Project 2: Zen Retreat 1 of 3 _____________________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins _____________________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Outside of poetry, there is no Zen; outside of Zen, there is no poetry. Ten'in Ryugaku Context Entering a contemplative state affords us the possibility of a miracle: the capacity to sense, if not converse with, the divine (within or without)! Not surprisingly, facilitating this experience is something that most spiritual traditions have been advocating for millennia. During such a long time, we have learned that specific built environments and social conditions are more conducive to foster contemplative practices. The result is one of the oldest and most potent architectural typologies: the monastery. Despite some apparent differences between the contemplative pursuits of the West and the East, their built expressions display remarkable similarities. After all, there are only so many ways in which we humans come together to live a contemplative life. As our civilization grew more secular over the past century, monasteries increasingly disappeared from people's ordinary consciousness. However, as our culture and lifestyle became more stressful, superficial, and seemingly meaningless, calls for meditation, withdrawal, and silence began to proliferate. Additionally, our zeitgeist is presenting us with challenges never confronted before that may be best responded if we are in communion with our deepest self, others, nature, and, especially, the transcendent. Thus, over the past two decades, we have witnessed a growing interest in mindfulness, centering prayer, yoga, and more. At the same time, some monastic traditions began to open their doors and engage lay communities, offering opportunities for contemplative practices. For many reasons too long to discuss here, many people in the West have been attracted to Eastern practices instead of the ones available in the tradition they grew up with (e.g., Christianity, Judaism). This is certainly the case with Zen meditation, a practice that has gained much attention and popularity with Zen Centers and Retreats appearing in almost all regions and cities in the U.S.
Transcript
Project 2: Zen Retreat 1 of 3
_____________________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins _____________________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Outside of poetry, there is no Zen; outside of Zen, there is no poetry. Ten'in Ryugaku
Context Entering a contemplative state affords us the possibility of a miracle: the capacity to sense, if not converse with, the divine (within or without)! Not surprisingly, facilitating this experience is something that most spiritual traditions have been advocating for millennia. During such a long time, we have learned that specific built environments and social conditions are more conducive to foster contemplative practices. The result is one of the oldest and most potent architectural typologies: the monastery. Despite some apparent differences between the contemplative pursuits of the West and the East, their built expressions display remarkable similarities. After all, there are only so many ways in which we humans come together to live a contemplative life. As our civilization grew more secular over the past century, monasteries increasingly disappeared from people's ordinary consciousness. However, as our culture and lifestyle became more stressful, superficial, and seemingly meaningless, calls for meditation, withdrawal, and silence began to proliferate. Additionally, our zeitgeist is presenting us with challenges never confronted before that may be best responded if we are in communion with our deepest self, others, nature, and, especially, the transcendent. Thus, over the past two decades, we have witnessed a growing interest in mindfulness, centering prayer, yoga, and more. At the same time, some monastic traditions began to open their doors and engage lay communities, offering opportunities for contemplative practices. For many reasons too long to discuss here, many people in the West have been attracted to Eastern practices instead of the ones available in the tradition they grew up with (e.g., Christianity, Judaism). This is certainly the case with Zen meditation, a practice that has gained much attention and popularity with Zen Centers and Retreats appearing in almost all regions and cities in the U.S.
Project 2: Zen Retreat 2 of 3
On Zen1 Understanding Zen starts by giving up any attempt to define it. Zen's very practice is about turning the human mind on itself in order to directly experience the ungraspable, non-intellectual, and present-centered nature of being. As a branch of Buddhism, Zen partakes of many of its teachings and values (e.g., Buddha's four noble truths and the eightfold path, compassion for all living beings, the three seals —impermanence, no self, nirvana). However, none of them is important regarding what motivates our consideration of Zen in this project. What is most relevant to us is Zen's commitment to experience reality-as-it-is, which, if attained, 'emancipates' or 'enlightens' us. This form of liberation here means to be no longer bound by preconceived notions, desires, and expectations and thus able to rightfully act, think, feel, speak, and more because we are in alignment with what the present conditions call for. The key to attaining such state is the practice of zazen or meditation, which is nothing other than observing our mind in operation. Zen is neither interested in nor directed to reading scriptures, discussing ideas, affirming dogmas, or speculating about this or that. Instead, it works toward bringing mindfulness to the present moment. At heart, Zen is fundamentally a contemplative and empirical 'technology' geared toward an awakened witnessing of and responding to what is happening here and now. Zen speech, thought, and deed are unavoidably creative because they naturally arise from what the present moment 'wants' regardless of what tradition, belief, or hope demands. There is only one caveat in this practice: the teacher plays a central role in checking, correcting, guiding, and validating the student's path and effort – an essential component to avoid the uncountable pitfalls and delusions that plague every Zen practitioner's pursuit of discernment. In the end and like most spiritual traditions. Zen’s goal is to address our existential condition which, following Buddhism, is defined by three marks or seals: impermanence suffering, and no self.
Zazen in the Zendo Kinhin in the Zendo If one takes the deepest or purest interpretation of Zen, then Zen is not "Buddhist" but rather a state of being available to anyone from any religious or non-religious background. This explains why, for example, there are several Catholic priests, monks, and nuns that have become Zen masters (e.g., Sister Elaine Macinnes, Father Robert Kennedy Roshi)2 , and an exciting dialogue between the two traditions ensues.3 A good introduction to Zen is Alan Watt's classical text "The Way of Zen" (1999).
1 Text extracted from: Julio Bermudez, “Zen and/in Beginning Design Education,” in Stephen Temple (ed.): Developing Creative Thinking in Beginning Design (New York: Routledge, 2018), 90-106 2 Robert Hirschfield, “God is in the Zendo,” Tricycle Magazine (Fall 2005). URL: https://tricycle.org/magazine/god-zendo/ (accessed Dec 16, 2020). Robert E. Kennedy, Zen Spirit, Christian Spirit (New York: Continuum, 1999) 3 For example: Richard Bryan McDaniel, Catholicism and Zen (Nepean, ON: Sumeru Press, 2017). See also John Wu, “The Zen in Thomas Merton,” published in the Thomas Merton Society of Great Britain and Ireland. URL: http://www.thomasmertonsociety.org/Heart/wu.htm (accessed Jan 13, 2021)
Project 2: Zen Retreat 3 of 3
Project A Zen group has asked you to design a retreat. The new building will be located in a beautiful site on the east bank of the Potomac in Washington, DC. The client wants a project that expresses in spirit, form, and experience the practice and value of Zen in general and Zazen in particular. Principles such as simplicity, presence, true nature, mindfulness, discipline, patience, authenticity, silence, compassion, moderation, craftmanship, sharing, and gratefulness must enter your design. The program calls for a 10,000 sq.ft. building + gardens to support 30+ retreat participants (2 dormitories of eight rooms at 2/3 persons per room), supporting facilities (kitchen, storage, library, laundry, etc.), large meditation/sacred area, administration, and abbot quarters. Although the contemplative practice is its core focus, you will also need to consider teaching function, strict rituals, communal life, and Zen’s aesthetics and environmental ethics. While this retreat falls under the monastic category in architecture, it is important to recognize some differences: it is not to be occupied by monks living there full time but by lay people who are retreating for a weekend, week, or (max) 4 week long period.
Zen garden at the Ryoanji Temple, Kyoto, Japan Contemporary Zendo
Nature plays an important role in Zen monasteries Water-Moon Zen Monastery in Taiwan (section model) Work/Design Schedule Part I: Preparation (15% of semester grade)
Part I-A: Precedents Study. Feb 8-15 Part I-B: Site Research: Feb 17-26 Part I-C: Program Analysis: March 1- 5
Part II: Parti (25% of semester grade) Part II-A: Typological Exploration: March 8-22 (Guest Jury) Part II-B: Parti: March 24-April 9 (Guest Jury)
Part III: Development & Presentation: April 12- 26 (Close Jury) (30% of semester grade)
_____________________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins _____________________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Part I-A: Precedent Studies issue Monday 8 February due: Monday 15 February @ 2:10 PM
CONTEXT The purpose of this first assignment is to get familiar with the monastic typology. TEAMWORK This phase demands students to operate in groups of 2-3 individuals. ANALYSIS Three buildings from the following list of architectural precedents will be randomly
assigned to each group. Students will then collect the necessary information and proceed to study the general and particular architectural conditions characterizing them. The study will be presented graphically with minimal written notations.
1. Convento de las Capuchinas in Mexico city by Luis Barragán (1955) 2. Won Dharma Center in Hollowville, NY by Hanrahan Meyers Architects (2007)1 3. Dar al-Islam Mosque Madrasa in Abiquiu, New Mexico by Hassan Fathy (1981)2 4. Saint John’s Abbey Guesthouse in Minnesota by VJAA (2006)3 5. St Benedict’s Abbey at Vaals in The Netherlands by Dom Hans Van Der Laan
(1956-1986)4 6. Dharma Drum Mountain Zen Buddhist Monastery in Taipei by Kris Yao & Artech
(2012)5 7. Dominican Sister Convent in Pennsylvania by Louis Kahn (1968)6
8. Wong Dai Sin Temple in Markham, ON by Shim-Sutcliffe Architects (2015)7 9. Monastery of Nový Dvůr in The Czech Republic by John Pawson (2004) 10. Mont Saint Michel Cistercian Convent in France (8th century +)8 11 Sen Retreat Takahara in Japan by KURU+Coil Kazuteru Matumura Architects
(2020)9 12. Royal Monastery of Santa Catalina de Siena in Spain by Hernandez Arquitectos
(2014)10 13. Ding Hui Yuan Zen & Tea Chamber in China by He Wei (2016)11 14. La Tourette in France by Le Corbusier (1960)12 15. Vajrasana Buddhist Retreat in Walsham le Willows (UK) by Walters & Cohen
Architects (2016)13
KEY: A=1, 2 (3) B= (4) 5, 6 C= 7, 8 (9) D= (10) 11, 12 E= (13) 14, 15 F = 4, (8) 13 REQUIRED You are to produce a series of diagrams/drawings for each one of your precedents. They STUDIES should all use the same diagrammatic technique and systematically consider the same
issues. This will enable you to make comparisons and learn from these precedents. For each case study, you will analyze: 1. Form/Space: (a) solid vs. void or form vs. space, (b) repetition vs uniqueness, (c)
geometrical order, (d) symmetry and balance, (e) structure, (f) materiality
2. Program/Function: (a) circulation vs. areas, (b) private vs. public (or open vs. closed), (c) serving vs served, (e) size, (f) ritual (stages, directionalities, experience)
4. Section: (a) main space/idea, (b) light, (c) relationships
5. Parti
6. Scale comparison among the three projects (in plan and section)
We strongly recommend you to review the precedent analysis examples by Cark & Pause posted in the website (OTHER)
Product: your work should be formatted to fit in 11”x17” or, alternatively 20”x20” sheets. A few of these sheets may be necessary to complete a precedent study. Students are strongly encouraged to employ hand-diagrams over tracing paper to study the given buildings. Consider the time given, the project’s site (nature, river) and program as well as your team composition to strategize your analytical approach.
DIGITAL The following sites are recommended to access important architectural information. Go SOURCES this website: http://juliobermudez.com/courses/636/digital-resources.htm RECORD Present your work on MIRO, using the right resolution so you don’t overwhelm
the software. Eventually, you’ll upload the 3 studies in a folder (or file) called after your last names (BERMUDEZ-HANKINS) within the folder “PART I-A” in our studio google drive.
EXAMPLES Examples of precedents analysis are available in the studio website (“Other”). Refer also
to the following books: Precedents in Architecture, Roger Clark & Micahel Pause (Hoboken, NJ: Wiley 2012) Analyzing Architecture, Simon Unwin (New York, Routledge, 2014) Understanding Architecture Through Drawing, Brian Edwards (New York: Taylor & Francis, 2008)
GRADE This is one of three in Part I covering 15 % of the course grade. Team members received
the same grade.
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_____________________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins _____________________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Part I-B: Site Research issue Wednesday 17 February due: Wednesday 24 February @ 2:10 PM
SITE The Zen Retreat will be located in 5 acres (500ft x 500ft) bordering the Potomac River. The exact place is between Canal Road and the river (i.e., DC side), adjacent to the C&O Canal National Park (http://www.nps.gov/choh/ ) and south of the Fletcher Boathouse (https://boatingindc.com/boathouses/fletchers-boathouse/ ). Please google the location and directions of how to get there using this address: 4940 Canal Road, N.W., Washington, DC 20007. For Google Earth use: 38°55'0.99"N and 77° 6'4.14"W There is a voluntary site visit scheduled for Wednesday 17 February, weather and covid-19 rules permitting during studio time. More details will be provided in class.
PRODUCT Topographic/natural formal, human/functional, and environmental/natural conditions will
be analyzed using various media (photography, video, diagrams, quick gesture models) with the express goal of arriving at (minimum) three summary interpretations of the site conditions. For examples visit studio website (OTHER).
TEAM WORK This phase demands students to operate in groups of 2 individuals.
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1 Site Conditions Your team should carefully document the empirical conditions of the site. Use topo maps, photographs, video, weather, and other available information (provided and on the web) to record the objective dimensions of the site. Eventually, we’ll have a few designated individuals to produce the official site plan and sections that all the studio will use.
2 Analytical work Study the site to understand how it ‘works.’ Use diagrams, sketches, models, and other techniques to analyze the site in terms of the following considerations. a. “Formal” analysis
Consider the following aspects: topography/levels/ground, mass, space, scale, open/close, center/edge, patterns, texture/density, layers, movement, etc. Consider change (time). Is there an ‘order’ to the place?
b. “Functional” analysis Study access, circulation, land use (patterns, intensity, various human activities, etc.), public/private, history, social aspects, various zones, sound, etc. Consider change (time).
c. “Environmental” analysis Investigate sun, wind, weather, seasons, climate, vegetation, smells, temperature, soil, orientation, views, sound, shadows, river and other water flows, living creatures, etc. Consider change (i.e., time).
d. Summary Interpretations Conclude your three-part analysis by providing at least three ‘readings’ of the site that make sense, in a whole, of all your analytical findings. One of them should be ‘experiential’, in the sense of providing a clear indication of how the site is felt, lived, sensed, appreciated. Is there a narrative or story to be told?
Present your analytical investigations on 20” x 20” boards at a scale that is appropriate to show the information clearly.
3 Record Upload your work in a folder called after your last names (BERMUDEZ-HANKINS-) within the folder “PART I-B” in our studio google drive. Have the same material available for the review on MIRO. In MIRO, make sure you upload the work in the right resolution so you don’t overwhelm the software.
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______________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins ______________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Part I-C: Program Analysis issue Wednesday 24 February due: Wednesday 3 March @ 2:10 PM
The program for the Zen retreat (i.e., list of spaces/functions and square footage) is available here: http://juliobermudez.com/courses/202/building_program.pdf For examples of the type of diagrams, studies, and more we are asking you to do is available in our studio website, particularly here: http://juliobermudez.com/courses/202/other.htm (PROGRAM ANALYSIS) This final phase of Part I demands students to operate in groups of 2-3 individuals.
1 Exercise 1: Programmatic understanding 1 This is your time to reflect and think about the building PROGRAM. You will start by summarizing what you have learned from your research of Zen and architectural typologies supporting spiritual retreat. Additionally, you’ll need to consider, among others, the following questions: What does it mean to ‘retreat’? Does it mean to withdraw from the world? Is there a difference between ordinary life and being at a retreat? And what is Zen? How does zazen (meditation) intersect Zen practice? What are the roles of nature and society in all this? You canNOT assume you understand the program. You should inquire into the nature of this building. What is IT that makes it unique? You need to go further. From an architectural perspective, what is the role of Vitruvius’ ‘big three’ (utilitas, firmitas and venustas) in relation to your building’s program? What ought this building be? Where do you stand? Can you have a position(s)? Product: Prepare an eloquent monologue of your thoughts … as well as diagrams, images and other visual aids. Be ready to debate
1 In addition to a lecture on how Zen retreats operate by a Zen practitioners, we recommend students to review the information available at various Zen Centers. For example: the Yokoji-Zen Mountain Center in California (https://zmc.org ) and the Zen River Center in the Netherlands (https://www.zenrivertemple.org )
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2 Exercise 2: Ritual/Experiential Considerations What is a day like for a retreat participant? For the abbott? For the cook? Is there any particular set of rituals to be performed in this place? If so, what are they? What kind of experiences should people have while pursuing them? How does each central character play in such rituals? What do they perceive, feel, think? Who are they? What does the client want and what you think about it? How do the rituals and the atmosphere arising from them impact your architectural understanding? Can you visualize the relationship among all these events? Product: use diagrams, oral arguments, and images as necessary. Format: 11”x17” prints
3 Exercise 3: Program Parti The building program is over 10,000 sq.ft. and supporting an intense practice of Zen in a context of natural beauty. Important questions include: How should the building engage the river and its immediate context? What are the roles of community, infrastructure, existing facilities, and local landscape? How does the order of daily activities inform your conceptualization? How is the place dealt with? How do you see the relation between tradition and novelty play in this program? Is architectural symbolism/language an important force to play with? Produce a conceptual program parti containing an overreaching organization of your program. You will need to edit/organize the programmatic needs so that they fit ALL your thoughts and studies. Is the given program set in stone? Where do you stand? What do you profess?! Does it speak of Zen and your particular site? How such organization overlaps, supports, challenges the rituals to take place there? Product: Spatial Relationship diagram(s) (including indoor-outdoor): Define the type of spatial interactions between program elements. This diagram should also include issues of hierarchy, order, adjacencies, scale, zones, and sustainable potential. Format: 11”x17” prints.
4 Exercise 4: Scale and Site Study the size of your program vis-à-vis the site. Consider versions that organized the activities in compact versus distributed lay-out. For instance centralized or linear organizations will consume more or less space. Please, be discipline and utilize an appropriate architecture or engineering scale. Product: Site Relationship diagram (size and scale impact of the program on the site). Format: related to drawing scale utilized.
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PROGRAM Upload your work in a folder called after your last names (BERMUDEZ-HANKINS-) within the folder “PART I-C” in our studio google drive. Have the same material available for the review on MIRO. In MIRO, make sure you upload the work in the right resolution so you don’t overwhelm the software. PROGRAM A lecture explaining the different spaces, activities, and rituals related to the Zen Retreats will be provided. In addition, students are required to read the following two articles:
Frances Halsband, “A Different Kind of Place,” Faith and Form Vol.52, Issue 1 (2019). URL: https://faithandform.com/feature/a-different-kind-of-place/ Amy Lignitz Harken, “Rested Bodies and Stirred Spirits,” Faith and Form Vol.52, Issue 1 (2019). URL: https://faithandform.com/feature/rested-bodies-and-stirred-spirits/
GRADE This is the last of three components of Part I covering 15 % of the course grade. Team members received the same grade.
arpl 202 — Spring 2021 Part C : Program
Zen Retreatabout 30+ people for weekend/week/1 month
area A Meditation Area Zendo 2000 20 U 1 U = 100 sq ftDaisan Room 100 1 U 1 linear unit: 10ftstorage 100 1 UAncestors' Room 100 1 U green: servedTransition spaces 200 2 U red: serving2 bathrooms 150 1 U x twoother (shoe, porche)
150 1 U
mechanical room 100total 2900
area B Ordinary Life kitchen 300 3 Udining area 500 5 Ubathrooms (2) 200 2 Ustorage 100 2 Ulibrary 200 2 UFood storage 100 1 ULaundry 100 1 Ulounge 300 3 Utotal 1800
area C Administration office/reception 200 2 Umeeting room 100 1 Ustorage/other 100 3 Utotal 400
area E Outdoors outdoor sitting 2000contemplation garden
2000
total 4000
Parking (off-street)
10 cars
______________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and Francesca hankins ______________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Part II-A: Typological Exploration issued : Friday 5 March due : Friday 19 March "The room is the beginning of architecture. It is the place of the mind ... The plan is a society of rooms. The rooms relate to each other to strengthen their own unique nature… The society of rooms is the place where it is good to learn, good to work, good to live."
Louis Kahn*
Introduction If enclosing space (i.e., making a room) is the first archetypal act of architecture, the second is establishing a space-time “agreement” that allows the many enclosures to become one unified and coherent whole in concept, experience, function, and composition. In this assignment you will deal with a multiplicity of ‘rooms’, or, as Kahn would say, a ‘society of rooms’. Like any society, this one will demand a common ideal, belief, or ‘constitution’ that bring all the individual parts together. We call ‘parti’ to such architectonic agreement. If ‘parti’ addresses ideological or conceptual issues, typology offers ‘ready-made’ formal-spatial (or functional) organizations built upon the wisdom of tradition, culture, and history. Typology provides the designer with immediate guidance as how to order spaces, forms, and functions. This is positive because it speeds up the design process. However, such ease comes at a price: a high risk of architectural rigidity, mechanic logic, uncritical design, and dull results.
* Louis Kahn, “The Room, the Street, and Human Agreement (1971)”, in Robert Twombly (ed.): Louis Kahn - Essential Texts, New York: W.W.Norton & Company, 2003 (pp.253-254)
Louis Kahn
Le Corbusier
Richard Meier
Leoh Ming Pei
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Inquiry You will study four essential systems of architectonic organization (or formal typologies): (1) central; (2) linear; (4) cluster; and (5) grid. We will not consider (3) network (axis) because it’s basically a combination of others and not particularly relevant to the objectives of our course. Using Kahn’s metaphor, these four ordering systems are the “constitution” that rules the ‘citizenry behavior’ of the many rooms comprising the whole. Questions to ask include: What is architectonically unique in each one of 4 formal typologies? How do they support/challenge the methods of enclosure? What is the difference and relationship between enclosing methods and organization systems? What design opportunities does each one afford? How do these systems address/are affected by site and program? In order to maintain the investigation under focus, only the three fundamental architectural elements for defining enclosure will be used: structure (skeleton, post-beams), walls, and excavation/decking (horizontal layer). You will carry out the inquiry by following the order of study provided by the studio instructor. The investigation should be open, focused, disciplined, yet creative. Pay close attention to the breath and depth of your studies. The concept of series is as important as each unique iteration. Craftsmanship is secondary to architectural exploration. A rough or study modeling technique (glue gun + quick gestural techniques) is recommended. The goal is to learn: • the formal and spatial distinctiveness of each
typology; • the varied means of arranging space using the
organization systems; • the relationship between enclosure and
organizational systems; • how to conduct a complex yet disciplined
architectural inquiry; • the implications of formal typology to site and
programmatic development; • the relationship between formal typology and parti.
Work Modality From this assignment on, all studio work will be done individually.
from Ching’s “Form, Space, and Order”
Program and Site Site conditions must enter your decision making as does the given program (Zen Retreat). However, at the start, we recommend you to use detached abstraction and conceptual inquiry to engage the investigation. Consider the ‘forces’ or ‘demands’ of the site to engage your deployment of architectural elements (walls, structure, and excavations/decks). Ask yourself questions such as: How does a grid typology encounters the linear condition of the river bank? Is a central organization best equipped to handle a community plaza, and if so how and why? Isn’t a linear organization the most natural response to ritual but problematic in terms of connectivity? How do rain and wind conditions affect a cluster organization comprised of excavation enclosures? How do time and sun inform a linear organization of skeleton+wall-defined enclosures? Is a grid organization of structure-defined spaces best for responding to the program ? If so, how? What should be at the center of a central organization? How does a particular typology bring forth (and at the same time impede) certain architectural ideas? And so on.
Readings See original assignment links, reading list and website.
Schedule Due: Mon 8 March: 3 studies of linear typology in conjunction with two enclosure methods. Due: Wed 10 March: 3 studies of central typology in conjunction with two enclosure methods. Due: Fri 12 March: 3 studies of grid typology in conjunction with two enclosure methods. Due: Mon 15 March: 3 studies of cluster typology in conjunction with two enclosure methods. Due: Wed 17 March: a minimum of 3 thoughtful studies developed after your previous 12 investigations. Due: Fri 19 March: produce 3 good synthesis studies. Use what you learned from your 15 previous explorations to produce the best 3 solutions to your architectonic program. These synthetic works ought to include all 3 enclosure methods and (most likely) follow only one typology at a time.
Materials (see class materials list)
Record Upload photos of models and/or any other work in a folder called after your last name (BERMUDEZ) within the folder called “PART II-Typology” in our studio google drive. Have the same material available for the review on MIRO. Make sure you upload the work in the right resolution so you don’t overwhelm MIRO.
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Evaluation Open jury with grading using the following criteria: — Understanding of the systems of spatial/formal organization (typology) — Response to the architectonic program and site vis-à-vis an IDEA (Parti) — Breath, depth, and creativity of the inquiry — Interaction between representation, thought, and design product.
Part II-A of Project 2 counts towards 25% of the semester grade.
Vocabulary parti linear organization typology cluster organization type radial organization strategy/tactic grid organization system centralized organization axis courtyard dwelling inhabitation path rip’n’tear architectonic architectural pattern scheme function program edge condition concept
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Program for Typological Studies Typology Assignment Students must use at least two methods of enclosure in any typological studies, for example: excavation and skeleton, wall and skeleton, or wall and excavation. It is possible to a third but we encourage to start with two. To kick-off the effort, we are assigning the following starting point:
Student 1, 3, 5, 7, 9, 11 (odd number) Linear: skeleton and excavation / your choice (2) Centralized: wall and skeleton / your choice (2) Grid: wall and excavation / your choice (2) Cluster: your choice (3)
Student 2, 4, 6, 8, 10, 12 (even number) Linear: skeleton and wall / your choice (2) Centralized: wall and excavation / your choice (2) Grid: skeleton and excavation / wall and excavation / your choice (2) Cluster: your choice (3)
Approach Think of your project’s program as architectonic and NOT functional. This means that you are to respond to spatial-formal-tectonic considerations first (and then to program). Issues of adjacencies, scale, proportion, repetition, rhythm, center, periphery, movement, and so on must be studied in terms of their physical-compositional-experiential relationships. What these spaces mean, what they are used for, and other such questions need to be considered in the context of a particular typology’s demands. Your architectonic program consists of three areas (+ outdoors space and parking/tracking):
Area “A” (Meditation): 29 U (with one very large at 20 U) Area “B” (Ordinary Life): about 18 U Area “C” (Administration): 4 U Area “D” (Sleeping Quarters): 29 U (with one very large at 20 U, divided into 16 parts) Total: 80 U + circulation (25%) = 100 U Area “E” (Outdoors) = 40 U (two large spaces of 20 U each)
In this abstract “square U (unit)” system, your site is approximately 2500 U (or approximately 50 U x 50 U linear)
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______________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins ______________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Part II-B: Architectural Parti issued : Monday, 22 March due : Friday 9 April (Guest Jury) Architectura sine idea vana Architectura est. Alberto Campo Baeza Principia Architetonica (2012)
Louis Kahn, First Unitarian Church, Rochester,NY
DESIGN PROCES Your INTENTION for the next weeks is to find a BIG ARCHITECTURAL IDEA. By this we mean a unifying concept or scheme (a “Parti”) that is formally-spatially provocative, intellectually-emotionally engaging, and functionally-environmentally compelling. Don’t lose the spirit of exploration you have been engaged with thus far in the studio yet bring all that effort into a PARTI. Your focus is on the BIG idea. Digital Model: Section must build digital studio model of site at 1/16”=1’. It should be made so that students’ digital models easily fit on it. Exercise 1: parti exploration – due at 2 pm on Friday 26 March
• Choose your best two studies from Part II-A (your instructor may select one). • Consider the different elements of the program and how each element could be integrated
into your studies – think about public versus private, individual versus group. Go slowly to adapt the program to the form and the form to the program. Modify/transform each study to incorporate the programmatic elements.
• Orient each scheme on the project site. Use inspiration coming from Part I-B (a different one for each scheme) to help determine the orientation.
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• For each of the schemes, write an outline of specific design strategies for how that particular scheme responds to the sun, water, and wind as well as your chosen experiential theme or analytical topic.
• For each scheme, build a model and photograph the model from above. Print out the photo and trace over it to diagram the plan of the building (on tracing paper). Develop the building in plan by FREE-HAND tracing and transforming it multiple times (using layers of tracing paper), and also create accompanying diagrams that explain your design strategies (e.g., sunlight, courtyard, river, zendo). Work at an approximate 1/16” = 1’-0” scale.
• For each one of the two schemes, design a second variation that develops the ideas of the original scheme. For each of the two new schemes, write a new outline of your specific design strategies, build a model, and create accompanying diagrams that explain your design strategies
• All four schemes are due at the start of class on Friday, 26 March. Exercise 2: Parti Definition – due at 2 pm on Wednesday 31 March
• Choose one of the four schemes created for exercise 1, and design two variations of that scheme.
• In each variation, clearly articulate your design strategies as they relate to the site and environmental conditions studied in project 2 Part IB and the construction and organizational systems studied in project 2 Part II-A.
• Move from 1/16 to 1/8 scale unless instructor otherwise by your teacher. • In studio on Monday 5 April (or earlier if possible), you will choose one of the variations to
develop for the final review. Exercise 3: Design Parti Review – due at 1:00 pm on Friday 9 April
• Design process (most important drawings, photos, and models produced in the past 6 wks) • Precedents: architecture that inspires/support your parti. This may play an important role both
to support your idea and indicate material choices. • Rough floor plans @ 1/16”:1ft and two sections @ 1/8”:1ft scale (neat freehand is fine) • 2 sketches/simulations of experiential conditions (one ‘interior’ and one ‘exterior’) • site plan @ 1”:100 ft scale (including landscape, river, access road, and other relevant data) • working physical model @ 1/16”:1ft (showing some tectonics, transparencies, solid-void,
inside-outside conditions, etc.). • 100-200 word + graphic description of parti + parti diagram (thumbnail blown up but to
some logical size). • Oral presentation: prepare and rehearse your verbal argumentation for your design proposal. • No particular format is required for this jury review
Review Format Due to the pandemic, we’ll conduct the reviews online. Faculty reserves the right to make changes to above requirements based on the unfolding situation. Students are to use digital presentation tools such as MIRO (required) as well as PPT or PDF (for oral presentation) Grading Part II-B (along Part II-A) of Project 2 counts for 25% of the semester grade.
___________________________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins ___________________________________________________________________________________________
PROJECT 2 : ZEN RETREAT Part II-B: Architectural Parti Companion This following text was written by retired CUArch professor Vyt Gureckas. We find it very insightful and helpful and therefore I am sharing it with you. What is a concept in architecture? Simply put a concept is a driving idea for any particular project. It is usually stated in words. For Louis Kahn the concept for his Exeter Library was “get the book and take it to the light” What is a partí? Partí is the formal embodiment of the concept. It was a means used in the Ecole des Beaux Arts in Paris in its classical heyday (the 19th century). The partí is the general shape of the building and the disposition of the major spaces. It conveyed the fundamental form and composition of the spaces for the building. From the French word partir (to depart) it was the departure point for the project. In the case of the Exeter Library Louis Kahn, used a “courtyard” partí. The “courtyard” was actually covered at the level of the roof. The remaining “doughnut” was treated as a series of spatial layers that led to the last layer – the reading carrels at the perimeter of the building. The next step in the Beaux Arts system was to generate an esquisse in 24 hours which could be said to be similar to what we consider design schematics today and had to include plans, sections, and elevations. The esquisse and further development of the project had to follow the partí. Exeter Library by Louis Kahn – exterior Exeter Library by Louis Kahn – interior of the “atrium” or central grand space
atrium book stacks service zones in the corners reading areas Exeter Library by Louis Kahn – interior could be considered a courtyard typical floor plan at the perimeter partí or a 9 square partí. Today there are different uses of these terms and other terms that are more popular. The concept is still a pertinent notion for most architects. It is a verbalization of the main theme for the project. “Concept model” is often used today in place of partí. It differs from partí is that there is a looser relationship of what the final form might be than what partí once implied. One other term that might be added here parenthetically is “type” and “typology”. If we were to use the courtyard partí for a house we would have to acknowledge that this partí has been used many times throughout the history of architecture, therefore it is a “type” – a partí which has appeared in many buildings. We can categorize a variety of buildings into different types and therefore can talk about a typology of buildings. Another instance would be the “rowhouse” type – a common type we see in many American cities. To use a known type is not a sign of unimaginative design. It’s what you do with the type that counts.
A typology of buildings by Jean-Nicolas-Louis Durand. Appears in Rafael Moneo’s article “On Type.”
What is a conceptual model? Today architecture professors may ask you to generate a conceptual model instead of asking for a partí. In part this may be because the partí is too quickly a solution to a building. In part it might be because a partí may not be exploratory enough. A concept model has the benefit of being 3 dimensional and it may open more possibilities that will translate into architecture in less linear ways. It may be easier to explore strong contemporary forms that embody an idea. This does not mean that concept models should be wild. They may be very simple and have great power for that. Hence there is no one way to generate a conceptual model. It may be arrived at intuitively without worrying about how the program will work out. At the same time there might be a more rational translation of an idea. Below is a partial list that is a bit random. You may choose one of them or the list can serve to give you an idea of what a concept model could be and you can generate your own. Juxtaposition – the building elements will be contrasted, put side by side in an architectural way
based on how various programmatic elements are adjacent in a building. Layers – the exterior walls and enclosures within are a series of layers:
- layers nested one in the other (how could they be used to prepare an experience?) - layers front to back (how could they be used to support the ritual?) - rooms created with an interstitial space between them (what will happen there?)
Formal exterior (to respond to context) and interior (to reflect the character of the program). A grid of columns – (thin elegant / heavy powerful skeleton). The columns could be large enough to
create intimate sitting areas. Thin columns will create a lofty space like a pine forest. Matrix – the interior will have a 3D matrix of columns and beams not only to provide support for the
floors and roof, but also to support spiritual functions. Minimalist – the architectural elements will be elegant yet not overbearing so that the ritual of mass
can be highlighted. Precious containers – the Blessed Sacrament may be in highlighted or set apart (perhaps the whole
chapel is windows with a solid, dark box within: the ultimate place of mystery where everything emerges from)
Dialogue of spaces – the chapel may establish an active dialectics with its surroundings. What else? For more on parti I wrote a short text on what I consider to be an architectural design parti. I invite you to read it. https://www.academia.edu/4020964/On_the_Architectural_Design_Parti
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______________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins ______________________________________________________________________________ PROJECT 2 : A ZEN RETREAT Part III: Design Development & Presentation Handout: Monday 12 April Due: Monday 26 April @ 1:00 pm uploaded to your section digital drive and MIRO
(earlier uploading is acceptable) Jury Format: Close (the two faculty will do the evaluators) exit interview: Friday 30 April Exercise 1: feedback + design modification – due Monday 19 April • Based on the comments/critique you received in the April 9 Jury, proceed to change your
scheme as necessary. Consider what is possible and what is not possible to do given your own convictions, the truth of the feedback, and the time left.
• Additionally, as you make these changes, you are also expected to develop your design, paying attention to experiential, tectonic, and daylight conditions. Consider structural, contextual, and functional issues as well.
• Establish a plan of operation, listing a strategy with a timeline to produce such changes. Exercise 2: communication – due Monday 26 April at 1:00pm in MIRO and G-DRIVE
Below is what ought to appear in your MIRO board (and PPT presentation). For the boards, see note afterward. • Frame 1 (cover): Project title: ‘Parti’, your name, ARPL202, date • Frame 2: 100-200 word + graphic description of parti + parti diagram (thumbnail blown up
but to some logical size). See the five examples from 2020 in G-Drive. Your text must be clear, concise, and grammatically correct without spelling errors.
• Frame 3: Design process (digital, printed in your board). Include ONLY your most important analog models.
• Frame 4: Precedents: architecture that inspires/support your parti. This may play an important role both to support your idea and indicate material choices. Include each building name and architect.
• Frame 5: Site Plan @ 1”:100ft scale showing your roof plan, not your floor plan (including topo lines, river, landscape + access road, and relevant data). Include title block (“Site Plan”), N-arrow, graphic scale, etc. The image below shows about how much of the site to use. Just enough to show the river, beach, the DC neighborhood, connection to access road-parking etc.
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• Frame 6: Floor Plan(s) @ 1/16”:1ft scale. Include title block (“Floor Plan”), N-arrow, graphic scale, section cut lines with arrows and letters (A-A, B-B), program-related legend/key. Floor plan must include immediate adjacencies as appropriate (i.e., river, access, vegetation, etc.). If a linear (or ‘long’) scheme, sure your plan is placed horizontally in the frame (make N-arrow accommodations as necessary and make site plan consistent to this)
• Frame 7: Two Sections @ 1/8”:1ft scale. Include title block(s) (“Section A-A” and “Section B-B), graphic scale, program-related legend/key, figures (people), and relevant context. This frame should also have the Main Elevation @ 1/8”:1ft scale. Include title block(s) (“West Elevation”, etc), graphic scale, show materials and relevant context.
• Frame 8: three photos of a Good (well-crafted) Physical Model @ 1/16”:1ft (showing tectonics, transparencies, solid-void, inside-outside conditions, materials, etc.). See pg 8 “Physical model in site model" of Kaderabek, Alzuabi for representative example. No digital model in place of a physical model, only as an additional model(s).
• Frame 9: Sketches/Simulations of experiential conditions (8-1/2 x 11” minimum size) — at least two (one interior/one exterior) vignettes that best represent your parti/building. Digital options include Rhino, Grasshopper, Revit, and SketchUp.
Please, pay attention to line weight, craftsmanship, composition, location of your section, materiality, image resolution, and overall aesthetic of the graphic and physical presentation of your design proposal. Title block on each page must be consistent in its overall layout and composition. ** Changes to this presentation list are possible depending on a student’s particular project but must be discussed and approved by the studio critic. In other words, do not include other types of drawings unless approved, for example, do not include circulation or roof plans, etc. Format You will take all the work displayed in the 9 frames above and graphically composed it in horizontal 36” x 48” sheets. However, this format may be changed by either you or your instructor if your project demands special accommodation (if so, you and your instructor will need to come to an agreement). Do include your name, small, in the lower right-hand corner of the bottom board (or front of your digital presentation). This work should be done at 150dpi and saved as PDF. In addition, students are strongly recommended to provide a PPT presentation. Upload/Record FINAL WORK (model photos, boards, PPT, and board PDFs) should be uploaded in a folder called after your last name (i.e., BERMUDEZ) within the folder called “PART III” in our studio google drive. Post your boards and model images in MIRO. Make sure you upload the work in the correct resolution so you don’t overwhelm MIRO.
