April 28, 2012

Well, the final design day is almost upon us. I am in pretty good shape. A lot of things have been resolved in this past week. I still have to decide on the different materials that I will be using in my different paths and zones on either side of the tomb structures, figure out how to keep my underground are next to the chapel standing (structure), and the parking area I want to put in at the beginning of my addition.

Materiality:
I don't want to make drastic changes in materiality between zones, just enough to delineate the paths from the viewing areas and interstitial space between the tomb structures.  The interstitial spaces that happen between the two paths and the tomb structures will be some sort of grass with trees or vegetation.  I am considering putting a water feature in one but that will take some thinking to see which one will get it. I also want to continue the perpendicular line that will be a slight impression in the ground through the site and end it at one of the interstitial spaces but I'm not sure if I should keep the lowered line in just the interstitial spaces and viewing areas or through the paths as well. I'm going to draw both at a larger scale than I've been working in and see which I prefer.

Structure:
I'm not sure how to do this. That perpendicular line that is present on the top of the site will also be viewing from the underground space as a "beam". I don't think it's possible to make it a structural beam because it technically does not run in a path from vertical support to vertical support uninterrupted. The light well that runs through the edge of the space also causes problems because it basically separates the roof of the space from the one edge of supporting wall and ground. So this is going to take some finesse.  I don't want to put a series of columns in the space because I like that it is open and without interruption.  I could put a series of columns along the interior side of the light well to support the ceiling.  This might make that path too under the light well stand out too much and disrupt the constant line of light through the space. I can draw it and see.  Soooo as of now I'm not sure how to make this part of the cemetery stand up.  Any suggestions, or is the space small enough to support itself with just a flat slab?

Parking/ Entry:
As it is now, the two paths that line the tomb structures extend and turn into stairs with long treads that bring the visitors from the parking zone into the site and also the paths and lines that are created. The extension of the paths draws the visitors into the paths of circulation.  The parking area as it is designed now sits between the two elongated stairs.  I'm not sure how I feel about putting the parking area in the same axis or line as the tomb structures but I feel like it continues the language of occupied space contained by circulation and separated from the next occupied zone by grass. So if I think it about it as a zone and not a parking area I can accept it.  The parking area is rather small at this point.  I know there is another parking zone already created further up along the entry path so there is no need for too much parking but I don't want it to seem like a secondary area or part of the cemetery because it does not have the same large parking and entry that the rest of the cemetery has.  I think I just have to live with it because there's really no more space to make a parking area.

The narrative I plan to tell in my presentation is written and the final layout is done. It starts with the analyzing of the chapel, then moves into the site design and paths and entries, then goes to the larger scale drawings of the tomb structures and spaces of the cemetery, and ends with the detail drawings of the two different types of tomb structures.  Hope all turns out the way I envision it.

April 24, 2012

Or Do They Flow Into One?

April 23, 2012

"Interrupting" Grids

Incorporating "Tree Grid"

Breaking Up A Form

"Randomly Placed" Objects to Create Spaces

April 23, 2012

Sooooo, the last time I blogged I discussed creating different "paths", "lines", "layers", etc. I have been working on it and am having a hard time creating the tension between my new grid and the pre-existing grid of trees. I want to create a "layer" that is right next to the tombs that is somewhat narrow to designate that space as a sort of private, personal viewing space but that is large enough to also accommodate circulation, then a larger space where a funeral party could gather and maybe have seats or whatnot, then a layer that is larger than the first but smaller than the second that I envision to be a less private or rather enclosed contemplation space. In these spaces is where I wanted to create this "tension". I also wanted to bring that tension into the areas between the tomb structures to create a different sort of "tension" or play between the two grids. I chose to try and do this is in these spaces to make physical the emotional tension that I feel would be happening between the dead and living in these spaces. I am just having trouble merging the grids. Do I merge them strictly in line and orientation? Do I merge them and have one grid completely take over and overpower the other in these spaces and create irregular shapes that can turn into forms? Do they create a tension through different opposing textures? I don't want to do something that is too complex or that takes away from the clean simplicity of the tomb forms. I like the horizon or scenery that the tomb structures create and don't want to interrupt that. There is also the language that is created on the east (I believe it's east or north-east) side where I created large openings for viewing the tombs that are under the ground. I want to continue that language of creating special zones in front of the tomb spaces for viewing. I have been playing with the idea of pulling that space up 6" as a viewing platform because the other side has a recession and the circulation within the tomb structures only goes down, while this side's circulation only goes up. I feel like this a rational solution but I don't know if I want to continue the language of the tomb structures into the site or give the site its own language that relates to the tomb structure in terms of viewing and not in the push and pull language of the tomb structures.

So many things to think about!!! I'm going to try and depict all of these variations for tomorrow and can we discuss? Or can you drop me a comment tonight and tell me if there's one that I should explore deeper than another?

April 20, 2012

The actual tomb structure form is derived from the line of lightwells that create a path along one of the axis of the church. The area where the stairs are creates circulation up to the top of the structure where there are special burial spaces and act as amphitheater like seating for contemplation. Each contemplation area varies in size because of the angled axis. This create different contemplation experiences. These stair/contemplation areas face each other in two points where the stairs from the lower level lead creating a larger contemplation space where people can enter this portion of the cemetery instead of just walking up to this level of the site and immediately being faced with the tomb structures. You can see this in the picture below.

After looking at the line of tomb structures it was agreed that I need to start looking at the area around the tombs and incorporating them into the design with the use of repeating forms that are already present in the site. Luis showed me the linear city by a Russian architect (I can't find his name in the book right now). He designed the city by using repeating forms and a grid pattern. Based on the size of the site and my design I have drawn a line on either side of the long axis. I have been looking at the repeating forms of the site and of my design in the hopes that I can use them to occupy the spaces within the lines and create a more interactive cemetery addition.

April 20, 2012

Here is the continuation of my line of tomb space. This also allows for me to vary the space in between the tomb structures and create more involved contemplation spaces. By facing the contemplation spaces that are part of the tomb structure towards each other I can create a large contemplation space that opens out into the site itself and essentially makes the whole site a contemplation area.

April 18, 2012

Sorry, had some technical difficulties, but I'm back.

So after our drawing crit I started designing all of the tomb spaces and realized that I had nowhere near the amount of tombs I needed so I looked at the model in an attempt to see how I want to expand my design.

The forms of my tombs create a nice landscape for the cemetery. 

In a way they sort of create a "boundary" of the cemetery without blocking it off from the rest of the landscape.

Using the forms that are already present in the site I've created lines of circulation, contemplation, and tomb space so why not keep it going.

To create more tomb spaces I have decided to continue the line of tombs I have already created and add 4 more to the other side of the chapel. Because one side of the tombs is angled, the tombs get bigger as you continue down the line. With these added tomb spaces a lot of the design decisions that I didn't think were possible, now are. The lightwell and circulation path that I wanted to cut through the smallest tomb structure can now be done because I do not need to fill that area with tomb spaces. With the expansion of the line I can also create a secondary "circulation line" that is perpendicular to the "lightwell line" that will bring people through the site and along my line of tombs.

April 5, 2012

Re-Working Forms and Excavation

Even though this model isn't finished, it starts to show the sectional push and pull or excavation and building up that I want to accomplish in my final design. As on now you only see the excavated portion so hopefully by tomorrow night I will be able to show you the built up portions.

The built up portions will be in the spaces that are not cut out in the "checker-board" pattern you see at the bottom portion of the picture.

These two pictures show the underside of the model.  Essentially what you see is the ceiling plan. What you can't see in this picture (but you can in the photo below) is that there will be a light-well running from the entrance, through the excavated space, through the elevated tomb space, and out to the drop off at the back of the site.  This will be a "guiding light" that follows the circulation path that I want to create without actually creating that will lead visitors to a panorama of the drop off where they can scatter ashes, think, relax, or be alone with nature.  

The line that is lighter than the surrounding area shows the light-well that will direct people through the site to the drop-off meditation area.  Based on the lines created in the "checker-board" and the line created by the light-well you can see a triangle forming.  This triangle is the same triangle of the chapel but inverted.  The excavated space that I created will have a similar experience as the chapel.  The ceiling will also have lightwells of varying quality light, size, and shape similarly to the chapel.  

After studying the chapel I grew even more fond of the design, quality, and experience of the space and really want to continue this idea and feeling throughout my addition to the cemetery.

March 30, 2012

Working with the three words I posted about before I have chosen to not break up the simple form of the cast but rather invert portions and pushing some of the moves that are already present to the next level and continue their language.

The cross shape that is present as an indentation on the cast is going to be transformed into an underground circulation path. I'm only going to choose one path and have it extend past the tomb structures and to the end of the site. At the end, the tunnel will open up and reveal a large panoramic view of the back drop off of the site.

The three repeated forms will be used completely as is. The larger portion of the form will be elevated above the ground as it is in the cast. The ramp will ramp up from ground level to the elevated meditation space and ramp down to the underground viewing area, museum space, and more mediation spaces.

The conical skylight that marks the entrance to the underground spaces between the chapel and the existing wall will also be used again at the culmination of the circulation path. This cone will be in the ground instead of protruding outward as it does in the entrance. This culminating cone is the largest and more formal meditation space. It will connect to the underground viewing space and circulation and contain a second ring wall around the meditation space that holds a set of stairs to exit.

The only portion of the project I have not been able to resolve is the underground space. I don't know if I want to break it up with a series of partition walls or actually create rooms, or even divide it by the circulation path with memorial walls on either side of the path like this . . . 

While this is a very rough sketch to show what I mean with two memorial walls lining the circulation space. I also want to start looking at the threshold of each change and where circulation stops and space starts. I want to try and use different materials to create thresholds similar to the way that Carlo Scarpa did in his Brion-Vega Cemetery.

March 28, 2012

Simple

Clean

Complex

March 23, 2012

The sectional quality of the design and the sight is very important in my design. The plan of the addition is very straightforward with these clusters of the tombs creating smaller mourning/ reflection spaces. In the original design the site has a very interesting quality of "entering the ground". I have created several areas where the visitors to the site can enter the ground and exit the ground to enter spaces or as transitional areas. I thought that the transition into or out of the ground was the most important feature of this cemetery. There are transitions into the ground for urn spaces and the museum area. There are already existing transitions like these with the entry and exit of the chapel, the entry and exit of the mortuary, the ramping of the tomb area into the ground, and also with the family crypts at the end of the path.  

The central space that is created with the backs of the tomb structures allows for a peaceful, open area for family members to gather and reflect, or individuals to contemplate.

Death is a heavy topic, so my goal is to cater to different peoples' needs to help them through this tough time. 

March 9, 2012

Sorry guys, I saved this and forgot to upload soooo here ya go.

I had three different schemes for my addition but after a review this is the form I chose. It was really difficult to come up with a scheme that in a way emulates, fits in with, and incorporates what is already on the site without creating a scheme that is too closely linked to their original design. Pinos and Miralles did such an amazing job with the original portion of the cemetery that there is no way to compete with them. In order to create a new functional and enjoyable space I need to reflect on the features of the design that I feel create the environment and experience of the cemetery adn try to make them my own and incorporate them into my design. So I wanted to continue their idea of bringing the plan of the dead and the plane of the living together on one plane,  the open air environment, and the burial of the function spaces. I know as a personal preference I would like to be able to visit the graves or tombs of my lost loved ones in a more private way. I don't really want to be looking at the grave of a lost family member and have the view of others mourning or have others have the view of me mourning so a big requirement of my design is to break up these mourning spaces and create private mourning and reflection spaces among the tombs. This broken up line that is pictured above shows the more private form that I will be exploring.

In terms of three-dimensional qualities or forms for the tombs or spaces I create I really want to explore the angles and lines created in my plaster cast of the liminal spaces of the chapel. 

February 29, 2012

Everything went really well yesterday during the crit. Our guest crit definitely helped to get me to look at my creations in a way that would allow me to expand on them and bring my process into the addition to the Igualada Cemetery. Here are some images of the finished drawdel, drawing, dibujo sin papel, and plaster cast.

Based on the comments that were made during yesterdays crit I think I am going to try and redo or remake my wire drawings and casts and incorporate more light. Originally I mapped the protrusions in terms of how the material created and changed the spaces and the light but I think I need to do it from a more lighting perspective. The idea of translucent concrete is amazing. I definitely want to see if there is a way I can create that in a cast or maybe put it into my project. I'm definitely going to make the main focus of my design, light; letting it in, blocking it, emphasizing it, dispersing it . . .

My three ideas for Friday are going to be

1. Based on or extracted from my "creations"
2. Based on different conditions of light
3. Tied back to or connected to the chapel itself 

February 24, 2012

First Mold!!!!!!!

I think I am going to have a few problems with the width of some of the pieces. The wall should be ok because they are indents and not being filled but I am worried about the slanted portions and the little box-like protrusions. I stuck to the scale of the plan but I think it might be a good idea thicken some of the members. But we shall have to wait and see . . .

Well as you can see my first casting was a bit of a failure. To make a long story short we tried casting in a few different places and each time we got yelled at to cast somewhere else. So we chose to go outside and cast because that was one of our options and as I was mixing mine we got yelled at again and my plaster cured before I could pour it. So this is the end result. But in a way it was helpful because I got to experiment with plaster and make a mold to see exactly how the layout would be. So overall not a total failure.

February 21, 2012

Today was a very productive day. I think I have finally gotten over second guessing myself and I can move on. So here are a few attempts today that helped me figure out the best way to create my drawdel and dibujo sin papel.

This first image is a very diagrammatic sketch of what my wire model will look like. This was extremely helpful in figuring out how I wanted to lay out the dibujo sin papel. It is not as involved as others so I was having a hard time figuring out how I wanted to lay it out on a "piece of paper" and and connect it and orient it to fill the page and make it a more dynamic composition. The second image is one of my attempts at bending wire in a more abstract way but that still holding true to the plan and nature of the protrusions.

Here is one of my more successful attempts at a drawdel. By printing it out I can look at the spatial relationships of all of the protrusions. It also helped we figure out how I want to fold the pieces and fit the protrusions into the space. I am still trying to figure out if I want to have all of the protrusions on one side of the paper or on both.

This image is a diagram showing how I am going to create positive space in the areas of the protrusions and negative space in the habitable and structural space. Hopefully my wax is cooperative and I can easily do this . . . 

Wish me luck!!!!!!!

February 20, 2012

Well, I'm still struggling. I moved away from the drawdel to explore the space of the chapel in a 3-d way in the the hopes that working in 3-d and with a new material would help me with my drawdel . . . but it's not. I mean it is, but I'm not sure if what I am coming up with and doing is actually what is being looked for and such. I am cutting out the areas that penetrate through the ground and folding them and trimming them to abstractly create the shape of the protrusions. I don't know, I may be over analyzing things but I feel like it is too much like the roof plan or ground plan. I feel like it's not abstract enough. I'm also struggling with the direction in which I fold. Some of the protrusion go into the ground and the chapel and some protrude up through the ground to the sky. If I fold them in the direction that they protrude there will not be a flat surface on either side, but at the same time if I fold them all the same way it will not be realistic. I'm stuck!!!!! But what else is new. I've also been thinking about the casting and I chose wax because it is easier to cast objects inside the wax and have them protrude out through the mold.  I keep second guessing myself, and I know I shouldn't because it will make me "get rid of Miami" again, but I can't help it.

February 13, 2012

I had hoped that the rigid and systematic approach to my carving would relate back to the title of my book, and it did. We all are taught to write in a very rigid systematic way. There are certain steps that need to be followed in order to compose a well-written paper, book, etc. I wanted to try and show that in my carving. When writing you start out with one thing then move to the next, then the next, then the next, until you have a complete work and arrive at the final step or finished product. I chose to depict a scene where writing occurs; a quite area with a desk surrounded by books. This was my first step, to show the scene. When you flip through the book you get from one plane or step to the next and the next until you arrive at the final plane which is the window. This window houses what in my opinion was the best advice this book could give to writers; "Get The Right Word". Without the right word you have a paper that doesn't work. Without the right word you could say something different than what was intended or not give the scene the proper emotion or description. Without the right word, you have nothing.

February 13, 2012

Sorry, I sort of fell behind with my blog for a while but I'm back so have no fear. So after I figure out what I wanted to carve into my book I experimented with a few different cutting techniques. I initially wanted to carve into this book in a perspectival way. In other words have each page a little longer than the previous one so that the edges of the pages together create a receding plane in space. Unfortunately that was way too difficult with my skill level. Instead I chose to cut the book in flat planes and layer them on top of each other to create depth.  Here is my first attempt with just some folded sheets of paper to create a book.  Each sheet of paper represents one plane.

February 5, 2012

So it is Sunday February 5 at 4:42 pm and I finally feel comfortable enough and confident enough to start cutting my book. I spent the past couple of days reading through my literature book to find the phrase or word I want to highlight, cutting and laying out the templates of each level, and dividing the book into the different thicknesses I want for each level. The only thing that I have left to figure out is if I want that one phrase to be seen through the back cover, and if I want to glue the pages together to increase integrity. I'm soooo nervous about making the first cut because all of my previous cuts have been pretty messy and uneven. They have gotten better but it's still extremely hard to make a clean cut through multiple pages. I've played around with cutting the binding and actually removing the sections for each level and clamping the pages of that section together and cutting through them that way but I'm not sure if I'll be able to get the book back together well enough and cleanly. I am going to try and clamp each section together tight enough so that when I open up the book the binding does not pull the pages and create uneven edges. Well, I will be making my first cuts within the next couple of minutes soooooo wish me luck!

February 1, 2012

During studio on Wednesday, we were given a poem that we had read and were asked to do the same thing that we are doing with our books. I'm not very good with poems like this one. I tend to get lost or focus on one particular part of the poem. That was it! No matter how many times I read that poem I always read it as a poem about destiny, fate, and chance, and the rest of the ideas, meanings, and words were lost to me. I chose to use my knife to scrape away the words that I could not grasp to reveal a new poem with the words that I did not blur.

A Throw of the Dice

Will Never
Even When Launched in Eternal Circumstances

Fall Back From

A Destiny

   

Probability

The Sign 

If

It
Were It To Exist
Chance

Will Have Taken Place

Before Coming To
A Throw of the Dice