erik stratmeyermidterm portfolioarch 102Spring 2012

FourFold Chapelsite:A privately owned site along the rocky coast of Southern California, including a rock outcropping that is separated from the mainland at high tide. the climate is temperate with westerly winds, at times very strong

program:A private client has chosen to build a non-denominational chapel for the use of the public.

The client is an aficionado of Martin Heidegger and has asked that his chapel be called the FourFold Chapel. Given this affinity, he has asked that the relationship between the building and the site be one that evokes your understanding of the four fold and ideas about site and place contained within the reading has provided you.

The chapel should accommodate the following: 1. A main meditative space accommodating 10 people2. A place within the main space for a speaker3. 2 remote private meditation spaces for 1 person4. A uni-sex restroom, separate from the chapel5. An outdoor area where 40 people can be seated on folding chairs6. A storage area for chairs

mortals

earth

gods

sky

Heidegger’s four fold

table of contents

corrugated tile design

gestural models

site response

research

corrugated tile

insights: issues:• The objective is to create a 12” x 12” tile constructed entirely

of 1/8” brown corrugated cardboard displaying our creativ-ity, materiality and highest level of craft. At some point the tile needed to be at least 12 layers thick (1.5”) and never be less than 2 layers thick (.25”).

• Visual tension is created by constructing a diagonally ori-ented form in contrast to perpendicular lines of the back-ground. The diagonal composition breaks the rigid formula of perpendicular intersection of lines of the background.

• I achieve a high level of materiality by peeling back the smooth layer of the cardboard to expose the corrugated ma-terial in a variety of applications.

• With closer inspection the use of logic disruption can be found hidden in the composition.

• The overall composition reads flat. A higher level of visual depth could have been obtained by building up the back-ground.

• There is not a complex system of logic found in the design. A set of logical rules is necessary to increase the complexity of the design.

corrugated tile

gestural model # 1

insights: issues:• The intent of this model is to explore the idea, where the

ocean meets the earth. I chose this due to the nature of the program’s site.

• The model represents a wave crashing on a sandy beach. The prominent curvilinear form and vertical linear ele-ments comprise the wave and the sloping textured plane, the beach.

• The arcing plane of the wave creates an interesting interior space. It was hard not to think of Heidegger’s idea of home when doing the first couple of models.

• The repetitive array of vertical linear elements generate in-teresting shadow patterns.

• The overall form of the model is symmetrical. This was not an intended aspect of the design.

• The model is more a literal representation of a wave rather than abstract expression. The shape is too familiar.

• Although the base is incorporated into the design, there is still a base.

gestural model # 1

gestural model # 2

insights: issues:• The intent of this model is to investigate the concept of Hei-

degger’s fourfold.

• The design has four orthogonal planes, each plane repre-senting an aspect of the fourfold (earth,sky, mortals, gods).

• The design takes the form of a cave, the original dwelling. The design is left open create a comfortable interior space.

• The decision to cut out areas of the planes to allow light/sight both in and out creates beautiful shadows and en-hances the open design. Perhaps, subconsciously they are reminiscent of stained glass.

• The overall form of this model is symmetrical.

• Complexity is lacking in this design.

• The design is only comprised of a primary structure, lack-ing the necessary complex elements to create a compelling design.

gestural model # 2

gestural model # 3

insights: issues:• This model is an abstract representation of my notion of

meditation. Meditation is a means of corralling chaotic thoughts and emotions and bringing a sense of calm and order to self.

• Chaotic thoughts are expressed with the erratic array of linear elements. In a linear progression, the expressions become less erratic, smaller and begin to follow an orderly alignment along the center-line of the base.

• There are possibilities to develop a compelling design lan-guage with the linear elements of this model.

• This is the first model that has a discernible system in the design, which increases the complexity.

• I appreciate the explosive and dynamic qualities evoked by this design.

• From certain angles this design reads symmetrical.

• There is a base supporting the design.

• A classmate had to give a critique of what they hated/loved about this model. The following is what she “hated”…

“WHAT IS THAT?!?! I was initially scared of it . It’s a bunch of barbecue sticks stabbed into a wooden rod in crazy directions. It’s sharp and I don’t like sharp things. Is it supposed to be a porcupine. I feel like it is defensive and it guard is up. It doesn’t want to be held or nurtured. I love wood but not when it is so dense and solid. It’s so massive and loud. It’s explosive, wild and random.”

gestural model # 3

case study (exterior)pathway contemplative order

The intent of this case study is to pair descriptive words/thoughts that convey an intellectual/emotional response to (5) exterior archi-tectural images. The exterior study forces me to question how forms and design influence my subconscious/conscious thoughts

case study (exterior)order open spiritual (fourfold)

case study (interior)austere meditative movement

The intent of this case study is to pair descriptive words/thoughts that convey an intellectual/emotional response to (5) interior architectural images. The interior study is a catalyst for the question of how to shape space and the role of light in design.

case study (interior)movement communal open

case study (architecture interacting with site)

The objective of this case study is to find (5) examples of architecture interacting with the site. This exercise challenges me to think of the site as more than a plot of land, but as an integral aspect of design. Integrating design and site creates numerous opportunities.

case study (architecture interacting with site)

gestural model # 4

insights: issues:• This model is my first attempt of a planar design expression.

I use interlocking planes in varied directional arrangement.

• The directional arrangement of the planes (diagonal) creates visual tension.

• I cut orthogonal shapes out of the orthogonal planes in var-ied scale. This technique was applied to frame the view of different aspects of the composition.

• Creating negative space within the plane alleviates the rigid appearance and visual weight of the design.

• Although this type of design language has the opportunity to be powerful, the application does not result in an inter-esting composition.

• The design leaves me uninspired. Increasing the expression of repetitive elements and multiple materials will increase the complexity of this design.

• The arrangement appears haphazard and does not adhere to any specific logic.

gestural model # 4

gestural model # 5

insights: issues:• I am investigating the qualities of the ocean with this gestur-

al study. The primary structure expresses a wave-like form and the secondary elements have characteristic of a ship’s sail.

• The composition creates an interesting contrast between the visual weight of primary form and the delicate curvilinear lines of the secondary expression.

• The brown chipboard that echoes the curvilinear forms of the foam core draws attention to the white curvilinear planes.

• Stacking the curvilinear forms on an arcing armature pro-duces a smooth organic appearance.

• There is a slight issue with the level of craft. The chipboard elements are not exact.

• A better connection between the primary/secondary ele-ments is necessary to enhance the design.

gestural model # 5

gestural model # 6

insights: issues:• This model is an exploration of space and form. I am in-

vestigating how space and form is created with hundreds of repeating expressions.

• How can I create a compelling composition that exhibits a form created by smaller elements and the space in between?

• One aspect that makes this a captivating composition is that the system of the design is incredibly simple but the result is complex.

• The possibilities for both amazing forms, space, shadows and light patterns are immense with this design language. Now the hard part, how do I control those factors?

• Penetration is a powerful design technique.

• To save time, I cut the lengths of the linear elements with scissors. This creates a rough and unfinished appearance of the edges. In the future, a Dremmel tool is necessary for clean cuts.

• The rods are all the same length. By varying the size of the individual rods a more complex spatial/form composition is possible.

• The rods are made of wood so each has it’s own unique material quality. Plastic or metal is a preferable material to maintain a consistent expression throughout the design.

gestural model # 6

gestural model # 7

insights: issues:• This model further explores how space and form is created

through an array of repeating elements and the resulting light and shadows patterns.

• To delve deeper, I open the composition more than in ges-tural model #6. This is achieved by increasing the space between the linear elements, and using transparent plastic to promote the path of light through the form.

• These changes yield a more complex and visually lighter composition.

• I also create an arcing path for the penetrating linear ele-ments (in contrast to the previous model’s planar path) to create a more compelling design.

• The transparent quality of the plastic draws the viewer in for a closer look into the architectonic design language.

• The reflective qualities of the plastic gives rise to another layer of design.

• The scale of this model is too big. The form is bulbous and can be edited to promote a sleeker composition.

• The armature broke three times throughout the construc-tion, leading to the level of craft suffering.

• Although the elements for vertical development of model # 6 are present, it is not executed well. Further explorations and constructions are necessary.

• I am becoming concerned with the implementation of this design language in regard to the fourfold chapel.

gestural model # 7

inspiration: arctic ice wave

critical questions

The intent of these questions is to gain critical insights and delve deeper in the design process. Although some of these questions were in my mind when developing the first seven gestural models and case studies, I think this design tool should have been utilized before I started any of the models/case studies. In the future, questions will be developed before the first cut.

What are three questions you have about architecture in general?

• Whatoccurspsychologically/emotionallythatdrawsapersontoanarchitecturaldesign?

• Isthereaformulaforcreatingcompellingdesigns?Ifthereisaformula,isitintuitive,concreteoracombinationofboth?

• HowdoIabstractlyexpressaphilosophical/emotional/intellectualresponsetoanideaandincorporatethatnotioninapracti-calconstruction?

critical questions

What are three interesting aspects/components/thoughts about this project?

• The concept of meditation is compelling. HowdoIcreateadesignthatpromotesandevokesanemotional/intellectualre-sponsetothenotionofmeditation?WhatismeditationandhowdoIcreatea“dwelling”thatnurturesthepursuit?

• I am interested in expressing the gestalt of the fourfold. The fourfold is incomplete if it is missing any of the components (earth, sky, mortals, gods). HowdoIdevelopaunifyingdesignthatincorporatesanexpressionofeachaspectofthefourfoldinterdependentofeachother?

• The site is of paramount importance in this design. HowtoIcreateasitespecificarchitecturalresponsethatincorporatesthephilosophicalresponseofHeidegger’snotionofdwelling? The site is on seaside cliff in Southern California. This can symboli-cally represent the edge of our known world. This idea is a catalyst for the philosophical question of the relationship between our existence and the spiritual unknown.

gestural model # 8

insights: issues:• This model is an investigation into the rhythm of medita-

tion. This model is inspired by an interior image found in my case studies.

• The placement of the repetitive planes is an exploration into shadow and light patterns. My intent is to create a rhythmic pattern between the light and shadows in the interior space.

• The form of this model responds to the windswept nature of the program’s site. This form is influenced by the wind sculpted brush found on Northern California’s rocky beach front.

• On the whole this design is a failure, but there is possibilities in the use of light and shadow patterns to evoke a smooth rhythm with those elements

• There is nothing exciting about this design. Possible rea-sons for this is the use of a singular material, the absolute symmetry of the design, lack of complexity.

• The composition reads bulky and sterile. A sleeker and more dynamic form is needed.

• By extending the cantilevering arcing vertical planes, the impression of the form being windswept might be realized.

• This model is a break in the design momentum that has been building since model #6. It does not build upon the successful aspect of the two previous designs.

gestural model # 8

gestural model # 9

insights: issues:• This design begins to address the representation of the

fourfold. I am only addressing three of the elements of the fourfold (mortals, earth and sky). This was a conscious decision. I am conflicted whether the notion of gods can be represented concretely. As of now, my representation of gods is the experience of the architecture.

• An important aspect of this design is the interdependence of the elements of the fourfold. In my interpretation of Hei-degger’s thoughts on the fourfold, they are a gestalt.

• The vertical structure is a representation of mortals. It is inspired by Calatrava’s Turning Torso. Symbolically, the con-torted vertical planes represent the torso and the repeating horizontal elements the vertebrae.

• The sky is represented by the abstract form of a bird wings. The two arcing forms that stabilize the vertical structure and are connected by the “bird wings” is the symbolic represen-tation of the earth

.

• This design has the possibilities of being too literal. Al-though I do like the ideas in motion, I need to be cognizant of the predictability.

• I am concerned with the representation of the earth. The curvilinear forms are not what one associates with the rocky coastline of the site.

• The contorted vertical planes need to be exaggerated. The vertical elements are geometric, possibly smoothing some of the angles will help me to achieve the gestural representa-tion of a torso.

• There is a lack of complexity in the representation of the earth and sky. This creates an unbalanced design.

gestural model # 9

gestural model # 10

insights: issues:• This model further develops the ideas and design found in

the last model. After reviewing the last few designs, I de-cided to pursue this question of the relationship and rep-resentation of the fourfold. The notion of the rhythm of meditation has not been forgotten but will be incorporated in future iterations.

• I address the symbolic relationship between material and design. The representation of mortals is constructed with organic materials (wood/chipboard). The notion of sky uses a transparent plastic (allowing unimpeded light/sight), and the earth is represented by metal wire (mineral from the earth).

• The direction of the vertical planes are more contorted, and opened. The top of the form was increased to allow more light in the interior space.

• The expression of sky is now represented by two sets of abstract bird wings and the representation of the earth is far more interesting and appropriate in regards to the chapel’s site

• The representation of the torso needs to be more dynamic and less geometric. Orienting the horizontal elements in a diagonal direction and creating a smooth curvilinear plane for the vertical elements will address this issue.

• The expression of the earth needs to increase in complexity and become a more prominent element within the design.

• Varying the scale, orientation and increasing the expression of the abstracted bird wings will create a more compelling composition

• The overall composition is symetrical.

gestural model # 10

gestural model # 11

insights: issues:• Further refining the last two models, I address the issue of

the sharp edges of the primary structure of the previous models. My intent is to create a more organic representa-tion of the human form.

• An additional expression of sky (transparent abstracted bird silhouettes) is added to composition. This is placed on the opposite side of the vertical planes to break the established logic of the expression.

• Triangular planes of metal fabric is added to the wire repre-sentation of the earth. Further investigation into the use of metal fabric for planar elements is needed.

• The application of the repeating horizontal elements of the primary structure constricts the space within the form and increases the predictability of the design. Some editing is necessary.

• It is difficult to see the transparent plastic in the design. Texturing the plastic with sandpaper will increase the vis-ibility within the composition.

• The expression of wire and metal fabric is not thoughtfully crafted.

• The issue of symmetry reappears in this model.

gestural model # 11

gestural model # 12

insights: issues:• This model marks a significant move forward in the design

development. The perceived symmetry is broken, the com-position is opened and the disparate elements of previous models are more cohesive.

• By editing the horizontal elements of the primary structure (repeating interlocking planes on only one side of the form) the composition is opened up and more interesting internal spaces are created. The repeating horizontal elements are designed to abstractly represent the human vertebrae.

• I textured the plexifdglass forms to make them more vis-ible in the design. The forms are attached to the primary structure in varied angles to the plane of reference to evoke a more dynamic form.

• Wrapping the metal fabric and wire around one of the verti-cal planes breaks the perceived symmetry and the predict-ability of the previous designs.

• The use of tape to visually separate the sections of the verti-cal draws more attention to the primary structure.

• Due to craft issues the design reads bulky and stunted. The sections of the primary structure closet to the ground plane broke off towards the end of construction. The initial intent was to have a more protracted primary structure.

• The grouping of the abstracted bird wings reads cluttered. Creating more space between the elements and varying the scale of the wings is a resolution.

• The connection of the metal fabric and vertical planes is haphazard and not thoughtful. A more refined connection is required. The entire composition’s mechanical connec-tions need more acknowledgement and attention.

• Experimentation proved successful but the level of craft and attention to detail suffered.

gestural model # 12

gestural model # 13

insights: issues:• The design is beginning to develop a surrealistic language. I

find the use of metaphor in design to be extremely compel-ling and intend further investigation and development.

• The primary structure is protracted in this model to give more emphasis to the expression of mortals in the gestural study of the fourfold. The increased length allows for more curving distortions of the vertical plane.

• The scale of the repeating horizontal interlocking elements (abstracted vertebrae) is increased to expand the interior space.

• The abstracted bird wings are only partially textured to aug-ment the attention to detail and abstract reference to a bird’s wings. This creates an interesting effect under light (trans-parent and translucent in the same form).

• An additional element is added to the expression of the earth. Abstract representations of rocks is weaved into met-al fabric with the the wire. One continuous piece of wire is used to weave the rock into the undulating metal fabric.

• The representation of the earth is too literal. It establishes a ground plane in the composition and is not an attached to the primary structure. I fall short in creating a composition in which all the disparate elements are cohesive.

• Using plastic for the abstracted rock forms creates visual confusion with wing forms. Even though the shapes are contrasting, visually the material relationship is confusing. Using a thin metal material for the rock forms or eliminat-ing them are possible solutions.

• This model diverges from the intent of gestural investiga-tion. I am beginning to design the chapel. This was noted by Professor Chandler.

gestural model # 13

gestural model # 14

insights: issues:• This model is an attempt to break the predictability of the

design. I am experimenting with breaking up one of the vertical planes into segments. The fracturing of the vertical plane is intended to create new opportunities to advance the composition

• The expression of the metal fabric has been increased and less literal. They are echoing the vertical wooden planes. I removed the geometric shapes found in model # 13, these may reappear in future models but they are not cohesive ele-ments in this design.

• The abstracted bird wings are applied in an erratic manner throughout the composition. I need to make a move to fur-ther develop the expression of the sky. A less literal repre-sentation is necessary.

• This model reads messy and chaotic. Experimentation is necessary in design, but there is a learning curve.

• The expression of metal fabric takes over the design. It reads bulky and obtrusive. Possibly using a smaller mesh will help this issue.

• The abstracted bird wings are applied haphazardly and are more decoration than design.

• I am becoming concerned with the possibilities for this de-sign. I am not clear on what elements to refine, and which to eliminate.

gestural model # 14

gestural model # 15

insights: issues:• I revisit some of the successful elements found in model

#12. The slow curves of the vertical planes, the designa-tion of segments with black tape and the non-symmetrical expression of the metal fabric enclosing one of the vertical planes.

• A new representation for the sky is introduced. I drop the abstracted bird wings for a wooden wing held in tension by small wires. I feel this increases the complexity of the de-sign.

• An order is beginning to emerge in the representation of vertebrae in the primary structure.

• The elements that comprise the design are not cohesive. The wing structures are obtrusive and crowd the model. The application of the metal fabric is not designed well. The connection between elements needs refinement.

• The overall structure is designed to be 2” taller. After about 6 hours into construction the lower segments broke off, the design reads bulky and stunted.

• Maintaining tension in all the wires is difficult. This results in small kinks and slack in some of the wires.

• I am not happy with execution of the past few models. I need to decide what works and what doesn’t. Confusion and frustration in regards to my direction is building.

gestural model # 15

gestural model # 16

insights: issues:• In response to the cluttered compositions of the previous

models, I bring order to the design. The vertical planes are straight and extended, the architectural expression of verte-brae are precisely aligned and many elements are edited.

• I was unsatisfied with the previous compositions so I re-searched meditation. This resulted in the abstracted vision of a person meditating, sitting with crossed legs and arms reaching out.

• I open the composition by rotating the vertical planes out-ward, and applying horizontal orthogonal elements extend-ing out from the primary composition.

• In my search for a more ordered composition, the design becomes sterile. I have retreated back to familiarity and symmetry.

• A noticeable amount of complexity is lost in the design. The separate grouping of planes and perceived visual lines is a possible cause. The previous designs, although more chaotic, read more dynamic and compelling.

• The recreation of the form of a person meditating is too literal. I need to find the middle ground between metaphor, abstract representation, and architectural response.

gestural model # 16

site response # 1

insights: issues:• Moving to site the has renewed my inspiration and informs

my struggling designs. I return to compelling aspects of previous designs and the suggestion of a form opening up to the ocean from the last model.

• The model is nestled in the site’s cove. It is placed below the top elevation to submerge the structure in the cliff. This enhances the experience of the earth for the participant.

• I take the opportunity to separate the expression of sky (abstracted wing) from the primary structure. This alleviates the cluttered composition found in model #15, but retains the interesting elements.

• The primary structure returns to the slow curving vertical planes, delineation of separate segments of the plane with tape, and a non-symmetrical ordered response to the hu-man vertebrae.

• The plexiglass platform is a response to the earth. Instead of creating forms to express the earth, I use the natural land-scape. The transparent plastic allows the landscape and the ocean to participate in the design.

• The complexity of the design suffers with the drop in scale. With practice and experimentation this should be resolved.

• The plexiglass base reads to large in the scale of the model. Cutting away some of the base will help. The expression of the linear support elements is random and design intent is needed.

• The planar language reads heavy. This is partially due to the use of wood. Possibly creating a framework to imply the plane will increase the complexity and create a more elegant expression.

• Experimentation with different locations for the chapel is needed. My instinct chose this placement. I am happy with the possibilities this site has, but I need to keep my options open.

site response # 1

site response # 2

insights: issues:• The location of the gestural model is changed to promote

new possibilities and experimentation. Investigation is key in the early stages of a design.

• To alleviate the heavy feel of the abstracted bird wings, I de-veloped a framework for the forms and left them uncovered. this allows for the beginning of a readable architectonic language and enhances the visual complexity.

• The abstracted wing forms are reattached to the primary structure as found in previous iterations. This helps bring more cohesion between the abstracted wing forms and ex-pression of mortals which lunges open to the sea.

• The repetitive array of 4” horizontal linear rods echo the contours of the landscape at three distinct levels. This is a response to the earth aspect of the fourfold. The transparent base provides the participant the opportunity to embrace the site’s land/seascape. The material choice is inspired by Calatrava’s bridge in Redding, CA.

• A more elegant connection needs to designed for the con-nection of the curving linear planes of the abstracted bird wings and the primary structure. Two of the forms are friction fit between the horizontal vertebrae of the primary structure and one is just resting on the top corner of pri-mary structure.

• More structural elements need to be introduced into the plexiglass base. The base still reads bulky and unrefined. This design element is becoming a challenging aspect of the composition as the other elements begin to find cohesion.

• The site specificity of the overall design needs to be ad-dressed. The opening of the primary structure to the ocean, the linear array of rods echoing the contours of the land-scape and the geometric fit of the plexiglass base to ab-stracted landscape are not entirely credible responses to site specificity.

site response # 2

site response # 3

insights: issues:• The development of a system of architectonic connections

begins to bring cohesion between two elements of the four-fold , sky (abstracted bird wings ) and mortals (structure opening up to the sea and lunging towards the horizon).

• The opportunity for possible compelling interior spaces and exterior planes is beginning to emerge with this design. The design is assuming more qualities of a building.

• Two black structural elements are introduced into the repre-sentation of the earth. The black foam core represents steel girders and attempts to bring a connection through color to the heavy black lines found on the vertical planes of the primary structure. A thinner gauge and darker wire is uti-lized in the linear array of rods echoing the landscape. This creates a more elegant response than the lower gauge, bright metallic wire used in the last iteration.

• The orientation of the abstracted bird wings in directional planes rather than horizontal planes creates a more dynamic design.

• The cohesion of the entire design suffers more now that two of the three design elements (mortals and sky) are begin-ning to unify. The plexiglass base and structural elements (earth) are now more disparate than ever.

• The linear array of rods needs to become an integrated aspect of the entire composition. If this can not be accom-plished in a cohesive manner, this design element needs to be eliminated

• The design is not adequately site specific. Removing the base and manipulating the landscape and structure will help to further integrate the design into the site.

site response # 3

thoughtsThis semester has been a challenge in regards to working through challenges I have had in Arch 101. Some notable challenges in the past were craft over content, fixation on the literal, retreating to the familiarity of symmetry and simplicity, and sustaining a series of work that maintains a cohesive design language.

By the last half of this semester I think I have those issues worked out. Throughout the semester I obsessed over the level of craft of my gestural models. Countless hours trying to get things just right, could have spent evolving critical aspects of my designs. The shame of it is that when I look back through my work , it is not that impressive. I think it took about twelve models to actu-ally get that out of my system and concentrate more on designing rather than craft.

Quite a few times this semester I found my designs leaving the abstract and becoming literal representations of images in my head or my computer screen. This issue is most evident in gestural models #1 and #16. It is a fine line between metaphor and literal representation. I can not expect to have that worked out now but this is something to keep in mind in the future.

Unfortunately, symmetry and lack of complexity was found throughout this semester. Symmetry cannot always be thought of as a negative element of a design if that is what one seeks, but in the case of this studio it violates a major design bias. It seems I retreat back to symmetry and less complicated designs when I feel stuck and do not know the next move forward I think the complexity of my designs have been improving throughout the semester and this is one aspect of my designs I will always strive to improve.

One thing I am happy with is that I have been able to sustain a cohesive design language since gestural model #9. This has been a big step forward for me this semester. I had a huge issue last semester of jumping around trying to find my voice. I have yet to develop that personal style but at least I am able to sustain a series with recognizable design elements and language.

The last half of this semester I intend to work more on my design ideas rather than execution, work on developing new tools to propel my work forward and just keep challenging myself to develop at each step in these beginning stages of design.