Bartlett_MArch Architecture_Unit18_Shaokang_Li_Y4

AN ARCHIVE OF THE CIUDAD PERDIDA

A Chapel and Gallery of a Lost Civilization in Colombia

Design Portfolio Shaokang Li | Unit 18 2019/2020 Design Tutor: Ricardo de Ostos | Isaie Bloch

Aluna

There is no life without thought

The Project focuses on an almost lost Civilization: The Lost City (Ciudad Perdida) in Colombia. Its original inhabitants named Kogi are now coming out of the Sierra mountain territory with their pilgrimage and idea of ‘Aluna' to warn the public to protect the ecosystem of the estuaries in Santa Marta.

The overall project tries to embrace the idea from 'Aluna' while translating it into the form of architecture. The building is an archive of the Lost City, of 'Aluna', which records their messages and culture in an architectural language. Sitting at the estuary of Manzanares river in the city of Santa Marta, the building functionally works as Kogi's pilgrimage chapel and public gallery. Meanwhile, it plays a neutral role in relation to the landscape and context. Nature is partly merged with building, in turn, the building extends its patterns to surrounding as well. It is a medium in-between Kogi and the public, in-between indigenous and contemporary. The project is neither trying to praise Kogi’s culture nor spread it to the public but sitting at a neutral point with telling their story.

The building emphasizes a profound coherence among construction, material, atmosphere, spatial qualities of the space, and controlled nature elements (Light and Water). It is a place that encourages people to pray or simply to stop and rest and marvel for a moment. The places would sharpen the perception of visitors- of the location, the natural environs, and even the way they see themselves. The comprehending of the relation with nature and idea towards the unknown would allow visitors to create their understanding.

Contents

Chapter01 - Research of the Lost Civilization ('Aluna') 1.0 Ciudad Perdida: Kogi and the Lost City('Aluna') 1.1 Location of the Lost City 1.2 The Territory of the Lost City 1.3 City Planning Based on 'Aluna': Terrace and Steps 1.4 Steps to 'Aluna' 1.5 Key Movement of the Lost City 1.6 Meditation and Hallucination 1.7 'Aluna' and Unknown 1.8 Cosmology and Socio-religious Concepts 1.9 'Aluna' and Ceremonial House 1.10 Religious Concept of the Proposal 1.11 Translating 'Aluna' into Geometry of Light 1.12 Light Pockets 1.13 Translating 'Aluna' into Geometry of Terrace 1.14 Terrace Pockets

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Chapter02 - The Pilgrimage Story of the Kogi 2.0 2.1 2.2 2.3 2.4 2.5 2.6

Eco-System of 'Aluna' Linea Negra (The Black Line) Construction on the Estuary Pilgrimage Along the Sacred Sites Pilgrimage Caribbean Coastline Estuary of the Manzanares River

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Chapter03 - Project Context & Design Process 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8

Site Context Activities Around the Site Tide Effects and Users Roof Plan (Context) Beachfront (Caribbean Coastline) Riverfront (Estuary) Design Process (Context) Design Process (Programme) Ground Floor Plan (Programme Layout)

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Chapter04 - Proposal: A Chapel of 'Aluna' (Nature, Light & Water) 4.0 Aerial Axonometric View 4.1 Multi-Dimension Quadrant 4.2 Pilgrimage Process in the Tower 4.3 Pilgrimage Tower 4.4 Section of the Tower 4.5 Atrium Details (Control Light and Rain) 4.6 Interior Raining Effects 4.7 Steps Details (Pool and Moss) 4.8 Corridor Ventilated Skylight 4.9 Facade of the Tower 4.10 Pilgrimage Corridor 4.11 4.12 Elevation (Raining and Sunshine) 4.13 Lower Roof Fixed Light 4.14 Openable Louvres 4.15 Gallery Chamber 4.16 Structure and Material 4.17 Open Pavilion and Platform

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1.0 'Aluna': Kogi and Ciudad Perdida 1.1 Location of the Lost City 1.2 The Territory of the Lost City 1.3 City Planning Based on Aluna: Terrace and Steps 1.4 Steps to 'Aluna' 1.5 Key Movement of the Lost City 1.6 Meditation and Hallucination 1.7 'Aluna' and Unknown 1.8 Cosmology and Socio-religious Concepts 1.9 'Aluna' and Ceremonial House 1.10 Religious Concept of the Proposal 1.11 Translating 'Aluna' into Geometry of Light 1.12 Light Pockets 1.13 Translating 'Aluna' into Geometry of Terrace 1.14 Terrace Pockets

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Chapter01 Research of the Lost Civilization ('Aluna') 'Aluna' of Ciudad Perdida (Spanish for "Lost City") here is an idea of a group of indigenous people Kogi's thought and believe, which represents an almost lost civilization involving the their cosmology and ancient territory 'The Lost City in Colombia'.

Indigenous People - Kogi

Kogi's Ancient Territory: The Lost City

The Kogi talks in quite a mystical way about the connections between the sea, the rivers, the lakes, the land and the universe. They are talking about threats between these systems, effectively, those systems really are very strongly connected.

The Ciudad Perdida - the Lost City, is the archaeological site of an ancient city in Colombia's Sierra Nevada de Santa Marta, which is near the city of Santa Marta.

It is believed to have been founded about 800CE, built by Kogi's ancestors, which consists of a series of 169 terraces carved into the mountainside, a net of tiled roads and several small circular plazas. The entrance can only be accessed by a climb up some 1,200 stone steps through dense jungle. The ancient idea of construction of the Lost City is highly integrated with nature and environment link to the 'Aluna'.

Their attitudes and knowledge towards the universe and nature named 'Aluna' is inspiring for people nowadays.

They show the reverence and respect the unknown power or knowledge. Their knowledge system is from Aluna, from the universe. Each generation will know less. Their cosmology tells us to follow all the law in the nature.

The Kogi have many lessons to teach the corporate world about respecting the often invisible interconnectedness of ecosystems.

1.Carving star maps on the Monolith

2.The singe path leading to the scared terrace

3.hewing Coca for Meditation

'Aluna': Kogi & Ciudad Perdida The indigenous people Kogi as well their ancestors have their own believe and thought named 'Aluna'. This idea could be fully read from their traditions, their activities and construction of their ancient territory (the Lost City).

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Map of the Department of Magdalena

Location of the Lost City The Lost City is located in the Sierra Nevada de Santa Marta, which is near the city of Santa Marta, close to the Caribbean Sea, hidden in the deep forests in mountain range.

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1.Circulation Kogi circulation patterns emphasize free flowing movement. The central area terraces have numerous internal paths and adjacent, integrated sidewalks such as these that would have allowed people to move about freely between the different parts of the town.

2. Terrace

Grass and rubble

The “piedras� (stones) sector of the town has many beautifully built structures, but its main characteristic is the use of large boulders as foundation for terraces and rings. Much of the stone used to build Ciudad Perdida was quarried in this area, where laminar schist boulders such as the one on the right in the photograph can be found strewn about the slopes of the hill.

Steps acting as retaining wall

3. Ring In higher status dwellings, perfect circles of cut and dressed stone elevated above the terrace are achieved by using trapezoidalshaped cut blocks with a curved edge. Notice also the two entrances.

Masons had to work in situ to be able to assemble these rings.

4. Connection Spanish documents from the 16th century mention that Kogi family structure was polygamous. An extended family at Ciudad Perdida would have inhabited one or more interconnected terraces with various dwellings and structures such as these. This is a large terrace with two stone foundation rings.

City Planning Based on Aluna: Terrace and Steps The Lost City is built on the rolling mountain range with the form of terraces and steps. The whole city represents Kogi's knowledge/believe and their idea connected with whole nature and eco-system.

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1.Worship Terrace Even as the jungle reclaimed its stone terraces and trails, the Lost City was never “lost� to the tribes themselves, who say they continued to make regular pilgrimages there. And each of those round terraces are connected with multi-path.

2. The Path The path towards the Lost City: Within minutes, the road narrows to a single path through the forest.

The single path leading to the scared place are hidden by the dense forest, while celebrating a sense of ceremony.

3. Primordial Context When visitors up to steep muddy stream beds, they cognizant that they are entering a world in which cars, electricity, and cell phones no longer exist—a world traversable only by foot or horse.

4. Heart of the Site The single upsteps leading to the highest terrace with wide open view. Here in the heart of fauna, which is all native to the forest.

Key Movement of the Lost City Pilgrimage and worship are part of the vital and regular activities Kogi would do in their ancient site (the Lost City), even they are not living there any longer. The above key movements indicates the architectural idea linked with sacred activities.

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“Man expects a logical explanation for everything he sees in this world. If there’s not an immediate explanation, he is forced to grapple with perception, question his beliefs, and form his own conclusion unanswered questions in this world. In this day and age, is it even possible to accept an unknown as truth? To view the previously unimaginable as fact?

In “Stranger Things” my goal is to let the incomprehensible remain that way. My aim is simply to let the viewer engage with the images without any guidelines or preconceived explanations, letting their imagination run wild. My hope is that they will form their own answers about these photos, or, ideally, engage with the work emotionally and let the unknown remain unknown.”

---'Stranger Things' Max Slobodda, 2017

THE AFRONAUTS Once the indigenous people in Africa try to go to outer space, and they pretend to do so: dressing like astronaut, build fake spaceship. They just parody.

---'Unbelievable stories' Cristina De Middel

Physical Model and Installation The photos of models(installation) represent the thinking of relationship among the Geometry, Universe, and Nature based on the study of Kogi's cosmology and thinking. It tries to engage with uncontrollable factors for shaping the geometry.

What do we see something beyond our knowledge, something unknown?

---'Aluna' Shaokang Li

'Aluna' & Unknown In the contemporary world, the mysterious 'Aluna' thought from Kogi is not easy to comprehend, but what their attitudes towards unknown is inspiring. They seems do not know how nature and universe The research tries to translate this idea in form of an architecture.

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Cosmology and Socio-religious Concepts In Kogi cosmology, they have added three dimensions to the standard N/S/E/W: Zenith, Nadir and the Center. Mother Goddess, the creator of the universe and mankind, created the cosmic egg. The horizontal layers of the egg are divided into two sections of four worlds with mankind (the 5th layer) residing in the center. The cosmic egg also represents the uterus of Mother Goddess and the Sierra Nevada. Because of this, the Kogi have built the structure of the ceremonial house as a replica of the cosmos.

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Three Types of the Facade:

Construction Steps

1. Waved palm with geometrical pattern

1. The roof is prepared to receive the thatching by nailing to the rafters, lath, or light purlins, at 8-inch centers, on which the straw is laid.

2. Like slating or shingling, the thatching is commenced at the eaves by laying on bundles 3. The eaves may be raked out until the edge is very fine, thus forming a round, easy shed for the water, or cut off on the under side. As each course is laid, the lap ends should be raked out, to maintain as even and continuous a surface in the finish as possible.

Step 1

simple

System

Waved Plam

2. Dense wooden poles standing vertically with slimsy branch ring tied up

Structure

Step 2

Joint Dense Wooden Poles

3. Mud-walled with thin wooden poles as the sturctural supporting elements of the wall, and additional vine is used to reinforcing the wall system.

Thatch Step 3

The Pispiska Artifact

Mud-walled Facade

'Aluna' & Ceremonial House The original house or the ceremonial house built by Kogi is using simple timber material with the stone basement. It is a large mud-walled building with a thatched roof. Kogi houses are circular structures with a cone-shaped roof but are devoid of a central post. The stout wooden poles work as the main structure elements with straw rope tying the joint. The roof surface is made of hay. The whole building system is environmental friendly and highly related with their believe of Aluna.

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Religious Concept of the Proposal The religious concept of Kogi's ceremonial house would highly affect the makes the whole building a well translated piece of 'Aluna'.

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Guidance

Centralization

When Kogi is doing meditation, they stay in the cave where the light is follow the shape of stones.

On top of the ceremonial house, there is a small hole allow light penetrate to the interior.

Filtration

Collection

The opening the of house is covered with loose

Kogi speak to the pool, while the pool is located, the light is collected by the reflection of the water.

light.

Soak Up

Weaken

The cone shape of the ceremonial house allow the light coming from top, creating a sacred atmosphere.

In the forest, the dense plants and trees weaken the sunlight and pass diffused light below.

Translating 'Aluna' into Geometry of Light In Kogi's world, several things could highly integrated with light.

Although they may not intend to do so, but with their sacred pilgrimage and pray, some features is connected with lighting effects. The research tries to translate those idea in a series of geometry pockets.

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Merge with Nature

The Way to Aluna

The design language of minus grade steps represents the idea of the Lost City with nature, they together become one.

The pilgrimage site in the Lost City is on the top of the terrace, with a single path leading to it.

Free Circulation

Monolith

The design of the Lost City has its freedom in circulation. Each of the terrace are connected with path or steps in different way.

In the site of the Lost City, there is a stone carved with patterns on the terrace.

It is believed to be a recording map of the star or city.

Speak to Nature

Hierarchy

When Mama (enlightened Kogi) are learning from Aluna, they speak with bubble in the water, they speak with stone. Before that, they walk around.

In the group of Kogi, the hierarchy is not strict that every Kogi are equal except the enlightened one Mama. But their hierarchy among the nature, human, universe, Aluna is that human is the lowest one.

Translating 'Aluna' into Geometry of Terrace Except the lighting effects, the geometry of terrace would also be instructed follow the idea of 'Aluna'. In the ancient territory of towards the architectural language.

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2.0 2.1 2.2 2.3 2.4 2.5 2.6

Eco-System of 'Aluna' Linea Negra (The Black Line) Construction on the Estuary Pilgrimage Along the Sacred Sites Pilgrimage Caribbean Coastline Estuary of the Manzanares River

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Chapter02 The Pilgrimage Story of Kogi A Journey to Save the World: Kogi believe that they live in order to care for the world and keep its natural order functioning, but they recognized some years ago that this task was being made impossible by our mining and deforestation. So they going out of the forest to speak to the world and do regular pilgrimage.

Human Activities Lead to the Problem in Santa Marta -An industrious uprising -Mining, illegal logging and infrastructure activities -Port, power station constructions, infrastructural expansions (roads) and pollution on the Caribbean coast at the mouths of rivers

lands towards the sea, and this has caused big problems in the whole area because of the very high evaporation caused by the hinterlands, you end up with very large quantities of salt in the ground which often kills the vegetation. However, with secure land tenure, traditional cultural systems can still thrive, fostering healthy communities with cultural values that promote sustainable forest stewardship.

Water Cycle System Pilgrimage

KOGI

Aluna

Living Space Biodiversity

Water Cycle Sierra Mountain Storage

River

Percipitation

Estuary

Surface Funoff

transport

Condensation

Evaporation

Biodiversity

Eco-System of 'Aluna' 'Aluna' includes the understanding towards nature and the coherence among different sites.

For indigenous communities, collective ownership of their lands is essential to their health and wellbeing. Many aspects of traditional indigenous cultures are intricately linked to the forests, including food production, medicine, and religion. Without secure access to healthy forests, traditional indigenous cultural systems inevitably deteriorate and communities suffer.

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Kogi, one of the descendant of the Tairona. They believe that they live in order to care for the world and keep its natural order functioning, but they recognized some years ago that this task was being made impossible by our mining and deforestation. this is the point where the Mamo buries the four sacred offerings and “speaks with god”. In the center of the circle, he places a tiny stool upon the spot where he receives and answers questions of the cosmic universe.

---ALUNA: A Journey to save the world

Alan Ereira, 2012 The Documentary about the genuine lost civilization

Línea Negra (the Black Line) A ring of sacred sites around the base of the Sierra (Along the Caribbean Coastline)

Línea Negra (the Black Line) (the Black Line), a ring of sacred sites around the base of the Sierra Nevada de Santa Marta For these groups, these are sites of paramount spiritual importance. While the environmental condition of those sites is essential to keep the balance of Sierra Mountain ecological system.

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Construction on the Estuary The Kogi base their lifestyles on their belief in "Aluna" or "The Great Mother," their creator being, and see humanity as its "children." They say that our actions of exploitation, devastation, and plundering for resources is weakening "The Great Mother" and leading to our destruction.

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Meditation During Night

Enwind Gold Thread

Collecting Shells

Burning Shells

Throwing Cotton

Pilgrimage Along the Sacred Sites Nowadays, the Kogi start to speak to the world, presenting the idea of Aluna. They kept warning us through the documentary, through the camera that we should stop destroying the estuaries, it will affect the whole river system as well as the Sierra Mountain. While the Kogi typically continue to reside high in the mountains, they make pilgrimages to the coast for ceremonial activities at sacred sites. They also travel to the beaches to collect special shells, that are utilized together with sacramental coca leaves.

They were walking along the seashore and locate each estuaries which they call "hot spot". They were using gold thread enwind the stones on the hot spots. They said this activity can heal the wound of the Sierra. They mirror a natural exchange a water cycle on which the whole fertility of the Sierra the sea through the forests and jungle and that water comes back in the form of clouds whose water is deposited here again. The whole life of the Sierra depends on this region. The Parama is drying out, there used to be snow visible all around here.

It is the mountains which makes waters, the rivers, the clouds, if their estuaries will not produce any more water.

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Meditation During Night

Gold Thread

Material Exchange

During the night time, in their pilgrimage day they won't sleep. Instead, they burn a fire in the center of the ceremonial house, and watching it extinguish. From light to darkness and then fully engaged with dark. They chew coca to get hallucination, with the dark and shadow effects, their mind could somehow connected with 'Aluna', and talk and learn.

To heal the wound of estuary, Kogi start to walk along the Caribbean coastline with gold thread. They try to connect each of the sacred spot (which is the estuary) together. The gold thread will be enwind to a stone, which considered to be a monolith as the mark of the sacred sites.

In the process of pilgrimage, Kogi focus on the central point and walk around it, clockwise and then anti-clockwise. Then they give their cotton (bring from the Sierra Mountain) to Mama. The mama will send the cotton into river. The whole process is named as material exchange. They finished a long journey from mountain range to the estuary, bring the message from mountain and deliver it.

Pilgrimage Kogi has their way of understanding towards nature and the coherence involved in. They believe that water is the origin of the life and it is connected from ocean to the mountain. What happened at the estuary of river will in turn affect the condition of the river in the mountain.

Nowadays, due to human's construction of port and factories at the estuary, the environmental issues happened at the mountain range, which destroy Kogi's living space. The pollution and drying out issues occur at the estuary as well. So they try to pilgrimage around the black line along the Caribbean coast, to speak to the water and heal the wound.

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Caribbean Coastline Site Selection -- Estuary The project is selected to be one of the important scared spot of the Kogi: the one located at the estuary of the Manzanares River in the city of Santa Marta, along the Caribbean coastline and facing the Caribbean sea. The site is the closest one among all the scared spot to the city. Due to the construction of port and factories nearby, the estuary are facing industrial pollution and has even been blocked.

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Small Port

High-rise Apartment

Site: Estuary

Small Port

Low-rise Villa

Estuary of the Manzanares River of the Caribbean coastline, the high-rise apartments are sitting in row like a barrier of the inner city. The beach provide good leisure and entertainment place for the residents. On the south side,

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3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8

Site Context Activities Around the Site Tide Effects and Users Roof Plan (Context) Beachfront (Caribbean Coastline) Riverfront (Estuary) Design Process (Context) Design Process (Programme) Ground Floor Plan (Programme Layout)

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Chapter03 Project Context & Design Process As the project is located at the complicated and highly ecological context of the estuary, the design process will follow the context and the idea of 'Aluna'.

In order to translate and engage with Kogi's idea into form of architecture, the process will take advantages of the research.

1. Seaside Leisure and Entertainment Along the coastline, it has a wonderful beach for the tourist and resident having vacation. The temporary shelters, chairs and beach sports equipment are basic facilities around the site. The extension of the building will become part of the facilities.

2. Riverfront Woods On the other side of the site, the context changes. The woods grow quite thick near the riverfront, which forms a dense forest. All a highly bio-diverse place.

3. Seaside High-rise Apartment A row of high-rise apartments are sitting faces the Caribbean sea.

They block the view of the inner city, which at the same time become a contrast of the sacred project.

Site Context The site is located in the coastline of Caribbean Sea. It has a wonderful beach for the tourist and resident having vacation. Hence, the facilities around the site is basically temporary shelters and beach sports facility. additional space for sheltering.

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For most tourists or residents, they prefer to sit, read, and rest under a makeshift tent.

Engage with the sea and water, simply step into the water.

The beach sports like volleyball and running are quite popular for the residents nearby.

The environment of the estuary provides the prefect condition for the aquatic animals like birds. Their appearance relate with Tides.

Activities Around the Site For the original sites, the visitors and residents occupy the beach for most of the time in a day. Lots of facilities are sets for their leisure. Besides human activities, the birds are in great population in the place, the woods on the sides of the river provide good nesting conditions.

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General Climate Santa Marta experiences a tropical savanna climate with largely uniform temperatures year round. The dry season lasts from December-April, while the wet season lasts from May-November.

The wet season is overcast; the dry season is partly cloudy; and it is hot, oppressive, and windy year round. Over the course of the year, the temperature typically varies from 75째F to 89째F and is rarely below 73째F or above 92째F.

Tide in Santa Marta The tide effects at the estuary of the site is mild, the maximum water level difference in a remains relatively high-reaches 3.5m. The different water level keeps changing in the site, which contribute to various spatial qualities of hydrophilic platform.

Users timeline related with Tide Effects Kogi & Residents & Visitors

Tide Effects & Users The potential users are divided into three gourps: Kogi, Residents and Visitors.

For Kogi, they do the regular pilgrimage at their 'hot spot' once a week. They will spend almost whole day at the site. Their activities will be affected by solar condition (light), water condition (tide)and timing. For residents and visitors, they are probably the most users of the building. Their timelines to use the space are also based on the solar and water conditions. When they are meeting with Kogi, the space provide common space for meeting and private space for meditation.

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Roof Plan (Context) The project works functionally as a chapel and gallery for both Kogi and the public. The building tries to merged into the whole context. Near the riverfront, the woods starts to grow into the building. Meanwhile, the building extends its patterns to the surrounding and become part of the leisure facilities.

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Beach umbrella

Beach umbrella and chair provide a decent shading for the people lying on the beach.

Tent

Easy assemble tent could be rent from the nearby shops.

It will need to be reinforced due to the unstable foundation.

Beach seats

Beach Seats are arranged in the designed or paticular space to make sure it not distrub visitors.

Outdoor gym space

The outdoor gym space could be found nearby the beach.

Sports are quite popular in the beachfront.

Beachfront(Caribbean Coastline) As the building tries to merged into the context, those equipments and facilities on the beach could be integrated with the extension of the building. The brick wall extend buffer zone before visitors direct entering the chapel and gallery.

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Trees near river

Palm trees take the most part of the woods near the river.

They are in density for birds and other species.

The best the grow

wet condition provides growing environment for moss. They could even into the chapel.

Moss & Grass

Vine

Birds and woods

The vine is growing attached to the wall and fence. It has its own way entering the building.

Birds would inhabit the pavilion has structure for

be welcome to building, the exposed timber their nesting.

Riverfront(Estuary) Caribbean sea in this place. The mixing of seawater and freshwater provides high levels of nutrients both in the water column and in sediment, making estuaries among the most productive natural habitats in the world. Hence, the plants and moss could grow around the exposed terrace of the building, as even entering the interior chapel through openings.

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Current Site Condition

Bridge and Platform

Orientation of the Building

Programme and Circulation

The site has the most bio-diverse environment, as it sits on the estuary. The original interchange of river and ocean has been blocked by the sediment. The riverfront and beachfront are facing totally different situations.

To bring the eco-system of the estuary back to life, the sediment will be removed and replaced by a pedestrian bridge, which could carry most of the sediment and avoid it.

The orientation decides the function and position of the chamber in Kogi's life. South, North, West, East, and Center, Zenith are all dimensions in their knowledge system. The building programme is allocated into a compass, while the main tower sits on the center with additional dimension-Zenith.

The entrance of the building is facing Northwest, which is Kogi's idea from darkness to brightness. The corridor connects all different chambers as they are independent spatially and dependent spiritually.

Based on the environmental condition of beachfront and riverfront, different platforms are designed. The nature could merge the overall landscape structure.

Design Process (Context)

Design Process (Programme)

The design is fully considered the ecological environment and biodiversity of the site context. Located at this special context, the building tries to merge itself with the whole context with different language and method.

The layout of the programme of the building tries to obey the rules and idea from Aluna. They represent different characteristics according to their cosmology. To the riverfront, it is open and light. On the opposite place, the gallery is dark and closed.

Meanwhile the pilgrimage tower leading to the zenith.

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5

10

1. RECEPTION

15m

2. ENTRANCE HALL & CORRIDOR 3. MAIN PILGRIMAGE CHAMBER/LECTURE HALL 4. OPEN PAVILION A 5. OPEN PAVILION B 6. WATER TANK 7. TERRACE AND FLARFORM TO RIVER 8. FILMING SPACE 9. EXHIBITION SPACE A 10. EXHIBITION SPACE B 11. FACILITIES AND STAFF OFFICE

+0.0m

11

+0.0m

9

-0.4m

10 8

2

-2.0m

-1.6m

-1.0m

-1.0m

-0.3m

3 +0.75m

4

1

-1.6m

5

-1.0m

-1.0m -0.3m

6

+0.0m

-1.0m

7

-1.9m

-2.2m

-2.8m

Ground Floor Plan (Programme Layout) The building is divided into three parts. The Northeast is the other two for nature invasion. The middle part is the corridor leading to pilgrimage tower. The southwest part is the open pavilion and hydrophilic terrace.

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4.0 Aerial Axonometric View 4.1 Multi-Dimension Quadrant 4.2 Pilgrimage Process in the Tower 4.3 Pilgrimage Tower 4.4 Section of the Tower 4.5 Atrium Details (Control Light and Rain) 4.6 Interior Raining Effects 4.7 Steps Details (Pool and Moss) 4.8 Corridor Ventilated Skylight 4.9 Facade of the Tower 4.10 Pilgrimage Corridor 4.11 4.12 Elevation (Raining and Sunshine) 4.13 Lower Roof Fixed Light 4.14 Openable Louvres 4.15 Gallery Chamber 4.16 Structure and Material 4.17 Open Pavilion and Platform

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Chapter04 Proposal: A Chapel of Aluna (Nature, Light & Water) Located at the estuary of Manzanares River in city of Santa Marta, the project functionally works as Kogi's pilgrimage chapel and a public gallery. It translates and represents the idea of 'Aluna', including ecological system and living with nature involving controlled environmental elements (Nature, light and water).

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Multi-Dimension Quadrant According to cosmological concept of Kogi, the building itself is located into multi-dimensions. While each of the programme has its own dimension with different key movements and atmosphere.

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Journey to the Sacred Tower

Enwind the Gold Thread

Before Kogi entering the main sacred tower, they had a long journey leading to this point. Now, it is the only up-going path leading to the central of the universe.

As part of the pilgrimage steps, Kogi are supposed to enwind thhe gold thread through the rocks located at the central pool. Then they need to finish two rounds of walking clockwise and anti-clockwise.

Drop the Cotton (Material Exchange)

Meditation (Mental Exchange) After physical material exchange with 'Aluna', Kogi would stay at the tower during night time. They

their cotton to Mama (enlightened Kogi). The cotton is brought from mountain and then Mama releases it to the pool. It is considered to be the material and spirits exchange between Aluna and the human.

transition from light to darkness. During whole process, Kogi achieve the mental exchange with 'Aluna'.

Pilgrimage in the Tower

Pilgrimage in the Tower

The main function of the pilgrimage tower is for Kogi's regular

The main function of the pilgrimage tower is for Kogi's regular

worship process. Additionally, it could also be a public lecture hall for visitors. Kogi could speak to the public about their idea.

worship process. Additionally, it could also be a public lecture hall for visitors. Kogi could speak to the public about their idea.

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The internal atrium provide another layer of collecting water and light. It allow the light and rainwater entering the interior space in a controlled way.

for compensatory sunlight. It also allow the people see from below about the rainwater falling onto the glazing surface.

Pilgriamge Tower Mama(Enlightened Kogi) is standing on the highest platform, which the space only allows one person. He speaks, his voice creates echo by the enclosed round and darkness. The pool below represents the center point, people who talks to universe need to stand at the zenith that leading into another dimension.

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Skylight

Openable Louvres

Thatching Facade

Water Collection

Terrace

Pile Foundation

Section of the Pilgrimage Tower The Timber tower has independent Structural System, with the timber piers direct to the riverbed. All the other detailed design including skylight, thatched facade, terrace, are all under environmental consideration. That to ensure the whole tower is well performed in environment including water and sunlight and typical climate in Santa Marta.

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A

B

Atrium: Rainwater Fall and Sunlight The ventilated skylight allow limited amount of rainwater penetrate through the inner cone. First, the leaking through louvres is allowed. Then some of rainwater will be guided by open water channel, which could control the trend of the rain. At the same time the deep beam also provide diffuse light below.

Detail B

350mm

65mm

35

80mm

1

Detail A

1-Extruded aluminum, cap frame 80mm Sealed insulated glass Aluminum Angle Rigid vinyl thermal break Continuous seal Wood Curb

3-Wood Curb Wood compression ring Installation fastener

2-Vertical and horizontal elements of wood compression ring Insect Mesh Cavity for water

4-Waterproof layer Continuous seal Rainwater gutter

1-Extruded aluminum, cap frame 80mm Sealed insulated glass Aluminum Angle Rigid vinyl thermal break Continuous seal Wood Curb Installation Fastener

120mm

2-Louvres Steel framework Insect Mesh

120mm

150mm

500mm

2

100mm

4

3-Sealed Insulated glass Aluminum cap frame Thermal break Steel gutter Installation fastener Wood compression ring

100mm

3

2

100mm

1

4-Waterproof layer

4 3 100mm

130mm

430mm

Atrium Details (Control Light and Rain) The ventilated skylight and atrium on the top of pilgrimage tower essentially provide diffused solar radiation for the interior. At the same time, it encloses the thermal envelope of the tower and allows the tower works as a chimney to draw hot air out of the space and encourage air circulation due to stack effects.

It could also effectively collect rainwater. The water channels allow limited amount of rain penetrate to the interior with proper control.

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180mm

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Time during the pilgrimage

Several months after...

As the high tide keeps submerge the lower steps, the river will bring silt and ecological environment to the brick surface. Hence, moss is mostly possible to grow in the lower steps, although it could make the surface slippery, but for the culture of Kogi, there is no need to clean them.

Detail 1:15

800mm

Cut stone water channel Mortar bed

230mm

and step deck Brick block with 230*110*76

110mm

1

2-40mm Cut stone panel to bolt connection

480mm

3-Concrete column and beam

203mm

6°

Bituminous sealing layer Concrete slab

Hide tide line

Ecological for the lower part of steps is encouraged as a reflection of Kogi's culture.

The brick cladding performs well in terms of water erosion.

For waterproofing terrace: The brick surface is relatively smooth, and there is a gentle slope of 6° is specially designed for drainage water. To avoid slow moving or pool above the surface, the buried gutter

2 Average river line

3

terrace.

Steps Details (Pool & Moss) In the main pilgrimage chamber, the central terrace and steps are reaching the river level.

As when Kogi is doing pilgrimage, they will exchange their spirt with the river. While doing this, they throw the cotton from the mountain into river. The cotton is too light to sink, so it will stay upon the water surface.

As Kogi is doing pilgrimage at the night during high tide period. Some of the cotton seed or other seed will be dropped following the drainage of river, and stay on the surface of the brick. As the river brings mud and nutrition to the brick surface, it is possible that this seed can grow there.

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Section along the corridor

Detail 1:10 1-Cut stone water channel Wood curb

2-Extruded aluminum, cap frame 80mm Sealed insulated glass Aluminum Angle Continuous seal Wood Curb Installation Fastener

3-Rolling Joint of the deloyable canvas

Roof Facade

4- Insect Mesh Panel

1-Thatching spars Battens Ventilated Cavity 2-Thatch Basecoat, pernament dense foundation Insect mesh panel Rainwater channel Rafter

1100mm 125mm 90mm

2 1 4

3

3-50mm Orientedstrand Board (ceiling) Bituminous sealing layer Ventilated Cavity

4-Compression Ring Battens

Corridor Ventilated Skylight The corridor ceiling is designed with ventilated skylight and canvas below. The canvas could be adjusted according to different allow rain right in as is torrential.

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Pilgrimage Tower Facade Roof Drainage: The steel water channel is from glass roof to the bottom water tank; Skylight Penetration: The gaps and void penetrating to the interior space without

installed in the column, which lead the rainwater preventing water leaking to the interior. inbetween the structure allow the solar radition carring to much heat.

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Ceiling Light

Floor Light

The ceiling light is installed on both corridor and gallery ceilings. There is a fabric cover on the light, while light protruding through the fabric and providing diffuse light below.

And it will be only turned on during night times for creating hallucinating effects for Kogi. The is for avoiding glare.

Artificial light is basically used for night and overcast day, working as the supplement and addition to natural light. Although the opening hour of the chapel is from 8a.m. to 7p.m., but when supplementary for mild moonlight. For corridor space, the lighting could be gentle at 100-300 Lux.

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The timber roof structure provides deep beam for avoiding direct sunlight. The canvas below could also provide additional shading. Those structures are perfect place for birds'nesting.

The entrance has indirect angle towards the main chamber and additional brick wall, which is for hiding the entrance from the beachfront and creating unexpectedness.

Pilgrimage Corridor The long way leading to the main chapel. A gentle angle and steps going upwards. Kogi walk into the chapel in a sacred and linear way. It forms a neutral line separating light and dark, close and open; and leading to the zenith.

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45

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Section along the gallery Detail 1:30

Detail 1:30

550mm

1-Thatch Basecoat Pernament dense foundation Insect mesh panel Rafter

1

3-Metal water Gutter 60mm Sealed insulated glass Aluminum Angle Rigid vinyl thermal break Continuous seal Wood Curb

4-Wood bracing Installation fastener Metal water channel inside column

2

3 2

750mm

4

1350mm

3-Wood bracing Wood curb Pulley system

4

140mm

4-Extruded aluminum, cap frame Aluminum Angle Wood curb Metal Junction Insect Mesh

2400mm

330

350

3

2-Rotate axis Metal cap frame Continuous seal Wood curb Wood bracing

200mm

1-Extruded aluminum, cap frame Waterproof layer 60mm Laminated timber board Metal Nod Insect Mesh hemp rope

550mm

2-50mm Oriented-strand Board Bituminous sealing layer 40mm roiented-strand board Ventilated cavity

680mm

620mm

1

Lower Roof Fixed Skylight layer underneath the reed surface will be made to prevent water leaking. Above the from tower roof to the lower level gutter. Then it will follow the circular structure to the water tank for daily supply of the gallery.

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Openable Louvres The tower acts as chimney, drawing hot air out of the building with stacking effects during the hot weather. Besides the ventilated skylight on top of the tower, there are additional openable louvres can be opened. The louvres are controlled by pulley system. When the shutter system are open there is the possibility of rain water entering the internal structure. An internal guttering detail is used to navigate the water through the column structure to be piped to the water tank.

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Beside the gallery wall, there is a pool for the public, it create a buffer zone or barrier inbetween the beach context and brick walls.

The gallery chamber has their own characteristics relied on light effects and rainwater falling from the atrium.

This chamber is specially closed in fully darkness 'Aluna' could be play here for the public to understand the lost civilization.

Gallery Chamber No books, no drawings, even no tangible exhibits, Kogi are people with no visual art, their whole culture was one of the pure intellect-the nature, the water, the light, the universe is one thing. The exhibits boxes are empty but No! They are full of light, water and nature. Their spirit is merged into the gallery , into the building. The ambiguous light, the rolling water, the incursive moss, the timber, the stone, the brick are all the exhibits.

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A

A. Thatched Facade

Thatched Facade

The thatched facade is commonly used in Kogi's residential houses, as it is environmental performing well resisting bad weathers. It has light weight for the timber structure and easy to assemble. The thatch can last for 50 years without changing new one, it just need to maintain the top layer.

B. Recycled Timber Structure and Piles The pilgrimage space is at 32 meters overall height. Timber columns and bracing are used for the tall structure. It could be thin and perform well in both tension and compression with different forms. The structure is independent and continous to the riverbed, so timber piles are used as the foundation.

B

Timber Structure and Piles

The cental circular ring struct is a timber based structure system which connects all the timber structure. It functionally works as the water channel that collecting roof rainwater and deliver to water tank. It structurally works to support the tower for lateral forces.

C. Recycled Brick Wall and Pavement Bricks are amongst the oldest of building materials, which is common in Santa Marta. The brick's popularity as an ideal building material has not diminished over the years as they are relatively inexpensive to manufacture, very durable, and requires minimal maintenance.

The double wall facade could act as the supporting element itself and provide a good thermal envelope for the whole gallery space to reduce the energy consumption.

C

terrace material. They performs well for drainage and skidproof, as some part of the terrace are submerged into water. For long-term use, the underwater part could has moss, and it comes a part of biological view of the pilgrimage space.

D. GGBS Concrete Structure Since GGBS is a by-product of steel manufacturing process, its use in concrete is recognized by LEED etc. as improving the sustainability of

building. It has multi-layer and includes the river-cooling pipes in labyrinth form.

D

Concrete Structure

The concrete Piles foundation is essential for the whole structure standing above the river. Especially for the estuary of the river, the tide effects and turbulence around will affect the building. The carefully design of the concrete piles is important.

Structure & Material The Structure and Material Strategy totally follow the idea of Aluna, which is of environmental and context consideration. The structures are perdurable and no need frequent maintenance. All the materials are either environmental friendly and recycled, and easy to obtain in Santa Marta.

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Brick Wall and Pavement

The open-air pavilion and space rely on canopies, deep eaves, open water sources, thick walls and partly vegetation to keep spaces cool and dry.

The riverfront context is full of woods.

Due to the wet condition of the soil, and the tides effects, it provide good condition for moss and aquatic plants growing around the pavement.

Water Gutter here is part of the landscape.

It drains the rainwater from the roof and allow the users to see it. It present a scared way of drainage.

Open Pavilion and Platform It is part of the building and not. The moss and surrounding plants start to appropriate the steps and the terrace. They are growing without control. They want to be part of the building and they already have. So as the water(river), they pay the visit twice a day.

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Epilogue The architecture itself could be an archive, it records the information with its construction, material, spatial language and perception. In this way, it is a media, integrated all cultures aspects into one, and then represents cultures and ideas in its own way.

In the contemporary world, due to the globalization, some of the unique cultures have been assimilated. However, with some art form of re-appropriation, those cultures are preserved in one form or another. Architecture as an archive is a way to do that. In this project, the idea from indigenous culture is deeply integrated with building itself but in a unconspicuous way. Hence, for the visitors, whether it is necessary for them to comprehended is not important any more. For different kinds of people, it may have different meaning. But for the architect, what I can do is creating indeterminacy, which could transcend its original meaning and generating something new.