Midterm Learning Portfolio Enkhtuvshin Ganbold
ARCH 102 Spring 2012
Table of Content • Understanding the course objecBves and what I bring to the table • The ﬁrst assignment: Tile • Understanding the concept of Fourfold as a designer • The iniBal gesture models • QuesBons & Concerns • Peer criBque • Chapel research • Works driven by quesBons • Site models • Before moving forward
Understanding the course objecBves and what I bring to the table The introducBon of the course was simple and welcoming. It was made clear that it takes one years of pracBce to become a decent designer. With that said, I leR behind most of my stress of reaching a high expectaBon that I’d assumed to have from the Design 101. Even at the end of semester of Design 102, one will not be expected to excel but will have only been one step closer to a “perfecBon.” It was stated that there is no such thing as perfecBon in a design studio, especially as we just start to develop our design language for the second semester. We’ll taste diﬀerent ideas and explore various materials to expand our design process, but we’ll not design a resolved building in this course. I understood, however, that I am responsible to constantly seek and evolve my personal design language, bringing something on the table as designer. Expressing something speciﬁc about either my background, personal experience or my individual characterisBc that is diﬀerent from anyone else is what’s important, which will drive my work.
As the ﬁrst assignment was announced, I was absolutely excited about it, and it was certainly a fun project to work with. All the restricBons made it very interesBng to create the Ble. The most signiﬁcant aspect of the Ble to me was its material. Since I hadn’t known what corrugated meant before, understanding what it was and why the Ble had to be made out of it mostly inﬂuenced my design. I thought that the paZern of the corrugaBon was what needed to be emphasized, so my intenBon was to reveal the unique quality of the corrugated board in 3 dimensions. In order to show that quality, I wanted to cut the board into thin slices and place them in such way that has a conBnues corrugaBon paZern. One of the requirements, having 2 levels at the least and 12 levels at the most, actually then gave me the direcBons to start. Because layering thin slices up to make 12 levels would make the Ble textured not only from the top but also from the sideways verBcally. Thus, I ﬁrst designed the Ble, considering how it should look in 2 dimensions; the very ﬁrst layer is just a simple surface supporBng the design on top, and the second layer is cut of into dynamic paZerns and space of which are ﬁlled with the cut pieces with their corrugated sides.
The design outline was inspired by a photography of mine about light and shadow. The regular surface of the board represents a surface on the sunlight, and the corrugated side represents shadow. Where the shadow is at where the complexity is since I believe that the corrugated side cerates visual complexity. The Ble gradually gets into shadow from the light exposure. Where the shadow is dense, there is three dimensional layered part, which is a place where I aZempted to create a complexity. One could look at the Ble not only from the top, but also experience and see through from its sideways or elevaBon and diﬀerent angles. The elevaBon view of the Ble matches the plan view of the Ble.
I also noted that the Bles can be placed outside in the sun, so the corrugaBon of the board at a certain area was designed with intension to cast its shadow on the smooth surface.
Although the Ble I was designing was abstract, I also considered it literally. When Bles are put together with another or arranged in certain way, they create a paZern. So as I was designing, a piece of Ble that I design can be mulBplied and cover a wall, as they connect to one another with their slanted lines.
Understanding the Concept of FourFold as a Designer As the next or rather the rest of the semester’s project was assigned, I learned another big and unfamiliar term, the fourfold. But before understanding what a fourfold is, one should understand what a building is. According to MarBn Heidegger, “For building is not merely means and a way toward dwelling‐ to build is itself already to dwell.” Thus, to be an architect means to be able to preserve peace, because to build or design means to dwell, whose nature is “to be set at peace,” to spare, and to save from being harmed or destroyed. Therefore, as designers, or more generally as builders and dwellers, we ( me and my peers) are fourfolders, ones who acBvate the core of the fourfold. It is believed that dwelling essenBally means to be a mortal on the earth, under the sky before the diviniBes, which suggests that how we dwell, alternaBvely, what we design basically means a way in which we sustain peace on the earth. Designing a FourFold Chapel is a perfect form of preserving peace, as one gets to design/build a shelter space for meditaBon, which is a common acBvity for mortals to create peace in their internal and external natures.
FourFold Chapel Gesture Model 1
As the class was introduced with the concept of fourfold, it was asked to design a chapel that is representaBve of the same idea, which is to be named the “FourFold Chapel.” We were also given its site and program. Knowing where the chapel is going to be located and how it is going to funcBon was very exciBng, yet at the same Bme it made my ﬁrst experience in gesture models preZy overwhelmingly frustraBng as the basic restricBon was “no glue.” I forgot about or actually didn’t understand exactly what a gesture model was, so if I could use glue, I would actually have made an ugly “chapel.” Since there was no way to reach a certain point without glue, I started quesBoned my process aRer hours of struggle. Nonetheless, I tried to respond to the fourfold by making a cross lie “roof” that has four points, and made a transparent “wall” and “ﬂoor” that respond to the site, exposing one to the beauty of the nature.
FourFold Chapel Gesture Model 2
Because I struggled through my ﬁrst couple of models, one of which I never ﬁnish, I had only a few hours leR to ﬁnish my models before their due. Since I worked with wire last semester, I decided to quickly make something with the familiar material. Although it took a lot less hours to make the model, it didn’t having anything to do with the fourfold.
What maybe beZer about it compared to the ﬁrst model could be that it now is more abstract gesture model, which addresses some of the design biases, such as being abstract over the literal, asymmetrical over symmetrical, expandable rather than closed
FourFold Chapel Gesture Model 3
I was sBll struggling with the fact that glue was excluded from our design. I was aware of the purpose behind it though; buildings are not constructed with glue that designers need to build structures which become what is called architectural design. I now feel like I should have stuck with my wire at this point, but there were couple of reasons that kept me stay away from the wire. As I researched structures with no glue, perfectly cut and folded paper models would pop out so that I would want to create something similar. Also, I was afraid of creaBng things that would end preZy similar to what I have done in design 101. As a result, a model that I made out of a mat board is one on the right, trying to depict a quality of wave. What I realized aRer making this model was that working with only one material, especially paper, is not what I like.
FourFold Chapel Gesture Model 4
I think the “no glue” method has been the most cruel yet the most essenBal part of my design process. It forced me to make a decision that I must work with wires. Wire has many advantages, most important of which is that it can wrap or sew things, so the whole dilemma about glue would be resolved! Although I didn’t exactly think of that at the moment, I subconsciously realized it and made my next model real quickly and easily. Whereas I devoted hours to cut the curvilinear shapes in order to make the previous model, I literally spent couple of minutes to put up this model. Even though I didn’t consider any criBcal quesBons about the program in the process, I feel as if this was an excellent experiment and big move from my ﬁxaBon.
FourFold Chapel Gesture Model 5
Now that I have ﬁgured out what material I am really aZracted to, I could go back to the mat board and tried to incorporate it into the wire work. Besides loving the ﬂexible, light and graceful quality of the wire, I wasn’t really responding to the concept of chapel as I wasn’t really sure what I was doing. However, there was a hope; I saw a direcBon where my model could go. I accidently found an image ( on the right) that is similar to my model above, and the blue planes in it actually a form a roof of a real exisBng meditaBon space. So there we go, my extremely abstract gesture models has a potenBal of a chapel.
What appeared as wire in the previous image now became the main support/structure of this meditaBve place. So it was an inspiraBonal moment, which encouraged me to use wire as my main or signiﬁcant part of my design.
QuesBons & Concerns
• How do we know that we are ﬁnished with the model? • How do we know that our model is a good model? • How do we determine whether a model is good or not? Such quesBons would tell us that we need to have a set of criterion to evaluate our work. So we were reminded to refer to the design studio biases, our program, site, reread the reading, “Building Dwelling Thinking,” and do outside research, which will inform our work a lot.
Things to keep in mind
• Be aware of the certain quality that is working in my models • Seeking qualiBes, such as heavy, light, sharp, and curvilinear, in my work is how I would evaluate my work • Without any feed back, try to establish my own process to create the next set of model • look at what worked and what didn’t work, reﬂecBng on what I have made. • Don’t wait for another person to tell me what to do next. Figure out what direcBon I should go on my own. • Look at the models and see if there is something in common either in material or form. Ask myself what connects some of or all of my models, and what thread runs through them
Peer CriBque Since I had only two models and hated the ﬁrst one so much, I I gave my second/wire model to be criBqued. I recall that it was said that the white circular shapes made of paper were too randomly thrown together with the wire forms. Also, the model consists of only circular shapes so that is too boring to look at. I agree with my peer both about the randomness of the paper and the too much of the circular shapes. I wonder how it might have looked if there was a plasBc circles instead of paper. I also know that anything is more interesBng if it consists of various or opposing elements, such as verBcal vs. horizontal and ﬁgure vs. its void, so it might have been more aZracBve if there ware some straight lines or metal surfaces that ﬁll the circular frames but certainly not squares because personally I like curves.
Peer CriBque I love the pointy edges and the way the model is slanted as it reaches up to the sky. It is characterized by sharp edges, which seem ﬁerce and sleek. I also like the slightly inconstant order, in which the pieces are arranged. The clean and neat cut of the carton contributes to its sharp and elegant quality. I hate the copper wires that connect the main objects. They seem to be there only to support the paper parts but not as a part of the design itself. The color of the copper doesn’t either blend or complement the model. They are crooked and aZach the pieces so poorly so that the whole thing aRer all look cheap.
Thoughts aRer the research It was very good experience to expose to various design languages in terms of chapel and our site. I parBcularly loved how some of the architects used the nature, such as rock, as the part of the interior beauty or exterior main support of the building. In addiBon, this exercise helped me to understand the diﬀerence between what is to describe a model and what is to give qualiBes to a model. During class, we were ﬁrst asked to pick our favorite images and explain why that so in a few words. Then we had to choose two words that we liked the most out of all the word we had for the images. The words I chose were s/mula/ng and strenuous. From all the words on the board, we then idenBﬁed the ones that can be used to explain an architectural structure from its visual or objecBve aspects, such as its color, surface condiBon and size.
Quality vs. DescripBon I learned that the words such sBmulaBng and/or strenuous are not objecBve but really subjecBve words for describing an architectural work. That’s because one understands or associated a word s/mula/ng with something speciﬁc, for another person the same word can suggest a totally diﬀerent idea. With that in mind, I developed my own understanding of quality over descrip/on. I could be wrong. But, in my understanding, quality is a visual and objecBve characterisBc of something that can be universally agreed upon whereas descrip/on can be abstract and doesn’t have to be agreeable for diﬀerent people. To conﬁrm, I looked up the words in DicBonary.Com. The word quality in its noun form is an “1.essenBal or disBncBve characterisBc, property, or aZribute, 2.character or nature, as belonging to or disBnguishing a thing,” and the word descripBon is “a statement, picture in words, or account that describes descripBve representaBon.” I was close! We need not to over think as we try to idenBfy qualiBes of an architectural piece but need to look for characterisBcs that are obvious to anyone.
QuesBons Big quesBons about architecture in general: • What makes an architecture unaZracBve or aZracBve? • What is the most challenging aspect of architecture?
Speciﬁc quesBons about the program: • What is important about meditaBon or chapel? • Am I more fascinated by the site or about the concept of meditaBon? • What is an experience of human being as he sits down and meditates, and how would it diﬀer from being in a building of a busy city than chapel on the edge of an ocean?
Set of ideas that I would consider for the next set of models: • A speciﬁc quality of the material being used is expressed or emphasized in the model as an advantage∙ • Responding to the site; elements, such as rough/ hard rocks and smooth waves of water, are compared and contrasted against the model • Express a visual repeBBon • Aspect of hiding & revealing of the nature • Enhancing the experience of meditaBon and mood • Design theme that reﬂects the personality and atmosphere of the site
FourFold Chapel Gesture Model 7
From the previous lecture, I learned that a model should reveal a speciﬁc quality of its material. And I was fascinated by how fragile and elegant the glass looked in contrast with rough and though rocks. Since one of the main elements of our site is rock, I experimented with plasBc which looks as though a glass. A neat quality of glass is that if reﬂects things surround it as it is also see through, which is a nature of water that is another element of the site.
FourFold Chapel Gesture Model 8
If glass shares some the qualiBes that water has, what is the the diﬀerence? The diﬀerences and the similariBes of glass and water are interesBng that they can coexist in a place as one enBty, and or they can be two separate enBBes that can disBnguish one from the another. For example, a glass under water wouldn’t be as much as noBceable than glass on the rocks. A person who is over the water would see water and glass as one thing, the water. Yet if a person is under water but in a glass structure, now the glass divides the water or it separates the person from the water as it reveals its quality. Glass which can mimic the gliZery and transparent qualiBes of the water, is sewn by wires and hold them, in this model, which is quality that water doesn’t posses.
FourFold Chapel Gesture Model 6
For this Bme we were asked to make an abstract gesture model that somehow reﬂects to something from the real world. It could be anything, such as chapel, kind of imagery or creature in nature, or a secBon of something.
I decided to research on how to create a meditaBon space ﬁrst to let myself
randomly ﬁnd something I like from the research. I looked at What meditaBon is and found a deﬁniBon as follows. It is a state of consciousness that brings serenity, clarity, and bliss. Human being bounce from one thought to another follow with emoBon and physical reacBon. And one way to meditate is to concentrate to gain control over mind. It is done by picking on an object to place ones aZenBon and focus exclusively without diversion. One could also repeat a word as meditaBon strategy. So repeBBon is somehow associated with meditaBon. And the model expresses that concept, repeBBon.
If we are exploring some aspect about our site, program and trying respond to that idea through our work we had to become the “experts” on that topic. So in my next model, I aZempted to respond to concept of meditaBon, what it is and what its experience is.
Transcendental MeditaBon To understand what it is, I looked up what was transcendental, which means to go beyond, exceed in excellence, common experience and thought. Such meditaBon is not a religion, philosophy, or lifestyle, and it is considered the most eﬀecBve method of self development. It allows mind to seZle inward beyond thought to experience the source of thought, pure awareness, which is known as transcendental consciousness or the uniﬁed ﬁeld. This is the most peaceful level of consciousness. In this state of respul awareness, and one’s brain funcBons greater and body gains deepest restoring, which is a experience of higher states of consciousness. The transcendental MeditaBon allows the mind to simply, naturally and eﬀortlessly transcend and experience deep state of respully alert consciousness.
Mindfulness MeditaBon It helps one put aside all thoughts of the past and the future to stay in the present
Understanding meditaBon in general
It is a deeper level of consciousness than a normal consciousness which means ‐ geqng one’s mind and body into meditaBve zone. ‐enter with ﬂow ( resistance free) ‐tuning one’s mind by focusing, relaxing, melBng away stress ‐revive and achieve peace It is ﬁnding peace within environment.
‐ freedom from strife ‐ state of serenity, calmness and sBllness that is diﬃcult to achieve without meditaBon ‐ ﬁnding transitory moments of tranquility (It is said said that everything in the world is subject to change so that ﬁnding that transitory moment is not deﬁnite or saBsfactory. And lasBng peace can only be found within us. ) ‐ experience which earns the existence of an inner spiritual reality ( which is non – denominaBonal that one can ﬁnd peace within oneself regardless of any named god)
RelaBng meditaBon and peace to the program In order to ﬁnd a peace in the world, we ﬁrst have to ﬁnd it within ourselves. MeditaBon is a great tool to achieve that. Once peace is found in our mind the world may look more peaceful. Things surround us may seem to embrace us more closely. In other word experience in life may become more meaningful and pleasant. The sun, sky, ocean, rainbow and air may seem brighter and warmer and broader, or that one feel more close to the nature the earth. And our site of the program is a perfect seqng for such experience aRer meditaBon.
InterpreBng “Building Dwelling Thinking” In order to beZer understand the concept of fourfold, I have read through the essay once again. From this, I hoped to inform my design process and bring my conceptual models to the next level by having more big quesBons about architecture in general as well as speciﬁc quesBons about our program. Being human simply means to dwell as we are able to be on the earth as a mortal. Then to dwell means to be at, to be brought to, and to remain in peace. Then if peace means free of and protected from the danger, it therefore means to spare, not worrying about neither the future nor the past and remaining “at peace within the free sphere that safeguards each thing in its nature.” Thus, dwelling is one being secure, isolated from both physical and mental threats, and yet being completely associated or united with the earth, the nature. Also, human beings as dwellers, preserve the fourfold of earth, sky, mortals and diviniBes. As far as humans live, it’s understood that they are as mortals are able to experience the sunshine and sunset and the life on the earth before the diviniBes.
Issues/QuesBons • What could water/ocean represent or symbolize in terms of spirituality?
‐spiritual reﬂecBon, divine mirror ‐ allowing one reﬂecBng upon one’s thoughts and acBon internally ‐process of self evaluaBng and meditaBon ‐ mirror simply reﬂects that which is currently true. As enlightened beings we have both the ability and responsibility to change our personal, mental, and spiritual reﬂecBon whenever we "see" something in our mirror. ‐so mirror or the ocean helps one to know one’s true self and IsolaBng one self from past and the future to just live in the moment.
• How could one relate to and isolate from nature and hold no before and aRer thoughts? ‐MeditaBon! As it is a state between consciousness and unconsciousness, it can be interpreted as a bridge between those states as well. In other words, meditaBon can bridge
More general quesBons about architecture • How should a space be representaBve of and related to its chosen site? • How can architecture highlight the speciﬁc site character that it’s built on? • RepresenBng the architecture or the client’s message to the occupiers. • Building a space that is welcoming and warm that makes a person to want to return. (How architectures should evoke a memorable personal experience)
Ideas related to the site that are driving my project: One of the essenBal elements of the site is the ocean. In terms of meditaBon, ocean symbolizes experiences of one’s in and out of meditaBon process. When a person is in a meditaBve state, s/he might experience intuiBonal feelings and insights and be isolated from the logical world. So the surface below the ocean could metaphorically symbolize this sort of subconscious state. On the other hand, when one is not in meditaBve state, s/he would have raBonal and logical experience and be connected to and aware of the natural world/the earth. Only human as a mortal can have such diﬀerent feelings, as they are able to meditate. And the act of mediaBon serves one as a bridge to be psychologically both connected and isolated from the natural experience.
FourFold Chapel Gesture Model 9
In this set of models, I focused on what it means to meditate or more or abstractly, going to one moment to a peaceful moment, what is peace, and how one becomes peaceful. I thought of one’s feelings in entering a mediaBon space and how it would diﬀer from one’s experience in exiBng of that space.
FourFold Chapel Gesture Model 10
This model was made based on the same idea of bridging, thinking one’s experience in entering and exiBng the bridge. The bridge is supposed to be very inviBng/welcoming and the one who is exiBng it should have a pleasant feelings.
FourFold Chapel Gesture Model 11
I see an experience of meditaBon as a thought process, process which is so dynamic and unpredictable. Forms that are seen in my bridge symbolize that indeﬁnite moment. It would be hard to deﬁne what is like to mediate, experience of which is diﬀerent for others.
FourFold Chapel Gesture Model 12
This model can be called a side experimentaBon. I was advised to work with diﬀerent, cheap and easy to work with materials in order to quickly capture gestures I wanted to make. That ideas was great, in fact, just imagining myself making models in small amount of Bme was exciBng. However, I ﬁgure that working with paper, for example, rather than wire would completely change the aqtude or character of my model. So wanted not to completely abandon, but decided to make wire, which has been the primary part of my old models to be secondary and a wire mesh to by the main material of the current model. Here, the wire mesh twists itself to express the change in one’s experience before and aRer going through its tunnel. And the thin wires represent one’s thought process that is someBmes fats and swirling and someBmes slow and ordered.
FourFold Chapel Gesture Model 13
As our model making experience developed, we were expected to have more complexity and density in our work, that has more architectural qualiBes, such as integraBon of both surface and frame works, incorporaBon of various materials.
FourFold Chapel Gesture Model 14
Here I simply made a model based on what was asked of me, which I hated aRerwards. I intended to integrate or combine what worked in my previous models. Besides only throwing parts of two diﬀerent model into one, I was not exploring more ideas or responding to anything speciﬁc about either site or the program.
Site Model 1
Criteria for moving to site were our capacity to sustain a series of model/ gestures, and level of density complexity, and hierarchy in our models. However, I admit that Jumping into site was a big step, in which I lost my direcBon. I felt as though I have made another gesture model that actually less complexity and density. The main failure was that it didn’t respond to the site and could go anywhere.
Things that I should have considered before making my site model • • • • • • • •
Take stand about the place in order to approach my project Think of the project as I though I am designing the site but not a building Be able to know why I design a structure on or oﬀ the island Consider if one can access the island by the high Bde or only by the low Bde The client wants the chapel to be especial, a FourFold Chapel, so how can my design respond to both the site and idea of fourfold ( seek some aspect about the site that relate to the fourfold) Not enBre program has to go on either the island or the main land NoBce that the island is naturally connected with the main land although it looks separate The Bdes change, so bridging is not a necessity, so my bridging should serve something more than what just a common bridge serves
Things we know about the site scienBﬁcally • • • •
Wind/climate/soil condiBon, its color, hardness and soRness High and low Bdes/elevaBon Color and general character of the rocks OrientaBon/ the north and south sides
Non scienBﬁc facts about the site • The quality, movement, sound of the ocean • Temperature and wind diﬀerences
Person’s possible experiences on the site • • • • • • •
Idea of being on an edge of the ocean Experience of being on or standing on something that is not on one’s level Smell of the ocean Sense of expansion, limitlessness Eco system, biology of the water and animals in the ocean Way in which light hits the land and water ( sunset and sunrise) Diﬀerence between light hiqng land and shimmering water
More inspiraBonal ideas about the site • Archeology of shiR • ConnecBon‐ temporary bridge • Experience of being on the island vs. on the main land and going through a bridge • Natural island and natural bridge‐ cycle of the Bdes‐ the gravitaBonal pull of the moon • Nature of rock in terms of climate • Island is a place where one can look back • Mystery of water‐ dangerous/safe/stormy/calm • Feeling of being isolated from the land but connected at the same Bme by either natural or man made bridges • Concept of ﬁrst viewing the sits and leaving it • Adding to and or subtracBng elements to the original site • RelaBonship between truspul and stable rock and risky and ﬂuid water. • Duality of the place – water vs. land and over vs. under water • A way in which a quality of a bridge, being stable or unstable , can eﬀect the nature of the site or one’s experience about the site.
Site Model 2
From the last lecture in class, I became aware of how to be site speciﬁc, or what it is to make a site model. Simply, site model has a relaBon with the site, and one way or another the model should connect with the site. While I wanted to keep my design language in the model, I was making connecBon between my site with meditaBon.
The main thing to work with the site is to be speciﬁc and to be able to explain speciﬁcally why I choose a certain area of the site.
Making connecBons between the site model with the fourfold: ‐ Why does the bridge goes over the island? The bridge enables folks to be able to go over the island and look into the place from above, from where only diviniBes can see. So people share possibly similar experience with gods. ‐ Why does the bridge go under the water? It bridges the surface of under and over water. The structure visually and literally represents a bridge, as it also abstractly expresses an experience of meditaBon. Because meditaBon enables a person not only to come at peace, but also feel both conscious and subconscious states. I understand consciousness as being connected to the nature, being aware of things that happen in our environment, and sub‐ consciousness as being isolated from the logical experiences or the environmental phenomena. And going to the island through the bridge, a person may feel somehow isolated from the main land yet connected as well with the same bridge. A diﬀerence between my speciﬁc bridging out of any other bridging is that it bridges the mainland with the island as well as the over and under water atmospheres. It would not be an ordinary bridge, it would be a bridge that invites a person into a journey to ﬁnd a peace and enables one to contact with the sky, earth and gods. Coming out of that bridge, one would feel as though one has come to a complete bliss, where the fourfold may complete as one. Without the human interpretaBons or logical/ subjecBve understandings of the fourfold, fourfold is meaningless since the other parts are passive.
Before making the next move on the models, either it would be site or gesture, we were suggested to sketch or ideas quickly on a paper and ask ourselves quesBons that would inform our process. Although there were many ideas/images ﬂoaBng in my head, I wasn’t able to picture them on a ﬂat paper. I thought it might have been beZer to make a model. I guess I had goZen too used to making models. As I saw how other people did their sketches, I realized how many other strategies that I could have used. For example, plan, secBon and elevaBon drawings would have been very eﬀecBve, instead of trying to visualize something in three dimensions. Anyway, it is deﬁnitely an eﬀecBve tool that will be handy for any Bme, especially exploring and brainstorming design ideas.
Site Model 3
My next site model aZempted to bridge the island to the main land from its northern east side. While a person access the island, s/he has to go under the water, where a meditaBon space is located. By the Bme they pass that mediaBon area, they would have been come to the island. Then the island becomes the main area to celebrate the moment aRer mediaBon. It is the place where one can feel as though one is in the most sacred place and becomes one enBty with nature. Then they will be bridged back to the main land by the northern west side of the island.
To be site speciﬁc, we need to consider all the diﬀerent opBons ﬁrst and decide which would express our thoughts the best. Trying diﬀerent versions will open up more possibiliBes for developing our design and thinking process of our projects.
Before moving forward • It was said that we need to let the site really alter our design of the site model but not to make the model decide where it wants to go on the site. For now, we are dealing with how to respond to the site which is the criBcal point for the development of our chapel. Once we conﬁdently and comfortably establish our site speciﬁc model, we then can move onto more speciﬁc aspects, such as human acBviBes and funcBons of the chapel. • “What we make is the result of what me think, and what we think is the result of what we make.” This is something that stood out to me in the beginning of the semester, which I had never thought of before, and I realize how true it is that our design process can’t exist without one or the other of the thinking and making. So more I work on my models, the beZer my ideas develop from possibiliBes that come out of my design process. • QuanBty of work produces a quality of work.