44

voltaics and a water collection system.

Inches Inches

Inches

Wind And Sun Wind Wind AndAnd Sun Sun Month of year

Month of year Month of year

Dominant Wind direction Dominant Wind direction Wind probablity Wind probablity 4 Beaufort probablity >= >= 4Wind Beaufort (%) (%) >= 4 Beaufort (%) Average Average Wind speed Wind speed Average (mph) (mph) Wind speed (mph) Average Air Temp.

(F) (F) Average Air Temp.

Average Air Temp. (F)

Jan 01

Jan Feb 01 Jan 02 01

Feb Mar Apr May June Jul Aug Sep Mar Aug 07 Sep 08 Oct 09 Nov 02 03 04 05 Feb Apr Mar May Apr June MayJul 06 June Jul Aug Sep 0302 0403 05 04 06 05 07 0608 0709 11 0810 09

8

817 8

17 28 17

78 7

9 8

Inche

Oct Dec 10 Oct 12 10

Nov Year 11 Nov 1-12 11

Dec 12 Dec 12

Ye 1-Y 1

1517 15

16 18 16

17 19 17

18 18

1

9

8

Dominant Wind direction

7 64

35

28

1313

13

9

8

69 64 64

36 35 21 15 12 15 15 16 36 21 35 12 21 12 15

36 28

9

77 69 69

9

13

80 77

8980

77

13 8 9 13

9889

80

89

8 8 8

8 8 8

88 8

89 8

88 8

95 98 91 95 91

91 80 91

9171 91

62 80 80

80 71 71

8

9

98

95

9 62 62

8

Average Wind Direction Distribution in (%)

Average Wind Direction Distribution in (%) Average Wind Direction Distribution in (%) N

NW

NW NW

14 12 10 08 06 04 02 0

W

W W

N 14 N

1214 1012 0810 0608 0406 0204 002 0

NE

NE NE

E

E

E Average Temperature

SW

Average Temperature 124째 Average Temperature

SE

SW SW

S

SE SE S

Record High

74.45째

74.45째 74.45째

S

100

figure 3.34

Re R

Contextual Analysis

Record Single Day Rainfall Winter al Precipitation Record Single Day Rainfall 2.56

0.43

Inches

hes

Dec Oct 12 10

Year Nov 1-12 11

Dec 12

Year 1-12

18 16

19 17

18

19

9 8

8 8

9

8

62 80

80 71

62

80

Inches

Inches

124°

Record Low Record High 124°

16°

Winter

Record Low Average

Fall Summer

0.3 0.06

0.3

0.43 Inches Inches

14

Record High mperature

Summer Spring

0.06

2.56

44

45°

Spring Winter

14

Spring Winter Average Average

Inches Inches

10

Fall

0.36

0.36

Inches Inches

Inches

Fall Summer Average Average

Fall Average

10

Summer Spring Average Average

16°

61.5°

69.4° 61.5°

101

89.3° 69.4°

77.5° 89.3°

figure 3.35

77.5°

Chapter 3

As mentioned before the site within the Anza-Borrego State park for the most part, sections of the map to the right belong to San Diego City Metropolitan Transit System.

102

Contextual Analysis

Rural Fire Protection District

Zoning

Property

S80 – Open Space. Intended for recreation areas or areas with severe environmental constraints.

Parcel Number: 529-380-04-00 Lot size: 12.55 acres (546,558 SF) Owner: San Diego&Arizona Eastern Railway Co. Zoning: S80 Zoning: S92 State Assemble: 71 State Senate: 40 US Congress: 50 Geology: Pre-Cretaceous Metasedimentary Vegetation: 33600 Encelia Scrub And 33100 Sonoran Creosote Bush Scrub

S92 – General Rural. A residential and agriculture zone which is intended to provide approximate controls for land which is rugged terrain, watershed, dependent on ground water for a water supply, desert, susceptible to fire and erosion, or subject to other environmental constraints

103

figure 3.36

Chapter 4

Anza-Borrego Desert State Park

cessibility/ Existing rculation

s

be Ca

R

za

70

0

ba Jojo

N

oa

d

R

Can yon

Parking

Do

yn

Site

Anza-Borrego Desert State Park

Hike

ro

e rt No

d oa

Cn

Cable Cars 11

00

700

80

600

0

600 90

0

12

00

104

figure 4.1

Chapter 4

Design Prototype Summation 107

Master Planning

120

Architectural Program

123

Site Development

129

Building Development

174

Green Technology

178

Process Work

105

Chapter 4

image 4.1

106

Master Planning

Master Planning 111

Parti

112

Master Vision

114

Journey Vision

122

Architectural Program

107

Chapter 4

108

Master Planning

Parti

The image above was the generated parti for. It signifies a black hole

or tunnel in a way. The darkness eludes to something unknown, something to be feared and drawn to. “Darkness scares us. We yearn for the comfort of light as it provides shape and form allowing us to recgonize, to define what is between us. Yet what is it we are afraid of, really? Not the Darkness itself, but the truth we know hides within.� (Kelley, 2015)

109

figure 4.2

Chapter 4

Individual Grieving Individual Pods

Chapels

Memorial Memorial in in Goat Canyon Goat Canyon

Jacumba

Jacumba Mountains Mountains 3 mile Journey 3viamile Journey Hike or Gondola Gondola/ Hike

110

l

in on

Master Planning

Master Plan

This map depicts the overall master plan for the memorial. The

memorial requires a journey for the user to make. After driving down a lonely 7 mile road to reach the terminal and trail head, users arrive to an elevated horizontal cocoon like form. In the lobby they are requested to turn in their phones and cameras for safe keeping and security. In exchange, users recieve a folded sky lantern with seeds inside, but aren’t aware of what the object’s contents are or yet what to do with it. From here, the 3 mile journey begins either by foot or by gondola.

Terminal &

Terminal & Goat Goat Canyon Canyon Trail Head Trailhead

Nortero Canyon Rd

0 200

1200

N

Dos Dos Cabezas Cabezas Spring Spring

111

figure 4.3

Chapter 4

Journey Vision

This diagram shows the elevation reached by the hike and the scale

of the journey. The vision is to update the trail along the hike leading to the Memorial. The altitude shift is approximately 1,200 ft. and hikers or gondola riders at their highest point reach 3,300 ft. above sea level. The canyon is encouraged to be reached by foot and suggested to be left by gondola. The hike was originally intended to be the only method of reaching the site and the gondala the method of returning. However to accomadate various types of users, the gondale makes the Memorial more accessible. For the hiker, this gradual climb weakens the body in the moment.

112

Master Planning

In case of fatigue, a few way points are set up along the trail offering

drinking fountains for hikers. The journey offers hikers to ponder and gather their own conclusions on the experience. The memorial is not intended to be documented or photographed and should only be seen in person, for this reason, first time visitors may continue their journey with a since of curiousity and bewilderment.

3,295 ft.

2,010 ft.

Updated Hiking Trail

Cable Cars Trestle

Way Points

Parking Lot

113

Scale

400

200 100

figure 4.4

Chapter 4

114

Architectural Program 116

Architecture Narrative

118

Program

119

Concept Theory

115

Chapter 4

Architectural Narrative

As mentioned in Chapter 1, according to the philosopher Micheal

Washburn, there are three different stages of life. If this is to narrarate an architecture addressing death, the design of the memorial should address the three different stages of life.

These diagrams represent the three life stages. In regards to

designing for death. This is a design celebrating life and the imprint of a person, or that place may have on another individual.

116

Life Stages

Infancy Infancy represents the beginning. It is described as one’s childhood, birth, fragile, light, developmental, very early stage and delicate.

Ego The ego is the knowledge of self, being aware of who one is and having/ finding identity. the part of the psychic apparatus that experiences and reacts to the outside world and mediates between the primitive drives of the id and the demands of the social and physical environment. It is simpley to be.

Transcendence Transcendence is described as departing, reaching beyond and ascending to further depths. Many conceptions of transcendence are known as dying, or entering into a higher realm

117

figure 4.5

Chapter 4

Program

The program began as a

a

cemetery, however it shifted when

Memorial

the research began to reflect an

something designed to preserve the

alteration occuring in a generation

memory of a person, event, etc., as

spending so much of their lives on

a monument or a holiday

the internet. A cemetery without bodies is intepreted as a memorial for the remainder of the thesis. The

b

Memory

architectural progam of a memorial

the mental capacity or faculty of

has been defined multiple times

retaining and facts events, imprints

within this publication but is again

etc., or of recalling or recognizing

brought

previous experiences

up

to

emphasize

the

relationship between the user and the architecture.

c

Imprint a mark made by pressure; a mark or figure impressed or printed on something

118

Architectural Pogram

Concept Theory

The

conceptual

theory

for

a

the

Infancy

program is to design an architectural narrative, containing the program of

childhood, birth, fragile, light,

a memorial, along three different

developmental, very early stage

landscapes, and inspired by the 3 Ego

different life stages, Infancy, Ego, b

and Transcendence.

The materials and the program are

knowledge of self, being aware

to consistently provoke the idea of

of who one is and having/ finding

bringing the outside inward, to really

identity. the part of the psychic apparatus that experiences and reacts to the outside world and mediates between the primitive drives of the id and the demands of the social and physical environment.

to bring the inside of the self out, metaphorically speaking.

Transcendence c departing, reaching beyond and ascending to further depths

119

Architectural Pogram

Refinement of Program The program was further refined after reviews ad critiques. Any form of displaying or giving technology was taken out of the program. The only spaces associated with technology are those to do away with any technology. For example the term documentation and workshop spaces on the diagram to the right refer to spaces that offer visitors an oppurtunity to get rid of any personal files in which they no longer wish to exist. The act of making a journey to physically abolish such documents is to release any weight left with in them. The visitors are encouraged to bring some sort of imagery to the memorial and affix them to the memorial. For an image grips a moment in time and alters life by keeping it still. These still moments can be abandoned on site.

A K, D C H J, F

M R

B

N, L

I

E

120

figure 4.6

Architectural Pogram Program

Dimensions 8 x 20

(320 sf)

a.k.a. lobby info kiosk

Quantity 2

temporary dwelling space

space for backpackers to stay overnight

Dimensions 8 x 15

(960 sf)

a.k.a. shelter

Quantity 8

J

B 18 x 50

(900 sf)

a.k.a. chapel temple

Quantity

Program

1

hvac rooms

22 x 16 12 x 16 12 x16 12 x16

a.k.a.

(352 sf) office (192 sf) service (192 sf) station (192 sf) kiosk

Program

4

resting area

a.k.a. gallery installation museum

Quantity 8

2

space for relaxing, resting, meeting with people

Dimensions 42x16

(672 sf)

a.k.a. lounge

Quantity 1.5

Program operation center

computer room with fact checking and data collection

Dimensions 20x16

(320 sf)

a.k.a. main office

Quantity 1

M

E Program

15 x 15

(2,475 sf)

a.k.a. prayer room

11

bathroom

toilets, showers, sinks

Dimensions 15 x 20

(300 sf)

a.k.a. bathroom

Quantity 86

N

F Program

a.k.a. racking & cabinet rooms

Program

8

back up generator room

emergency power system, batteries

Dimensions 20 x 20

(400 sf)

a.k.a. generator room

Quantity 1

Inside

room for modems and racking systems

Quantity Inside

storage space

Dimensions 15 x 20 (2400 sf)

Inside

space for yoga, prayer, meditation

Program

Quantity Inside

place for meditation

Dimensions

Inside/Outside

Dimensions (1000 sf) 50 x 20

Inside/ Outside

space to display

space for the exhibition of art (representing life, culture and context)

hvac room

L

D Program

a.k.a.

Inside

space for administrative work to be done

Quantity Inside

administrative area

Dimensions

(384 sf)

Quantity

K

C Program

air conditioning units to preserve room remperature

Dimensions 8x6

Inside

A space designated for the praise or mourning

Dimensions

Inside

Program place of silence/ worship or ceremony

Inside

information space for visitiors

I Program

Inside

entry space

A

G Program

space for general security and surveillance

(180 sf)

a.k.a. surveillance room

Quantity 1

Inside

security

Dimensions 12 x 15

The program diagram associated letters to spaces

which correspond to the program diagram figure 4.6.

H Dimensions

cafe/ kitchen

space to eat and relax

Program

rooms for families or individuals to upload to memorial

100 x 18

Quantity (1,800 sf)

a.k.a. cafeteria

1

a.k.a.

Quantity 1

Inside/Outside

Program

R (720 sf)

refinement room

Inside/Outside

workshop rooms

Dimensions 18x40

121

figure 4.7

Chapter 4

122

Site Development 124

Shadow Studies

132

Site Integration/ Site Development continuted in

129

Building Development

123

Chapter 4

Site Development

Shadow Study Shadow Studies were done for the placement of the program in the canyon.

124

Summer

Summer

Summer

9:00 H

13:00 H

17:00 H

Spring/Autumn

Spring/ Autumn

Spring/ Autumn

9:00 H

13:00 H

17:00 H

Winter

Winter

Winter

9:00 H

13:00 H

16:00 H

125

figure 4.8

Chapter 4

In Chapter 1 it was noted that this sacred space was to integrate a

form of axis mundi (refer to image 4.10). Therefore in regards to axis mundi’s integration with the structure, it will all be half buried into the earth. The thesis also aims to incorporate and consilidate the dynamic of a circle and sqaure (refer to image 4.9). The terminal incoporates these sacred design themes by elevating a circle from a buried square (refer to image 4.16).

Where as instead of this circle and square integration occuring in elevation, the memorial incoporates this design mechanism in plan, (refer to image 4.19). Lastly, the incorporation of this feature in the individual reflection rooms is experienced through light in a rectilinear space (refer to image 4.34 and 4.38).

Circle + Square There is a symbolic relationship between the circle and the square, it is that of human and divine, physical world and spiritual world, imperfect and perfect qualities� (Mann, 1993).

126

figure 4.9

Site Development

Site Integration

Level

Elevated

Upon

Axis Mundi further

research

into

sacred space the term axis mundi came up, it read “A place where three regions of the world - heaven, earth and the

Buried

underworld - were joined (Barrie 1996).

Half Buried

127

figure 4.10

Chapter 4

128

Building Development 133

Terminal

- Axonometric

- Site Plan

- Floor Plans

- Elevation

- Section

145

165

Chapel/ Memorial

- Site Plan

- Floor Plans

- Elevations

- Axonometric

Individual Grieving Rooms

- Floor Plans

- Section

129

Chapter 4

Terminal

3,295 ft.

2,010 ft.

E

Terminal

130

Building Development

Way Point

131

Chapel

Grieving Rooms

Chapel

Grieving Rooms

figure 4.11

W

Chapter 4

132

Building Development

The Beginning Terminal & Trail Head

133

figure 4.12

Chapter 4

Terminal

The Trailhead and Terminal marks the beginning of the Journey. It is

inspired by the parti and intends to evoke infancy, or fear of the unknown.

In the lobby, the individual is asked to leave their phones and cameras to essentially get off the grid, throughout the duration of their stay. The visitor is handed a sky lantern in exchange, with out really knowing what to do with it yet. The sky lantern holds the light and and has a small pocket with flower seeds. Known of which is told to the user yet.

134

figure 4.2

Terminal Exploded

Structural Frame

Steel Pipe Frame

Fabric

Metal Ties

Polytetrafluoroethylene (PTFE) Coated Fiberglass Fabric

Terminal

Vehicle Placement

Information Center Terminal Trail Head

135

figure 4.13

0‘

0‘

Terminal Site Plan & Trail Head

+

12

’

0‘

RAMP DESCENDS 12’

136 + 24’

Terminal Site Plan & Trail Head

7 MILE DIRT ROAD BACK TO MAIN ROADS

DIRT PARKING LOT

N

0’

137

20’

40’

figure 4.14

Chapter 4

Terminal

OFFICE

KITCHENETTE

BATHROOM INFORMATION AREA

0‘

TRAIL

RAMP DESCENDS 12’

Nortero Canyon Rd. PARKING LOT

+

12

’

N

Terminal Ground Floor

138

figure 4.15

Floor Plans

N

0’

20’

40’

Terminal Second Floor

139

figure 4.16

Chapter 4

Ramp Down Parking

0’

140

16’

Terminal Elevation

In elevation the comparison

between circle and square is more evident. The second level is influenced by the circle and the lower program is influenced by the square. The man is buried and the celestial being is lifted above ground.

The circle and square is in

reference to: The integration of square and circle is a metaphor of equilibrium between earth and heaven (Mann, 1993).”

3 Mile Trail to Memorial

16’

32’

141

figure 4.17

Chapter 4

Ramp Down

142

Terminal Section

Thus, the visitor departs on

their journey.

0’

143

32’

figure 4.18

Chapter 4

144

Building Development

Ego - To Be The Chapel The ego is the knowledge of self.

145

figure 4.19

+2 0f +1 t.

0f t .

0f -1 t 0f . t.

t.

+4 0f

t.

0f

+8

Building Development

146

N

0’

147

20’

40’

figure 4.20

Chapter 4

Floor Plans

Floor Plan Development

The users enter the memorial through the top floor to descend into the structure. Both hikers and riders arrive tot he same top deck to enter the building. Approaching the memorial visitors still don’t really grasp what it looks like other than the ribs visible on the facade. Visitors enter the memorial into a rest and lobby area (refer to image 4.24). On this same level is an outdoor garden which is intended for the end of the users journey around the memorial.

From the lobby visitors continue the processional journey the

memorial is and descend into the chapel. The slow immersion into the void of the memorial begins. Once fully immersed in the chapel, the visitor is in the negative space of what resembles the original terminal’s form. The chapel walls are covered in wood with multiple perforations, drawing inspiration from the Goat Canyon Trestles’ shadow casted on the site (refer to image 5.03 in the next chapter). The chapel walls encourage visitors to pin a photo of the lost loved one, as a sign of letting go. After reaching the ground level of the chapel, the memorial continues the procession for the users through a tunnel like corridor with one aperture on the ceiling. This corridor leads to the individual reflection rooms, for meditation, mourning or writing.

The memorial consists of other program spaces for visitors and

gives the users opportunists to stay over night a couple of days. (refer to image 4.26). The basement level consists of storage, and green technology systems.

148

Building Development

Floor Plans

UP

G ININ RETA LL WA

DWN

MEMORIAL TERMINAL

87’ 3” 92’ 0” 82’ 0”

149

figure 4.23

Terminal Deck N

N

CIRCULATION HALL DWN

FACILITIES MANAGER OFFICES

DECK FOR CAFETERIA

OTB

APIT PAR L WAL

DWN

LOBBY

150’ 0”

RESTING AREA

DWN

ACK CE B E G RAN ENT M BRID FRO

DWN

BATHROOMS

DWN

ROOFTOP GARDEN

DWN

EMERGENCY EXIT

AR SOL LTAICS O TOV

PHO

45’ 6” 49’ 0”

0’

20’

40’

Roof/ Third Floor Plan N

150

figure 4.24

CIRCULATION HALL

TO NEL TUN ROOMS YER PRA

KITCHEN DWN

ENTRY TO JOURNEY UP THE MTN.

DER POW KS NOO

CAFETERIA

L

LEVE

UP

UP

150’ 0”

BATHROOM PODS DWN

UP

ft.

UP

L+7

LEVE

OUTDOOR DECK

L

LEVE

L

LEVE

UP

GUEST STORAGE L+4

LEVE

SHORT TERM FACILITY STORAGE

SERVER STORAGE

ft.

DWN

OPEN TO BELOW

EMERGENCY EXIT

DWN

Second Floor Plan N

151

figure 4.25

UP

CIRCULATION HALL

DWN

K

DWN UP UP

EMERGENCY EXIT

PREP. ROOM

Ground Floor Plan N

152

figure 4.26

CIRCULATION HALL UP

PATH TO ELEVATOR

WORKSPACE/ RESEARCH UP

C ./ DO INFO ERS V SER

RGY ENE GE RA STO

L RMA THE GY R ENE

UP NCY RGE EME RATOR E GEN

UP

EMERGENCY EXIT

20’

40’

Basement Plan N

153

figure 4.27

Chapter 4

East Elevation

This elevation is looking from the Goat Canyon Trestle. The boardwalk is split show the full elevation. The reflection rooms are located on the highest point of the site.

154

Building Development

Elevation

0’

16’

East Elevation

155

figure 4.28

32’

Chapter 4

East Elevation

South Elevation

This elevation is looking from the south side of Goat Canyon, where the reflection rooms are located. This elevation shows the distance and relationship between the memorial and the trestle.

156

Building Development

Elevation

0’

16’

East Elevation

South Elevation

0’

157

16’

32’

figure 4.29

32’

Chapter 4

Memorial & Chapel

158

figure4.30

Building Development

Memorial Descends into Canyon

These

diagrams

represent

methods and purposes for form generation

of

the

Site Integration

Memorial.

The form began to trace the topography and was half buried into the canyon.

In order to

translate the terminal into this structure.

The

interior

chapel

represents the absence of space which resembles the

terminal.

The Chapel is intended to be the void of the self, that missing piece within one’s self when mourning a loss.

Angled Roof for Solar Pads

Absence of Space

159

figure 4.31

Chapter 4

160

Building Development

Axonometric

Circulation & Chapel

Chapel Explosion

Created Incisions Along the Facade for Sun and Views

161

figure 4.32

Chapter 4

162

Building Development

Axonometric

Geothermal Energy

Circulation

Temporary Dwelling Units Roof Terrace Cafeteria Kitchen

Administrative Space

Elipse Boardwalk

163

figure 4.33

Chapter 4

164

Building Development

Transcendence Grieving Rooms “In early cultures, after megalithic times, the place of prayer was a small cube with a hemisphere cupola (Mann, 1993).�

165

figure 4.34

Chapter 4

Grieving Rooms

After the chapel, the ego, the

visitors have access to the individual meditation rooms. These are located on the highest portion of the site and again demands the user to ascend up the mountain to reach one of these spaces.

The individual meditation rooms can be accessed through underground tunnels and some via trails along the mountainside. In this meditation room, there is only a tiny circular opening the size of a pin. In doing this, the entire room hosts a camera obscura effect between the site and the room.

166

figure 4.35, figure 4.36

Building Development

167

figure 4.37

Chapter 4

Grieving Rooms

In designing sacred space for

Generation Y the Barna Research Group encouraged

more individual spaces for

interactions between the individuals and sacred space. These rooms aim to address that concern as well as to encourage users to mourn, grieve, self reflect, contemplate, or

simply

meditate

in

solitude.

They

consist of a wood exterior and a concrete interior. Through the manipulation of light, rooms are intended to provoke a feeling of

where the visitor is to let go of the sky

transcendence for individuals on site. The

lantern. The sky lanterns are to plant

journey back to the memorial continues

flower seeds where ever they land with

along a boardwalk for a final individual

in the canyon. Upon returning to the

moment, this time intersecting the Goat

memorial, the individual ends at the

Canyon Trestle. At this intersection, this is

rooftop garden.

168

figure 4.38, figure 4.39

Building Development

169

figure 4.40

Chapter 4

170

Green Technology

172

Diagram

175

Description

171

Green Technology

Section Perspective

WATER COLLECTION

FORCE

PIEZOELECTRIC FLOOR TILES

EMERGENCY GENERATOR

ENERGY STORAGE THERMAL & SOLAR

INFO./ DOC SERVERS

ELECTRIC SOTRAGE DEVICE ELECTRIC POWER SUPPLY

172

figure 4.41

Section Perspective

173 ELECTRIC POWER SUPPLY

ELECTRIC SOTRAGE DEVICE

PIEZOELECTRIC FLOOR TILES

FORCE

EMERGENCY GENERATOR

ENERGY STORAGE THERMAL & SOLAR

INFO./ DOC SERVERS

WATER COLLECTION

Section Perspective

Green Technology

Chapter 4

This building asks users to get off the grid temporarily and likewise this building should be able to do so as well.

174

Green Technology

Sustainable Features Include: Photovoltaic System: Photovoltaic system. A photovoltaic system, also solar PV system, or PV system, is a power system designed to supply usable solar power by means of photovoltaics (Photovoltaic System, 2015).

Piezoelectric Floor Tiles: Electric power is generated from the friction/ pressure applied onto these floor tiles (Piezoelectric Floor, 2014).

Rainwater Harvesting: Rainwater harvesting is the accumulation and deposition of rainwater for reuse on-site, rather than allowing it to run off.

Its uses include water for garden, water for irrigation, water for domestic use with proper treatment, and indoor heating for houses etc (Rainwater Harvesting 2015).

Solar Chimney: A solar chimney is a technology that can be used to enhance the ventilation of a residential or commercial structure. A solar chimney uses the same principle at use in a fireplace. Heat naturally rises; like the air from a fire will rise through a chimney, creating draft, and taking the smoke with it (Solar Chimney, 2015).

Geothermal Energy: Geothermal energy is the heat from the Earth. It’s clean and sustainable. Resources of geothermal energy range from the shallow ground to hot water and hot rock found a few miles beneath the Earth’s surface, and down even deeper to the extremely high temperatures of molten rock called magma (Geothermal Energy, 2015).

175

Chapter 4

176

Process Work

Process Work

The process work consists of digital modeling and physical

modeling. The end of this chapter contains the final renderings gathered from the digital model and the final physical model with the site.

177

figure 4.42

Chapter 5

Inside Grieving Rooms

figure 4.43

View to Reflection Rooms

178

figure 4.44

Process Work

image 4.2

179

image 4.3

Chapter 5

Entrance to the grieving rooms

figure 4.45

Corridors to the grieving rooms

180

figure 4.46

Process Work

Chapel Interior View figure 4.47

Chapel Exterior View

181

image 4.4

Chapter 5

182

image 4.5 - 4.10

Process Work

183

image 4.11, image 4.12

Chapter 5

184

Conclusion 186

Wall Detail

193

Renderings

204

Presentation

205

Feedback/ Evalutions

207

Statement of Learning

208

Model

185

Chapter 5

Wall Detail 01

Substrate Soil

19

Gusset Plate

02

Drainage Soil

20

I -Beam

03

Filter Mat

21

Concrete Slab

04

Foam Insulation

22

Piezolelectric Stairs

05

Drainage Mat

23

Wood Deck

06

Root Stop/ Water Proofing Membrane

24

Pressure Treated Plate w/ Anchor Bolt

07

Roof Drain

25

Solar Chimney

08

Succulent Planter

26

Drainage to Water Filtration

09

Sealent/ Flashing

27

Weep Hole

10

Seismic Joint - 2 feet

28

Steel Thread Rock Catcher

11

Steel H Pile & Prestressed Concrete

29

Rebar

12

Concrete Tip

30

Anchored Retaining Wall

13

I - Beam Post

31

Reinforced Concrete Wall

14

Guy Anchor to Mountain

32

Insulation/ Flashing

15

Wood

33

Tieback Anchor

16

Structure to Support Wood

34

Anchor

17

Steel Grid Frame

35

Reinforced Concrete Footing

18

Drop Ceiling - 12 inch

186

figure 5.1

Wall Detail

28 14 13

Callout 1

12

9

10 11

1 8

3 4 5 6

7 2

33

32

15 18

16

19

17

Callout 2

20 21

22

23

24

25

29

30

31

Callout 3 26

27

35

0

4’

8’

figure 5.2

10’

187

34

Chapter 5

Wall Detail 01

Substrate Soil

19

Gusset Plate

02

Drainage Soil

20

I -Beam

03

Filter Mat

21

Concrete Slab

04

Foam Insulation

22

Piezolelectric Stairs

05

Drainage Mat

23

Wood Deck

06

Root Stop/ Water Proofing Membrane

24

Pressure Treated Plate w/ Anchor Bolt

07

Roof Drain

25

Solar Chimney

08

Succulent Planter

26

Drainage to Water Filtration

09

Sealent/ Flashing

27

Weep Hole

10

Seismic Joint - 2 feet

28

Steel Thread Rock Catcher

11

Steel H Pile & Prestressed Concrete

29

Rebar

12

Concrete Tip

30

Anchored Retaining Wall

13

I - Beam Post

31

Reinforced Concrete Wall

14

Guy Anchor to Mountain

32

Insulation/ Flashing

15

Wood

33

Tieback Anchor

16

Structure to Support Wood

34

Anchor

17

Steel Grid Frame

35

Reinforced Concrete Footing

18

Drop Ceiling - 12 inch

188

figure 5.1

Wall Detail

28 14 13

12

10

9

11

34

33

0

189

2’

4’ figure 5.3

6’

Chapter 5

1

9

10 11

1 8

3 4 5 6

7 2

33

32

15 16

18

19

17

20 21

22

0

190

2’

figure 5.4

4’

6’

Wall Detail

23

24

25

29

30

31

26

27

35

0

4’

8’

12’

0

191

2’

4’

figure 5.5

6’

Chapter 5

192

Renderings

193

figure 5.6

Chapter 5

The Terminal Representative of the Infancy

image 5.1

194

195

Chapter 5

The Chapel Representative of the Self.

image 5.2

196

197

Chapter 5

The Grieving Rooms The rooms offer opportunities to reflect, meditate and grieve in solitude.

image 5.3

198

Renderings

199

Chapter 5

The Memorial’s view of the Boardwalk The moment of intersection marks the point where the visitor can release their sky lantern with flower seeds.

200

image 5.4

201

Chapter 5

Corridor to Grieving Rooms

202

image 5.5

Chapter 5

Grieving Room

203

image 5.6

Chapter 5

204

image 5.7

Feedback and Evalution

Feedback and Evalution

Foregoing the critique, it was important to understand what the

architecture was welcoming visitors to experience. Through the act of mourning, I better acknowledged the depth and importance of the project.

I went to a secluded space within the school that architecturally paralleled the grieving rooms in this project, and grieved the death of my best friend, to whom this book is dedicated. In an instance which architecture and emotion coalesced, I grasped the weight of mourning and prepared myself for the critique.

Due to the project’s subject matter, life and death, the jury was

slightly more sensitive than I expected. However the original intent of the project was to express a “monumental place of surrender” and this goal I thought was accomplished. Amidst the presentation, the jury was humbled by the project’s romantic and poetic approach. The jury commented at a later point, that the ease and acceptance was in part due to the amount of work produced.

The main critique in the presentation was that the entrance of both

the terminal and memorial weren’t clear. This was because the entrance for both buildings were better shown through physical models. Furthermore, the research for Generation Y continued and unfolded the generation’s life expectancy, which is projected to be 84 years of age (Egoian, J 2013), therefore the project may continue to evolve until the late 2070’s when massive numbers of Generation Y’s population begin to pass away.

205

Chapter 5

206

image 5.8

Statement of Learning

Statement of Learning Imprint extended itself into various aspects of sacred space, methods of memorializing loved ones and death. It was difficult designing a monument as a destination, henceforth it was helpful to specify the typology as something sacred in which was narrowed down to a type of cemetery.

Imprint exemplified the potential emotions possess to drive a project and the design of space.

Through affective visual representations and by using a story

telling approach the project succeeded in provoking questions such as the importance of the body, an individual’s reliance on technology, and the usefulness of abandoned structures, as well as methods of being present with one’s emotions as a design generator.

207

Chapter 5

208

Model

209

Chapter 5

210

Model

211

Chapter 6

212

Chapter 6

Appendices 216

References

219

Figures

225

Images

213

Chapter 6

References 01.

Eggener, K. (2010). Building on Burial Ground. In Cemeteries (p. 26). New York: W.W. Norton & Library of Congress.

02.

Egoian, J. (2013, October 22). 73 Will Be The Retirement Norm For Millennials - NerdWallet. Retrieved June 1, 2015, from http://www.nerdwallet.com/ blog/investing/2013/73-retirement-norm-millennials/

03.

Fitspatrick, N. (2010, October 17) Generation over-stimulation (Columbia Daily Spectator) retrieved from http://columbiaspectator.com/2010/10/17/ generation-overstimulation

04.

Geothermal Energy (2015) Retrieved from http://www.renewableenergyworld.com/rea/tech/geothermal-energy

05.

Gottschalk Jr., C. (1976 September 10) “Earthshaking News from the Art World: Sculpturing the Land� The Wall Street Journal, qtd. in Germano Celant, Michael Heizer (Milan: Fondazione Prada, 1997), p. 439.

06.

Greenfield, R. (2011, March 16). Our First Public Parks: The Forgotten History of Cemeteries - The Atlantic. Retrieved from TheAtlantic.com website: http://www.theatlantic.com/national/archive/2011/03/our-first-public-parks-the-forgotten-history-of-cemeteries/71818/

07.

Graham, C., Gibbs, M., & Aceti, L. (2013). Introduction to the Special Issue on the Death, Afterlife, and Immortality of Bodies and Data. Information Society, 29(3), 133-141. doi:10.1080/01972243.2013.777296

08.

Hoffman, M. (2014, August 13). Here Is Everything You Need to Know About the Millennial Consumer. - AdWeek. Retrived May 10, 2015, from http://www.adweek.com/news/technology/here-everything-you-need-know-about-millennial-consumer-159139

09.

Igualada Cemetery (2013 March 5) retrieved from http://oldgardens. net/2013/03/05/igualada-cemetery-barcelona-spain/www-cpinos/

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Kimmelman, M. (1999, December 12). Michael Heizer: A Sculptor’s Colossus of the Desert. New York Times.

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Kimmelman, M. (2005, February 6). Art’s Last, Lonely Cowboy. New York Times.

14.

Kroll, A. (2011, January 13) AD Classics: Igualada / Enric Miralles & Carme Pinos (ArchDaily) Retrieved from http://www.archdaily. com/103839/ad-classics-igualada-cemetery-enric-miralles/

15.

Kroll, A. (2011, February 17) AD Classics: MIT Chapel / Eero Saarinen (ArchDaily) Retrieved from http://www.archdaily.com/112682/ad-classics-mit-chapel-eero-saarinen/

16.

Molloy, M. (2012). Experiencing the world’s religions : Tradition, challenge, and change... (6th ed.). New York: McGraw-Hill.

17.

The Nielson Company (2014) Millennials Breaking The Myths, New York & The Netherlands.

18.

Overland Partners (2014, October 28). “The Color Inside / Overland Partners + James Turrell Skyspace” ArchDaily. Retrieved at <http://www.archdaily. com/?p=560974>

19.

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20.

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21.

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22.

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23.

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25.

Quirk, V. (2012 July 05) Data Centers: Anti-Monuments of the Digital Age (ArchDaily) Retrieved from: http://www.archdaily.com/251153/data-centers-anti-monuments-of-the-digital-age/

26.

Rainwater Harvesting (2015) Retrieved from http://en.wikipedia.org/wiki/ Rainwater_harvesting

27.

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28.

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216

Figures

Figures 1.1

Time line depicting, data centers, cemeteries, telecommunication. Christian Menna. 2015

1.2

Millenials in Smart Phones. Christian Menna. 2015

1.3

Disconnect between Millenials and Sacred Space. Christian Menna.

2015

1.4

Memorial Broken Down. Christian Menna. 2015.

2.1

Circle and Square Diagram. Christian Menna. 2015.

2.2

Axis Mundi Earth Diagram. Christian Menna. 2015.

3.1

Case Study Location Diagram. Christian Menna. 2014

3.2

Igualada Cemetery Location Diagram. Christian Menna. 2014

3.3

Igualada Cemetery Site Plan. Christian Menna. 2014

3.4

Igualada Cemetery Tomb Diagram1. Christian Menna. 2014

3.5

Igualada Cemetery Tomb Diagram 2. Christian Menna. 2014

3.6

Igualada Cemetery Circulation Diagram. Christian Menna. 2014

3.7

Igualada Cemetery Tomb Diagram 3. Christian Menna. 2014

3.8

Steilneset Memorial Figure Ground Diagram. Christian Menna 2014.

3.9

Steilneset Memorial Plan View Diagram. Christian Menna 2014.

3.10

Steilneset Memorial Front Elevation Diagram. Christian Menna 2014.

217

Chapter 6

3.11

M.I.T. Chapel Vicinity Map Diagram. Christian Menna 2014.

3.12

MIT Chapel Plan, Circulation and Elevation Diagrams. Christian Menna 2014.

3.13

MIT Chapel Geometry Diagrams. Christian Menna 2014.

3.14

Heizer’s City in Nevada Location Diagram. Christian Menna 2014.

3.15

Heizer’s City Plan and Geometry Diagram. Christian Menna 2014.

3.16

Showing Scale in Michael Heizer’s City Diagram. Christian Menna 2014.

3.17

Heizer’s City in Perspective & Shadow Diagrams. Christian Menna 2014.

3.18

Facebook Data Center in Prineville Floor Plan. Christian Menna 2014.

3.19

Facebook Prineville, Oregon Data Center Location. Christian Menna 2014.

3.20

Facebook Prineville, Oregon Data Center Perspective Diagram. Christian Menna 2014.

3.21

Facebook Prineville, Oregon Data Center Elevation Diagram. Christian Menna 2014.

3.22

Potential Program Spaces 01. Christian Menna 2014.

3.23

Potential Program Spaces 02. Christian Menna 2014.

3.24

Concept Program Configuration 3A. Christian Menna 2014

3.25

Concept Program Configuration 3B. Christian Menna 2014

3.26

Concept Program Configuration 1A. Christian Menna 2014

3.27

Concept Program Configuration 2A. Christian Menna 2014.

3.28

Concept Program Configuration 1B. Christian Menna 2014.

3.29

Concept Program Configuration 2B. Christian Menna 2014.

3.30

Site Location Map. Christian Menna 2014.

3.31

Preliminary Site Plan Study. Christian Menna. 2015.

218

Figures

3.32

Site/Context Analysis Diagram. Christian Menna. 2015.

3.33

Historical Context Diagram. Christian Menna 2015.

3.34

Site Weather Analysis Diagrams 1. Christian Menna 2015.

3.35

Site Weather Analysis Diagrams 2. Christian Menna 2015.

3.36

Parcel Map Diagram. Christian Menna 2015.

4.1

Hike Map Diagram. Christian Menna 2014.

4.2

Parti. Christian Menna 2015.

4.3

Three mile Hike Map. Christian Menna 2015.

4.4

Section of 3 mile Hike Diagram. Christian Menna 2015.

4.5

Three Life Stages Vertical. Christian Menna 2015.

4.6

Program Massing. Christian Menna 2015.

4.7

Program Table Final. Christian Menna 2015.

4.8

Various Shadow Studies. Christian Menna 2015.

4.9

Circle and Square Diagram. Christian Menna 2015.

4.10

Axis Mundi Diagram. Christian Menna 2015.

4.11

Overall Thesis Diagram. Christian Menna 2015.

4.12

Infancy life stage diagram. Christian Menna 2015.

4.13

Terminal Exploded Axonometric. Christian Menna 2015.

4.14

Terminal Site Plan. Christian Menna 2015.

4.15

Terminal Ground Floor Plan. Christian Menna 2015.

4.16

Terminal Second Level Plan. Christian Menna 2015.

219

Chapter 6

4.17

Circle Square Comparison Diagram. Christian Menna 2015.

4.18

Terminal Section Drawing. Christian Menna 2015.

4.19

Ego life stage diagram. Christian Menna 2015.

4.20

Memorial Site Plan. Christian Menna 2015.

4.21

Lot Coverage Diagram. Christian Menna 2015.

4.22

Landscaping Plan. Christian Menna 2015.

4.23

Memorial Terminal Top Floor. Christian Menna 2015.

4.24

Memorial Rooftop Floor Plan. Christian Menna 2015.

4.25

Memorial Second Floor Plan. Christian Menna 2015.

4.26

Memorial Ground Floor Plan. Christian Menna 2015.

4.27

Memorial Basement Floor Plan. Christian Menna 2015.

4.28

East Facing Elevation. Christian Menna 2015.

4.29

South Facing Elevation. Christian Menna 2015.

4.30

Chapel Parti. Christian Menna 2015.

4.31

Chapel Diagrams. Christian Menna 2015.

4.32

Chapel Axo 1. Christian Menna 2015.

4.33

Chapel Axo 2. Christian Menna 2015.

4.34

Transcendence Life Stage. Christian Menna 2015.

4.35

Figure Ground Grieving Room A. Christian Menna 2015.

220

Figures

4.36

Grieving Room Section Diagram A. Christian Menna 2015.

4.37

Grieving Room Floor Plan A. Christian Menna 2015.

4.38

Figure Ground Grieving Room B. Christian Menna 2015.

4.39

Grieving Room Section Diagram B. Christian Menna 2015.

4.40

Grieving Room Floor Plan B. Christian Menna 2015.

4.41

Perspective Section Diagram. Christian Menna 2015.

4.42

Process Renders of Terminal and Memorial. Christian Menna 2015.

4.43

Preliminary Grieving Room Rendering. Christian Menna 2015.

4.44

Preliminary Rendering for Grieving Rooms. Christian Menna 2015.

4.45

Preliminary Entrance Rendering. Christian Menna 2015.

4.46

Preliminary Corridor Rendering. Christian Menna 2015.

4.47

Preliminary Chapel Rendering. Christian Menna 2015.

5.1

Figure Diagram with Section Cut. Christian Menna 2015.

5.2

Wall Detail full length. Christian Menna 2015.

5.3

Wall Detail call out 1. Christian Menna 2015.

5.4

Wall Detail call out 2. Christian Menna 2015.

5.5

Wall Detail call out 3. Christian Menna 2015.

5.6

Massing with perspectives. Christian Menna 2015.

221

Chapter 6

222

Images

Images 0.1

Menna, Christian. Only Up. 2015. Photo. 04 April 2015.

1.1

Hand Print. 2015. Web. 16 Apr. 2015. retrieved from http://afterhardship.blogspot.com/2012_11_01_archive.html

1.2

Pharoah, Michael. Heart. 2013. Web. 29 Feb. 2015. retrieved from http:// www.gooddesignmakesmehappy.com/2013/09/project-love-michaelsguide-to-life.html

1.3

Bierstadt, Albert. The Great Trees, Mariposa Grove, California. 1876. Web. 29 Feb. 2015. retrieved from www.albertbierstadt.org

2.1

Menna, Christian. Tunnel to Tunnel. 2015. Photo. 06 Jan. 2015.

2.2

Menna, Christian. Dragonâ&#x20AC;&#x2122;s Den. 2015. Photo. 06 Jan. 2015.

2.3

Menna, Christian. Ending Light. 2015. Photo. 06 Jan. 2015

2.4

Wenborne, Guy. Termas de Puritana German Del Sol. 2011. Web. 26 Mar. 2015 retrieved from http://divisare.com/projects/166224?utm_campaign=ec_ newsletter&utm_content=project_166224&utm_medium=email&utm_ source=newsletter_190

3.1

Malanchuck, Kirk et al. Structural Elements And Lateral Bracing. 2014. Web. 08 Nov. 2014. retrieved from http://uwarch-belog.com/index.php/2014/02/11-precedent-models-analysis-through-construction/

3.2

Riesto, Bjarne. Steilneset Memorial. 2011. Web. 12 Nov. 2015. retrieved from http://www.archdaily.com/?p=213222

3.3

Meredith, Andrew. Steilneset Memorial. 2012. Web. 08 Nov. 2015 retrieved from http://www.archdaily.com/?p=213222

3.4

Liao, Joe. MIT Chapel 3. 2010. Web. 08 Nov. 2014 retrieved from https://www. flickr.com/photos/czliao/page2

3.5

Daderot. MIT Chapel. 2010. 06 Nov. 2014 retrieved from http://www.archdaily. com/112682/ad-classics-mit-chapel-eero-saarinen/

3.6

Lee Bonticou, Ninth Stone.1965-68 . Lithograph. 12 Nov. 2014. retrieved from http://www.moma.org/collection/artist.php?artist_id=670 223

Chapter 6

3.7

Lee Bonticou, Untitled. 1960. Charcoal and pencil on paper. 12 Nov. 2014. retrieved from http://www.moma.org/collection/artist.php?artist_id=670

3.8

Lee Bonticou, Untitled. 2004-2011.Welded steel, epoxy, wire mesh, canvas, porcelain, and paint . 12 Nov. 2014. retrieved from http://www.flickriver. com/photos/59414209@N00/sets/72157628816420469/

3.9

Lee Bonticou, Untitled. 1987. Charcoal and pencil on paper. 12 Nov. 2014. retrieved from http://hammer.ucla.edu/exhibitions/2003/lee-bontecou/

3.10

Hamilton, James. Facebook Prineville Data Center. 2011 Web. 12 Nov. 2014. retrieved from http://perspectives.mvdirona.com/2011/04/open-compute-mechanical-system-design/

3.11

Menna, Christian. Program Concept C. 2014. Photo. 06 Jan. 2015.

3.12

Menna, Christian. Program Concept A. 2014. Photo. 06 Jan. 2015.

3.13

Menna, Christian. Program Concept B. 2014. Photo. 06 Jan. 2015.

3.14

Goula, Adria. Iguzzini Illuminazione Espana SA Headquarters. 2012. Web. 09 Feb. 2015. Retrieved from http://www.dezeen.com/2012/02/11/iguzzini-illuminazione-espana-sa-headquarters-by-mias-architects/

3.15

bcncat. Barcelona, Catalunya. 2014. Web. 29 Oct. 2014. retrieved from http:// www.skyscrapercity.com/showthread.php?p=122737223

3.16

Numen/ For Use. Net Linz. 2014. Web. 29 Oct. 2014. retrieved from http:// www.numen.eu/installations/net/linz/

3.17

Maciej, Jeżyk. Muzeum Historii Żydów Polskich. 2013. Web. 09 Feb. 2015 retrieved from http://www.polin.pl/en

3.18

Wojciech, Kryński. Polin Museum of the History of Polish Jews. 2013. Web. 09 Feb. 2015. Retrieved from http://www.polin.pl/en

3.19

Menna, Christian. History of Polish Jews Museum. 2013. Photo. 09 Feb. 2015.

3.20

Heringer, Anna. Aire de Bardena Hotel. 2008. Web. 09 Feb. 2015. Retrieved from http://www.mimarizm.com/Yarismalar/Detay.aspx?id=48995

3.21

Unknown. Underground Garages. 2013. Web. 04 Mar. 2015. Retrieved from http://www.ceridianindex.com/unforgettable-underground-homes-design/ underground-garages-inside-surface-of-the-earth/

3.22

Unknown. Goat Canton Trestle. 2013 Web. 12 Feb. 2015. retrieved from http://masterok.livejournal.com/1450787.html

3.23

Menna, Christian. Palm Oasis. 2015. Photo. 06 Jan. 2015.

224

Images

3.24

Menna, Christian. Goat Canyon Trestle View South. 2015. Photo. 06 Jan. 2015.

4.1

Waltefaugle, Nicolas. Park in Sermange by Agence Territoires. 2007. Web. 02 Feb. 2015. Retrieved from http://www.landezine.com/index.php/2011/12/sarmange-landscape-architecture/sermange-by-agence-territoires-01/

4.2

Menna, Christian. Concept Grieving Room Model. 2015. Photo. 26 Mar. 2015

4.3

Menna, Christian. Concept Grieving Room Model 2. 2015. Photo. 26 Mar. 2015

4.4

Menna, Christian. Concept Memorial Model 2. 2015. Photo. 26 Mar. 2015

4.5

Menna, Christian. Model Progress 1. 2015. Photo. 06 Jun. 2015.

4.6

Menna, Christian. Model Progress 2. 2015. Photo. 06 Jun. 2015.

4.7

Menna, Christian. Model Progress 3. 2015. Photo. 06 Jun. 2015.

4.8

Menna, Christian. Model Progress 4. 2015. Photo. 06 Jun. 2015.

4.9

Menna, Christian. Model Progress 5. 2015. Photo. 06 Jun. 2015.

4.10

Menna, Christian. Model Progress 6. 2015. Photo. 06 Jun. 2015.

4.11

Curzon, Geoff. Christian’s Model 1. 2015. Photo 07 Jun. 2015.

4.12

Curzon, Geoff. Christian’s Model 2. 2015. Photo 07 Jun. 2015.

5.1

Menna, Christian. Terminal Rendering. 2015. Computer Rendering. 23 May. 2015.

5.2

Menna, Christian. Chapel Rendering. 2015. Computer Rendering. 23 May. 2015.

5.3

Menna, Christian. Grieving Rooms Rendering. 2015. Computer Rendering. 23 May. 2015.

5.4

Menna, Christian. Memorial Rendering. 2015. Computer Rendering. 23 May. 2015.

5.5

Menna, Christian. Grieving Room Entrance Rendering. 2015. Computer Rendering.

23 May. 2015.

5.6

Menna, Christian. Interior Grieving Room Rendering. 2015. Computer Rendering.

23 May. 2015.

5.7

Curzon, Geoff. Christian’s Presentation. 2015. Photo 27 May. 2015.

5.8

Menna, Christian. Presentation. 2015. Photo. 27 May. 2015.

225

226