Unbound: Studying Adaptive Architectural Expression Beyond Function
Studying Adaptive Architectural Expression Beyond Function
A Thesis by Isabelle Chagnon
Unbound: Exploring Adaptive Architectural Expression Beyond Function
A Thesis by Isabelle Chagnon
My thesis research began with looking at both the Neue National Gallery by Mies van der Rohe and the natural mud huts of the Musgum Tribe, considering how old ideals can be drawn and applied to modern design practices. One of the most celebrated elements of Neue, the glass facade walls, create an illusion that the dense black roof is almost floating supported solely by the presence of sleek steel pillars. This expression closely resembles architectural expressions seen in Ancient Greek temples. Neue serves as a perfect embodiment of Mies’ mantra, “Less is more,’’ representing a modern adaptation of ancient architectural concepts.
The Musgum huts, while viewed as somewhat primitive, are rich in technological sophistication, showcasing enduring values of communal living within nature. Evident through the
REFERENCING THE OLD
circular layout that encourages inward-facing interactions, the merging of individualized spaces into a cohesive whole, and the direct connection between nature, inhabitants, and architecture, these ideals remain relevant and applicable to contemporary architectural practices.
My preliminary thesis research in part revolved around this delicate equilibrium between modern and “old” architectural expressions, revealing how these seemingly disparate eras can emphasize shared core principles. By drawing inspiration from both physical architectural forms, much like Mies’ approach, and the communal organization fostered by the Musgum tribes’ architectural decisions, I began to study a way of making design decisions that bridged the gap between the fundamental and the innovative.
Study
Musgum Tribe
MUSGUM TRIBE
The Musgum tribe’s huts in Africa stand as remarkable examples of architectural ingenuity emerging through the use of natural elements. These dwellings, crafted from earth, reflect both simplicity and sophistication in their design and construction.
At first glance, the Musgum huts come across as straightforward, with their organic shape, resembling the graceful curves of beehives or shells. Yet, through deeper exploration, the thoughtful functionality behind their forms is revealed. Constructed with mud, thatch, and water by local residents using minimal tools, these huts embrace the design principles of efficiency and sustainability, highlighting a direct relationship between people, architecture, and the earth
The key architectural feature of Musgum huts is the catenary arch, an ideal mathematical form that optimizes strength while minimizing material usage. This inverted arc of a chain gives the domes their slim profile, working on the principle of compression to provide structural rigidity without any twisting or bending moments. Grooves on the exterior surfaces facilitate rainwater drainage while also serving as footholds for construction and maintenance.
Within the Musgum compounds, a complex of housing units, granaries, and courtyards emerges, each interconnected by clay walls. These walls, thicker at the base than at the summit, ensure stability and security. Space is allocated for familial expansion, with additional huts add-
ed for new wives or daughters-in-law. The concept of adaptability, as demonstrated by Musgum architecture’s ability to effortlessly adjust to changing occupancy needs over time, signals a clear departure toward a modern approach in architectural design.
The circular openings atop the huts allow for ventilation and light, while the decorative surfaces exhibit intricate geometric patterns, adding refinement and individuality to each dwelling. Every element, from the layout of the compound to the design of the huts, serves a specific function while harmonizing with the natural environment.
Cob building techniques, requiring only hands, earth, and water, epitomize the Musgum approach to construction, emphasizing simplicity and self-sufficiency. The language of curves and grooves in these structures echoes the organic forms found in nature, creating a seamless integration with the surrounding landscape.
In essence, Musgum huts are not merely shelters but embodiments of cultural heritage and sustainable design. They stand as timeless testaments to human creativity and resilience, reminding us of the enduring bond between humanity and the Earth. The apparent simplicity in both lifestyle and design methodologies masks a profound complexity, serving as a source of inspiration for contemporary design thinking still relevant in today’s world.
Musgum Tribe Study
“The exterior surfaces of the Musgum huts were grooved to facilitate easy drainage of rainwater, while also acting as a decorative surface, offering opportunities for additional refinement and individualization.”
The Musgum huts still stand today, rich in tradition and crafted with meticulous attention. These unique structures have exteriors with intricate patterns, each telling a story rooted in the cultural heritage of the community.
These patterns, often geometric or abstract in nature, serve both aesthetic and functional purposes. Beyond their visual appeal, they also play a crucial role in regulating the internal temperature of the huts, providing insulation against the hot African sun and the cool desert nights. Moreover, the patterns reflect the relationship between the Musgum people with their natural surroundings, with patterns inspired by elements of the landscape such as riverbeds and animal tracks. Through these richly symbolic designs, the Musgum huts not only serve as shelters but also as embodiments of cultural identity and resilience.
Musgum Tribe Study
Musgum Tribe Study
Mies van der Rohe's Neue Nationalgalerie located in Berlin, Germany
Mies van der Rohe Study
Mies van der Rohe, despite being a pioneer of modernist architecture, often looked to the past for inspiration and references when designing his buildings. His approach to referencing old architecture was not about imitation but rather about understanding the timeless principles of architectural design and adapting them to the contemporary context. One notable example of this approach is seen in his use of classical orders and proportions in his designs.
Mies’s reference to old architecture is evident in his use of steel and glass in buildings such as the Neue Nationalgalerie in Berlin, Germany. While these materials are distinctly modern, Mies employed them in a way that recalls the transparency and lightness of medieval cathedrals. The Neue’s bronze exterior mullions create a rhythmic pattern reminiscent of the vertical found in Greek architecture, while its open plaza pays homage to the public squares of Renaissance palazzos.
MIES VAN DER ROHE
“The modern architect is, by definition, without tradition, and yet he must be able to produce a tradition.”
- Ludwig Mies van der Rohe
In both cases, Mies van der Rohe’s references to old architecture serve to establish a dialogue between the past and the present, creating buildings that are simultaneously rooted in tradition and forward-thinking in their design. By incorporating elements of classical architecture into his modernist vision, Mies created timeless structures that continue to inspire architects and designers to this day.
Mies
Contemplating a Way to Live: La Ecovilla
In October, my thesis research pivoted as I looked more into the concept of humans and their built environments coexisting with nature. This fascination led me to the discovery of La Ecovilla, a community in Costa Rica. La Ecovilla is a unique community situated in the Costa Rican landscape, encouraging a harmonious coexistence between humans and nature. Founded on the principles of sustainability, ecological stewardship, and communal living, La Ecovilla serves as an example of sustainable living in the modern world.
Located near the town of Atenas, Costa Rica, La Ecovilla is more than just a residential development; it's a thriving ecosystem where residents prioritize environmental conservation, community engagement, and holistic well-being. The community spans over 40 acres of land, with approximately 40 homes with organic gardens, fruit orchards, and wildlife.
One of the defining features of La Ecovilla is its commitment
to living in harmony with the natural environment. Residents here strive to minimize their ecological footprint by employing renewable energy sources and utilizing sustainable building materials. Many homes are constructed using locally-sourced materials such as bamboo, adobe, and reclaimed wood, blending seamlessly with the surrounding landscape. Beyond sustainable infrastructure, La Ecovilla fosters a strong sense of community among its residents.
At its core, La Ecovilla embodies the idea that humans are not separate from nature but rather integral parts of the natural world. By prioritizing ecological sustainability, community resilience, and holistic well-being, La Ecovilla offers a compelling vision of how humans can thrive in harmony with the planet. In an era marked by environmental challenges, communities like La Ecovilla serve as demonstrations that a more sustainable and interconnected way of life is not only possible but also enriching and fulfilling.
My exploration of these three ways of living and designing sparked a pivotal evolution in my thesis, focusing on a "pure" relationship between humans, nature, and their built environments. Drawing inspiration from my research findings, as exemplified in the graphic to the right, I determined my main directions for my future thesis designs. These directions emphasized key principles studied in the Musgum communities, highlighting adaptability and resilience. Additionally, it embraced the idea of simplicity and purity in architecture, drawing from timeless practices found in Mies's work. Lastly, it prioritizes a design approach that maintains harmony between the architecture, the occupants and the natural surroundings, as seen in La Ecovilla.
MAIN DIRECTIONS
Studying and defining a pure architecture, an architecture which lends itself to multiple interpretations from both the occupants and program, it becomes infinite in nature, molding itself to ever changing needs.
Implementing these ideas of purity into a modern practice of architecture that mimics and takes inspiration from old architectural ideals, like the seemingly simple combination of wall and column enclosing a space
Designing architecture which promotes a simple and straight-forward relationship between occupant, where they inhabit, and where it sits in the world. The hierarchy between place, program, and occupant becomes obsolete, the three living in harmony; ultimately this harmony will be reflected in the architecture.
Contemplating a Way to Design: Le Corbusier’s La Tourette
How can architecture facilitate a building’s evolution over time when its original purpose becomes obsolete?
With the goal of finding a contemporary architectural reference that embodied these three ideals and effectively showcased them, I found myself drawn back to my experiences at Le Corbusier's La Tourette. During my semester abroad in Fall 2022, La Tourette, to me, emphasized a fusion of classical architectural elements, a seamless connection to both nature and occupants, and remarkable adaptability regarding programmatic needs. Despite its origins as a monastery for 100 monks, the space had evolved to host local events, exhibitions, and even functioned as a quasi-hotel. Intrigued by its multifaceted nature, I began a deeper study into La Tourette, exploring the way in which it was designed and occupied.
La Tourette, designed by architect Le Corbusier, stands as a testament to the timelessness of innovative, aesthetic design. While originally designed as a Dominican monastery, the building’s timeless architectural qualities have ensured its continued relevance and utility in the contemporary world. Despite the shift in occupancy, La Tourette remains a vibrant place of activity, serving as a cultural, educational, and residential center that welcomes visitors from around the globe.
The building’s striking architecture and natural surroundings make it an ideal venue for seminars, art exhibits and academic retreats, attracting scholars, artists, and architects seeking inspiration and introspection. Additionally, the monastery’s chapel continues to serve as a place of
worship and contemplation. Moreover, the living quarters, commonly referred to as cells, have been adapted to accommodate visitors.
Despite the evolution of its usage, La Tourette remains a prime example of Le Corbusier’s vision of architecture acting as a trans-formative force that enriches the human experience. Its legacy serves as a reminder of the power of design to transcend functional boundaries and shape the way in which occupants interact with the built environment. As a testament to the enduring relevance of modernist architectural principles, La Tourette continues to inspire its visitors, embodying the timeless values of simplicity, expressionism, and harmony with nature.
A Quick Look Into Purism
Le Corbusier’s essay entitled “Purism” was written in the early 1920s as a manifesto for the aesthetic movement of the same name. In the essay, Le Corbusier, along with fellow artist Amédée Ozenfant, described a vision of art and design characterized by simplicity, clarity, and a profound commitment to functionality of space, “We have attempted to establish an aesthetic that is rational, and therefore human.” Le Corbusier and Ozenfant argued in this essay that art and architecture should reflect the machine age and the modern industrial world, embodying an essence of objects and structures rather than masking them with excess ornamentation.
The core principles of Purism, as outlined in the essay, revolve around geometric abstraction and a focus on essential forms. “Purism” represents a pivotal moment in the evolution of modernist design, highlighting the pursuit of simplicity, functionality, and the aesthetics of the machine age.
Purity in architectural design, as exemplified by Le Corbusier’s La Tourette, highlights a profound exploration of minimalist and unmitigated design. It focuses on the fundamental elements of architecture, such as walls and columns, shunning excessive ornamenta-
tion in favor of a simple, unembellished expression of form and function. Simply put, it is pure. In his pursuit of architectural purity, Le Corbusier aimed to create a space that could serve as a sanctuary for the monks who would inhabit it.
The building’s rigorous geometry and precise proportions create an atmosphere of serenity and introspection for all who occupy it, once the monks, now mainly tourists and various architectural admirers. On paper, La Tourette’s plan reveals a culmination of unspecified spaces, alongside the unmistakable cells for the monks and the refectory. Once accommodating a hundred monks, these spaces have since adapted to the evolving needs of the convent. The architecture’s unadorned presence allows it to seamlessly transform, mirroring the adaptability of its layout. The plan emanates purity, a quality further magnified in its physical form.
This meticulously designed layout effortlessly merges spaces for its permanent residents and transient visitors. The deliberate absence of embellishments and superfluous ornamentation resonates with Le Corbusier’s belief that genuine beauty resides in simplicity – a simplicity that propels the architec-
Contemplating a Way to Live With Design: Black Mountain College
How can one cultivate a lifestyle conducive to exploring diverse avenues of design expression and methodologies?
Immersed in the way of life at La Ecovilla and by the architectural philosophies of La Tourette, I became intrigued by the prospect of merging these two distinct ideologies into my own thesis—wanting to design a space where individuals seamlessly interact with nature, with one another, and with these pure expressions of architectural design. This pursuit led me to Black Mountain College, an unorthodox design college that was based in North Carolina. I found myself inspired by its creative spirit of experimentation and innovation. It was a place where individuals were empowered to push the boundaries of conventional design and forge new paths of expression. This revelation served as a guiding light in my own studies to merge the ideals of La Ecovilla and La Tourette.
Located in a small town just outside of Asheville, North Carolina, Black Mountain College stands as a symbol of innovation and experimentation in the area of art and education. Founded in 1933 during the Great Depression, this institution quickly became a haven for creative minds seeking sanctuary from the rigid structures of traditional academia.
At Black Mountain College, the boundaries between disciplines and ways of life became blurred. Its curriculum was unconventional, emphasizing the integration of arts, humanities, and sciences. Here, painters, poets, musicians, philosophers, and mathematicians all collaborated instead of being
separated by their areas of study. The ethos was one of collaboration, exploration, and creativity.
Central to the spirit of Black Mountain College was its communal living and learning environment. Faculty and students alike lived and worked together, fostering a strong sense of community. This unique setting nurtured a culture of openness and experimentation and traditional hierarchies dissolved.
Despite its influential legacy, Black Mountain College faced struggles throughout its existence. Its unconventional ap -
proach often clashed with mainstream expectations, making it difficult to secure consistent funding and support. In 1956, after more than two decades of operation, the college closed.
The spirit of Black Mountain College prevails in the minds of the countless artists, thinkers, and educators who attended. Its legacy continues to inspire alternative approaches to education and creative practice, reminding us of the power of collaboration, experimentation, and the pursuit of unconventional ideas. Black Mountain College remains a prime example of the importance of challenging conventionality in design.
A Manifesto of Sorts
Declarations from December
Just like all forms of art, I believe that successful architectural design revolves around achieving a sense of equilibrium and well-proportioned aesthetics. The choice of material, form, and perspective needs to be carefully considered, the goal being to evoke emotional connections between architecture and the occupant. I hold a firm belief in our innate human desire for profound connections with the spaces we occupy. It is my conviction that architecture possesses the remarkable ability to elicit contemplation, spark reflection, and ignite meaningful conversations through the art of space-making. These elements, undoubtedly, have the capacity to evoke profound emotional responses, shaping our experiences and enriching our lives.
Partition
Column
Beam
Aperture
FOUR CORE ELEMENTS
By artfully layering fundamental components, including elements such as columns, beams, apertures, and partitions, all while considering proportion, material, light, and form, a designer can delicately craft spaces capable of facilitating connections with its occupants. It’s the nature of this elemental layering that renders these spaces highly malleable to personal associations. The resulting architecture lacks specific programmatic elements; there are no distinct directions swaying occupants on what to do or how to feel within the space. The architecture is free to become whatever the occupant needs it to be; it can serve infinite purposes.
The model photographs here represent hypothetical designed spaces that contain these four core elements, while considering proportion and light.
A Third Place: The Manifestation of an Ideology
How does one approach architectural design when liberated from programmatic obligations? What possibilities can manifest if the design approach is focused on expressiveness rather than purely function?
My thesis project aims to study these quandaries, proposing a different way of thinking about architecture—one that is based in the idea that architectural design could more often be utilized as a pure expression rather than simply as a programmatic fulfillment.
Rethinking the conventional design approach, which often places programmatic requirements at the forefront, my thesis advocates for a shift towards prioritizing fundamental design principles first. This ideology challenges the familiar trajectory that architects have tradi-
tionally practiced This thesis explores how these fundamental methodologies can influence and create space independently of predefined requirements.
I have crafted my design by focusing on these architectural expressions and how occupants will feel and interact with them. By utilizing key elements like beams, columns, openings, and partitions to apply basic principles such as scale and light, architecture can actively promote specific human interactions and uses.
How is a "Third Place" Define Itself Within the Context of my Thesis?
Over the past year, my thesis evolved into a study of architecture that possesses a certain autonomy, free from the constraints of any singular program. It draws heavy inspiration from La Tourette, specifically the notion that despite its initial purpose of housing 100 monks, the architecture of the building has transcended this original function, the original need becoming almost obsolete today. This fascination serves as the heart of my thesis, where I aim to conceive a “third place” concept—a structure designed to accommodate various programs and individuals over time, all while preserving the authenticity and design integrity of the architecture. In my thesis, this idea manifests in three distinct spaces. The first, a place for reflection and contemplation, second, a place for creation and expression, and lastly, a place for community and collaboration.
1. Precedents for a Place for Reflection and Contemplation
2. Precedents for a Place for Creativity and Expression
3. Precedents for a Place for Community and Collaboration
1. A Place for Reflection and Contemplation
62 - 67
3. A Place for Community and Collaboration
73 - 77
2. A Place for Creativity and Expression
68
- 73
HOW DO MANY BECOME ONE?
My design was initiated with a focus on a prominent central axis, employing the foundational concept of a colonnade, supported by walls delineating a fluid path of movement and procession through my design. From this central corridor, the three distinct spaces were designed to extend outward, seamlessly intertwining with the centralized corridor while also manifesting as independent. Transitions in both ceiling and floor treatments serve as visual cues, effectively signaling shifts in spatial experience to the occupants. An example of this occurs to the left, where the roof-line veers and the material transitions from opaque to transparent glass, casting light upon the doors leading into spaces designated for reflection and contemplation. This architectural language not only communicates a spatial transformation but also invites occupants to engage with and comprehend the evolving narrative of the designed environment.
1. A Place for Reflection and Contemplation
Perspective section cut through the space for reflection and contemplation, the centralized corridor, and the community bathroom
The design process for the space of reflection and contemplation began with an exploration of precedents, drawing inspiration from spaces like Le Corbusier's cells at La Tourette. Keeping the architectural elements and atmospheric conditions of these spaces in mind, my design began with considering the intricate relationship between architectural elements and human behavior.
Light, being a fundamental factor of a space's ambiance, played a central role in the design. I chose to bathe the space in soft, diffused natural light, filtered through windows made of glass block. It casts gentle shadows, inviting occupants to deepen their connection with their thoughts and emotions, fostering an atmosphere conducive to introspection.
Scale emerged as another critical factor in shaping the environment. The proportions of the space were designed with the intention of evoking intimacy and solitude. Whether through the ceiling height or the room's overall dimensions, every aspect of the layout was chosen in order to facilitate moments of quiet introspection and self-reflection.
Through the harmonious interplay of light, material, and scale, the design transcends the physical environment, becoming somewhat of a sanctuary where occupants could reconnect with themselves and find solace.
Figure II: The space for reflection and contemplation adapted as a dorm room.
Perspective section cut through the space for creation and expression, the centralized corridor, and the space for reflection and contemplation
2. A Place for Creation and Expression
A Place for Creation and Expression
Much like the space for reflection and contemplation, the space for creation and expression began with a thorough study of existing precedents. I was particularly drawn to the layout and lighting considerations found in open galleries and artists' studios. Incorporating these insights, I aimed to create an environment that could support various activities related to learning, creating, and exhibiting.
My goal was to ensure that the architecture could accommodate both individual and group use. To achieve this, I designed the room on a larger scale while implementing partitions to provide intimate alcoves.
Light played a crucial role in shaping the atmosphere of the space. I wanted it to be bright and inviting, encouraging people to work and spend time there. Therefore, I opted for fully transparent materials to maximize natural light. Additionally, I prioritized maximizing wall space for gallery showings and artists' studios by elevating the windows, enhancing the space's potential for functionality.
A Place for Creation and Expression
Image I: View of the centralized corridor from the space designed for creation and expression
Image II: Space for creation and expression designed as an artist's studio
1. A Place for Community and Collaboration
Perspective section cut through the centralized corridor, and the space for community and collaboration
The concept behind the space for community and collaboration stemmed from the vision of creating a gathering spot capable of accommodating a significant number of people. Understanding the architectural implications of such a space, I envisioned it to be expansive, flooded with natural light, and free-flowing without excessive barriers. In crafting my design, I opted to position the space two steps lower than the centralized axis, deliberately signaling a transition in the environment. To infuse the area with light, I incorporated skylight apertures that illuminate the space. Additionally, one entire wall was envisioned to be made of glass, serving as a bridge between the interior and the exterior surroundings, fostering a sense of connectivity and openness.
Image II: The space for community and collaboration adapted as a personal office/work space.
Image I: The space for community and collaboration adapted as an office space
The Possibility of a Site: Asheville, North Carolina
How can you integrate real-world factors such as location and topography into the framework of this thesis ideology?
I chose Asheville as the hypothetical site for my thesis because of its rich diversity, offering a spectrum of people with varying architectural needs. Placed in the heart of the Blue Ridge Mountains, Asheville has a vibrant creative community, evident in its galleries and craft markets.
Moreover, Asheville's demographic encompasses elderly residents, suburban families, and college students, fostering a dynamic social landscape to study within the context of my thesis. Its proximity to nature, particularly the Appalachian Mountains, adds another layer of complexity to the city's character.
ASHEVILLE, NORTH CAROLINA RICHMOND HILL PARK
UNC ASHEVILLE CAMPUS
DOWNTOWN ASHEVILLE
RICHMOND HILL PARK
For my hypothetical site, I selected a small plot of land in Richmond Hill Park, a public park situated just fifteen minutes from downtown Asheville. Tucked away in a residential neighborhood, it offers seclusion from main roads and freeways while providing elevated viewpoints of UNC's Asheville campus, downtown, and local neighborhoods. This setting serves as a canvas for implementing my design ideologies, catering to diverse surroundings and occupant demographics.
Richmond Hill Park's potential as a "Third Place" allows for interpretation and adaptation by various groups over time, embodying Asheville's spirit of inclusivity and adaptability. In essence, Asheville's diverse population and its harmonious relationship with nature offer an ideal backdrop for exploring the intersection of architecture, community, and environment—key objectives of my thesis.
Concluding Thoughts
In conclusion, my thesis project has studied complex design challenges with the aim of questioning the approach to architecture taken in many design projects. It advocates for architectural design that acts as a pure expression rather than merely a response to functional needs, challenging conventional expectations. By emphasizing fundamental design principles from the outset, I have sought to redefine the common practices of architectural education.
At the heart of my thesis lies an exploration of how these foundational methodologies can liberate spaces from predefined constraints. Through a focus on architectural expres-
sions and their impact on occupants, I have demonstrated how buildings can actively shape human interactions and activities. By leveraging key architectural elements and principles such as scale, layout, and light, I believe buildings can evolve to accommodate diverse uses and occupants while retaining their design integrity and expressive qualities.
In embracing this new design approach, we pave the way for a built environment that is more adaptable and enduring, enriching both the spaces we inhabit and the practice of architecture as a whole.
IMAGE CITATIONS
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Pg 29: Unknown. "Image of La Tourette." Pinterest, Accessed July 4, 2024. https://i.pinimg.com/originals/44/72/ d5/4472d56bb840073632834f64fa426f75.jpg.
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Pg 43: "BMC Idea and Place." Black Mountain College Museum + Arts Center, Accessed July 4, 2024. https://www. blackmountaincollege.org/bmcideaandplace/.
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thank you for everything bill, "the best teachers are those who show you where to look but don’t tell you what to see."
