TEMPLE STUDIO BRIEF - COLUMBIA GSAAP FALL 2015
Transcendent Architecture
Much of architecture strives for permanence and grandness, symbolizing our highest aspirations. This is especially true of religious architecture, which comprises the most commanding and perdurable examples. Our existential presence, the passage of time and human spirit should be embodied in this architecture; yet, these buildings often miss the connection with the individual. In this studio, we will examine a transcendent, accessible architecture, engaging the individual through a combination of simple materiality and passing light. For this project, we will focus on Buddhist ideas of transcendence as well as a multitude of influences from architecture, art and theory. The program for this exploration is a well-crafted contemporary temple or shrine (Jingū-ji or Zendo) located at the far north end of Manhattan. The building is intended to endure for no more than 20 years and touch down lightly, leaving little trace once removed.
Transience and Imperfection
Architecture translates ‘pure’ ideas into form and space. Contemporary architecture rarely acknowledges the possibility of the synthesis of ‘pure’ and practical through eclectic or divergent theories. In the studio, we will test an architecture that is not only temporal, but also syncretic and is linked to the aesthetic concept of wabi sabi or the ‘three marks of existence’from Buddhism, a beauty that is imperfect, impermanent, and incomplete.
Time and Materials
Wood architecture speaks to a temporal and immediate relationship with our time on earth. Ancient examples of wood architecture are found throughout the world including the 1400-year-old Hōryu-ji Buddhist pagoda as well as examples of temporary construction, which embody the same high craft, traditions and techniques. Every 20 years for the last 1,300, the Ise Jingu Grand Shinto Shrines in Japan have been reconstructed using local cypress in the Sengu tradition, passing down traditional crafts and culture. We will examine the role of craft in contemporary (Eastern and Western) architecture, learning techniques such as Cidori used by Kengo Kuma, which use no nails or glue, to the wild works of Russian artist Nikolaj Polissky, to better understand the relationship between materials and the message they send.
Theories of Making
Rather than differentiate making and theorizing, we propose a practice of “thinking with our hands,” which allows for both proactive and spontaneous production of ideas. We will examine the very nature and immediacy of construction through large physical models, full-size joinery, research and writing. We look to a multitude of sources for inspiration, from furniture to art and architecture, as we progress.
Studio Process
A series of parallel exercises will unfold through the semester including site analysis and research on architecture, religion, theory, and construction techniques. The early stages of the project will include models, which reveal material attribute or capture its essence (metonymy), providing a visceral understanding of sound, light, area, volume and scale without the use of metaphors. These exercises and others will ultimately establish methods for gathering information from place and site, which can be abstracted into memorable architecture. Each student will document the process and research in a folio.
The studio will also develop a simple website.
Precedent
The mission of the Rothko chapel is to inspire people to action through art and contemplation, to nurture reverence for the highest aspirations of humanity, and to provide a forum for global concerns. The Rothko chapel was dedicated in 1971 as an intimate sanctuary available to people of every belief. A tranquil meditative environment inspired by the mural canvases of Russian born American painter Mark Rothko (1903-1970), the chapel welcomes over 60,000 visitors each year, people of every faith and from all parts of the world. The Rothko chapel is an independent institution, a sacred place open to all people, every day… the chapel has two vocations: contemplation and action. It is a place alive with religious ceremonies of all faiths, and where the experience and understanding of all traditions are encouraged and made available. Action takes the form of supporting human rights, and thus the chapel has become a rallying place for all people concerned with peace, freedom, and social justice throughout the world. © Rothko Chapel
Site
Fort Tryon Park in upper Manhattan will serve as the site for the project. Students will have the opportunity to select the precise location for the temple installation. Site: Define and design the landscape immediately around the buildings. Document the movement of light and other natural effects. Study and document the way the site is currently occupied.
General Studio Objectives and Exercises
1. Site: Develop methods for selecting, analyzing a site, documenting (both its physical characteristics and its latent or hidden qualities). These discoveries will be incorporated into the overall project.
2. Research: This work will include materials, precedents and ideology. The students will look at architecture, art and design (in this case we will start with basic principles of Buddhism, the Zendo
typology and wood architecture, furniture and art). This research will include a building material (wood). Understand its qualities, behavior and associated construction techniques but also its inherent symbolic and phenomenal qualities.
3. Models: Use models as a design tool. Develop a means of working which allows for improvisation and ‘hands on’ discovery.
4. Surface /Room: Create physical surface and room models which synthesize the research into artifacts and spaces. These are abstract (likely scaleless) models and studies which distill the previous research.
5. Final Project: Zendo, folding in prior studies of the site with program, structure and materials, each student will produce a fully developed architectural proposal.
Work Products
1. Models: The studio will place an emphasis on model making as the primary tool for presenting concepts and buildings.
2. Portfolios: Students will be asked to develop edit and update portfolios throughout the semester. These portfolios will contain model photos, renderings and writings.
3. Studio Web Site: A website for the studio will be set up within the first two weeks and updated weekly with carefully selected work from each student included.
Program
Zen-dō (Meditation Space): ~2000 GSF
Create a meditation space based on your research and precedents. This must be a naturally ventilated
building intended for year-round occupancy. Small supporting spaces will be included.
Detailed Work Plan
The studio instruction will follow a fairly conventional structure with a combination of desk crits, informal and formal reviews. The major assignments and milestones are listed below.
Assignment One: Site Documentation/Research/Writing (Due 24 September)Document the essential qualities (quintessence) of site through examination of phenomena (surface, light, occupation, color and space) and how the site is used or occupied. What are its natural boundaries? How is it occupied by people?
Develop an understanding of Buddhist ideology, its basic structure customs, art and architecture. Both contemporary and ancient precedents should be considered.
Documentation should include writing, photos and sketches in the form of a printed color 11x17 “portfolio”. Include 50-100 words on what you have learned.
Assignment Two: Surface Models (Due 5 October) Build surface models (perhaps 12” square). Can a flat surface evoke a spiritual response?
Research wood architecture, art, furniture and design. Study wood as a building material (understand its basic properties and the means by which it is used to make architecture).
Respond to these questions in writing (this can be well edited prose or poetry): can ‘everyday’ materials reflect the sensations of place? How can ‘common’ material become sacred? How can light and materials be used to connect us to place, mark the passage of time and reveal the extraordinary in the ordinary?
Documentation should include writing, photos and sketches in the form of a printed color 11x17 “portfolio”. Include 50-100 words on what you have learned.
Assignment Three: Create a Room (Due 12 October) Build a physical model of a room.
Create and describe a room through its most intimate qualities (its atmosphere). How does a room acquire character beyond its form? What are its sounds, lighting, smell and sound? Write a short and precise written statement about your room and how it fits with your initial research ideas.
Update your 11x17 portfolio and print a color copy of your research documentation (from the start of studio) in hand.
Precedent studies/sources. Prepare images of architecture/art and other media which demonstrate your key idea(s).
Mid Term Review Requirements (Draft materials due 29 October):
Write a short (50-100 word) statement telling us how the project works off of your initial discoveries and
include a ‘thesis’ word or phrase. Show a key image for the project description (from your site studies, surface or room models).
Print and upload a PDF of your portfolio (edited to include important things up front). Include precedent
images (this can be art installation, photography, architecture, furniture etc. ), which support or illustrate your central idea. The following must be included:
10 ‘Slides’ plus models to present your project. These ‘slides’ must be printed on 11x17 or larger paper
(pinned up neatly) and must also be presented as a PDF on the large TV screen. The order of the slides/presentation is as follows:
Slide 1. Thesis: max. 75 Words the key idea or word and 1-3 key images from your site discoveries
Slide 2. Site analysis: drawings and/or images illustrating your key findings.
Slide 3. Surface, aperture, room studies, inspiration images and physical models.
Slide 4. Site plan (min. 1/8” Scale). Must include specific context.
Slide 5. Plan(s) min. 1/4” Scale - rendered. Must show immediate surrounding context. Must indicate steps, seating, enclosure, wall thickness etc.
Slide 6. Building sections (at least two, min. 1/4” Scale) - rendered. Must show immediate context (including trees and adjacent buildings). Must include scale figures.
Slide 7. Wall section showing construction and materials (approx. 1”=1’ Scale). Must include scale figure and illustrate materials (materials precedent images may be used here).
Slides 8,9,10 perspectives and/or model photos showing street level views of the project. These views should be selected to support the key idea(s) in your project.
A minimum of one new model will be required (suggested 1/4” scale).
You should have at the ready all study models. Supporting materials such as (short) movies may be included. Your portfolios must be available both printed (11x17) and PDF (on laptop).
Mid Term Review 409 Avery November 5, Reviewers: TBD
Final Review Requirements (Review 14 December, Draft Due 19 November):
Model(s): each of you should have at least one model at large scale showing the project in detail (ideally a full size joint). Each of you should have a site context model which includes your building on it. Renderings (shown first/printed large format): a minimum of 4 renderings (ideally more) showing the space(s) as you approach, enter and move through. These are computer models and model photos, photo collaged into site images and should be printed in high resolution. Emphasis should be on light material and space as it relates to your key ideas. Updated portfolio slides: on screen (PDF) and pinned up on paper. Slide: thesis: written statement up to 75 words including the key idea and 1-3 key images from your site discoveries.
Slide: site analysis: drawings and/or images illustrating your key findings.
Slide: surface, aperture, room studies, inspiration images and physical models.
Slide: site plan (min. 1/16” Scale). Must include specific context (such as trees).
Slide: plan(s) min. 1/8” Scale - rendered. Must show immediate surrounding context. Indicate structure, stairs, seating, enclosure, wall thickness etc.
Slide: building sections (at least two, min. 1/8” Scale) - rendered with immediate context. Must include scale figures.
Slide: wall section showing construction and materials (approx. 1/2” Scale). Must include scale figure and illustrate materials (materials precedent images may be used here).
Slides: 3D views Materials studies: show the proposed construction through materials studies, real materials samples and
precedent images including at least one detail at a critical location illustrating the essential architectural idea of your proposal.
Other: your full portfolios must be available both printed (11x17) and PDF (on laptop). Please also include
prior materials and study models that may still be relevant. All 2D materials must be both printed (and
pinned up neatly) and also be presented as a PDF on the large screen. The on-screen presentations must be loaded prior to the start of reviews.
Final Review 14 December 409 Avery, Reviewers: TBD
