F in a l P O R TF O L IOARCH 102 SPRING 2012G r e g o r y C a m a r g o

Painting by Roberto Matta

C o r r u g a t e d Tile

Thinking for a while about what to do and how to usethe 12 layers of cardboard, I decided to start with a letter of the alphabet and improvise from the basic shape into an evolved and complex form. Deciding onthe letter “G” I fit it to a 12 x 12 sized square and proceeded to fill in space between the main “stems” ofthe letter. Before I had started cutting, I had planned to raise certain levels of the cardboard and make lowerlevels penetrate through these and project higher. My design intent was to make a big difference in elevation between layers for the feeling of depth, but also to make smooth transitions. Once started however itbecame increasingly hard to cut these small pieces thatwere higher up than the bigger- lower layered ones. The overall product of this icebreaker shows more of a graphic design feel to it, and although presenting compositional sense and rhythm, I feel it is not dimensional enough to be fully successful.

F I N G E R S , P O S T S a n d W A V E S

For this model I decided to try my representation of the fingers of a hand. I wanted to incorporate layers-such as ones in the section of a hill, but rotated vertically. By doing this I wanted to see if I could show some sort of action, such as when the hands of a person gesture. Although simply made with cereal cardboard, the model still manages to represent a movement in a certain direction.

An experiment in ways to fasten cardboard together without the use of glue, as well as a test to express rigidity and backbone force.

This model quite literally explores the movement of a wave in both the horizontal and vertical directions,as well as tests the possibility of adequately showing fluidity

in cardboard-made vertical pieces.

A “test run” for ideas on projecting rays for the above model.

From a test iteration, I used certain elements and improved on the idea of rays projecting out of an arch- like wall. The facing

wall was originally supposed to be a half a circle, but very soon I realized that the symmetrical look of it wouldn’t work with the rest of the design. I cut it down until I came to a shape that fit with the supporting legs and projecting rays. The idea of the rays are partlyinfluenced by the mini- experiment as well as another student’s work. The rays also reflect the forces of nature of the site- wind, rocks and light.

For this model I wanted to incorporate some of the brutality and rigidity of the 2nd model, but to expand the idea beyond a simple

“fence” and create more space. This was accomplished by making three identical stringers between which a series of vertical wooden planks extend. On the reverse side I experimented with tension- by connecting the set with lines of string. This however,fails to read due to the sturdy and permanent look of the stringers and their unwillingness to change.

Having done the last few models out of solely rectilinear elements, I decided to switch back to curves and eventually start to introduce

rectilinear forms- to balance with the free flowing shapes of the basswood. This was expressed by the wooden blocks shaping the curves of the basswood and, in a sense constraining the free flowing forms.

Iteration # 7

Here I began exploring the themes of restraint, force and beginning to see curvilinear forms as even more forceful than the rigid rectilinear elements. In these two models, the curved shapes penetrate through rigid blocks.

Restraint and Penetration

Among the ideas of force and penetration, I began to explore once again the idea of mechanized nature. This theme is a

continuation of the work done last semester- as an exploration of the balance between the mechanical and nature. What I have been pursuing to explore, is the way nature and man-made can interact in a way that is in harmony. Much of the inspiration for this comes from old buildings that are either once again overrun with nature, or completely abandoned, where the building itself ispart of nature- all the metal is growing rust, there are plants inside, rain gathers in the basements and animals begin to find comfort in the habitat. The mechanical is expressed by rectilinear elements such as straight lines and repetitive blocks, andthe natural is represented by curvilinear forms, intricacy and complexity.

•Representation of Nature in a non-natural way•Force of nature•Harshness and chaos vs. nurturing •Natural complexity

Restriction

Vulnerability and Humbleness

Awareness

Balance and Relief

Since we are to design a chapel as a place of where to meditate,I began recalling what meditation is like and in what circumstances and places this is possible. I came to think of the many times I go to photograph abandoned buildings. These places have longawed and inspired me, but not until now have I realized exactly why. When in a place like this, I am often confronted by a series of obstacles- long distances to walk, fences to climb over, high and low tides to wait for to gain entrance, or evenpeople wondering what I am doing. For one of the most important principles of meditation is the idea of doing it for one self and not for others- and without the knowledge of others. These restrictions created by the site lead to vulnerability and humbleness. I move quietly,try not to make noise, and am overpowered by the might of the building. In such a place anything seems possible to occur, and for a while I simply walkand take-in the surroundings with awe.

By doing this, I become aware of my surroundings. I watch my step, listen for sounds, and keep track of time in a place thatseems to have lost track of it. I am aware of what happens outside- distinguishing the sound of natural elements to

man- made, and focusing my eyes to see in the dark. After a while of being inside the building, walking its hallways, and learning to adapt to the environment, and in such a way meditating, there is a

sense of balance. I realize that nobody knows or cares that I am in here. If abrick was to fall on my head or a metal beam to break under my feet, not one

thing would change in the world. Nature will take it’s course no matter what,and there is relief in the fact that I don’t matter and not everything is up

to me to decide. This brings me to a feeling of something bigger and an overwhelming sense of balance and relief, which is reinforced when

I step out of the building, and nothing has changed.

This model begins to associate these thoughts on meditation, with the physical forms of the model.

Earth - Restriction ( solid blocks, rectilinear shapes and confining elements )

Mortals - Vulnerability ( natural looking forms- as if not trying to be better than nature )

Gods - Awareness ( multi directional force and penetration )

Sky - Balance and Relief ( balance between rectilinear and curvilinear, and parts “optimistically” projecting-out )

Linking the FourFold to my ideas of what it is to meditate, I also explored shapes that were to symbolize each of these terms.

This model improvised on the last one by expanding, to try and make space, and by making it more complex and viewable from all sides.

ITERATION # 13Fully expanding the previously closed shape, while using the working elements of the previous models.

. the SITE .

Iteration #1Overly concentrated on making the site plan, my first model was designed specifically as a platform to hold 40 people. Instead of keeping the model somewhat abstract and open to developing ideas, I ended up drawing up a site plan along with the configuration of differentareas for the various activities.

Ideas for

FourFold Chapel

The first idea I had- in terms of how the chapel was to bepositioned and laid out, was to make it blend in some way with the surroundings. This could be done either by“formatting” the shape of the building to the landscape, or by using a common language that both the building(or set of buildings) would use. To me, it is important that a chapel be somewhat hidden or isolated. With thisin mind, I right away decided that the main part of thechapel was to go on the island. I also realized that a bridgesticking out of the water at all times would be too obvious.I wanted access to the chapel be restricted by something, and represent the temperance of everything. So I decided to make the bridge underwater at high tide, and usable at low tide. This way, there are only certain times that the chapel can be accessed, which shows restriction, and in turn a feeling of vulnerability, which then requires the person meditating on the island be aware of their surroundings. This then leads to inner balance, as well asrelief.

Iteration #2This model improved on the last iteration by going back to the non- literal interpretation of a platform,

and instead developed further the theme of curvilinear elements and ways they can work together withrectilinear elements. In this case, the main curvilinear piece, wraps around the model and penetrates through

the row of square arches. The motion caused by this seems to propel the “lines” on the platform out toward thefar point of the mainland.

These lines, eventually will turn into stairs that lead down toward the narrow bridge that crosses to the island. The bridge then, instead of climbing right up to the top, wraps back south around the island and only then climbs up the slope. From this “wrap-around” one can look back toward the platform on the mainland which is now directly opposite, and see it in a different perspective. What seemed to be a modest seating for 40 people, is seen differently showing the massive support columns. As one reaches the top of the stairs and goes around the final bend of the south-end of the island, the full expanse of the ocean now comes into sight. Walking around the south end, the entrance to the chapel is right there up a set of stairs. On the first floor would be the main chapel itself, and on the second- a couple of meditation “towers”. On the west side of theisland, just a few feet away from the entrance to the chapel, there are a set of stairs that go down to a landing on which there are a few benches. Following the trial north, it ascends to the smaller peak of the island, on which there is a loneconcrete bench- hidden from view of the mainland as well as the chapel.

1st attempt at Island model

Realizing how small the island was, I was stuck for a while decidingwhether I should build to scale and sacrifice detail, or include possibleelements but build obnoxiously large. Although I had already a generalidea as to what the mainland part of the FourFold chapel might look like,I still was unclear of how the 10-person mediation space on the islandwas to look like. I wanted to include some sort of higher level(above the main space) for 2 single person meditation places.

What ended up happening however was both the failure at making the model look anything like the correct size, and the lack of detail as well. However rough, upon finishing the model, it gave me some valuable ideas on what I wanted to include in the nextiterations. It solidified my ideas on the general configuration of the building, the platform on the west side of the island, theorientation of the entrance and how the path came into the building and down to the platform.

The charcoal sketches helped me even further in organizing the space required for 10 people and how it was to be placed in the building. Although rough, the last model made me consider some sort of courtyard in the middle of the building, so people wouldn’t immediatelybe in the chapel itself when entering the building. Since I planned to create a 2nd story, I thought it would be logical for a place to exist inside the confines of the building from which one could decide to enter the chapel or to proceed up to the individual meditation spaces. Realizing the limited amount of space on the surface of the island (and particularly wanting to stay in the confines of the natural island) I began entertaining the thought of a hallway instead of a courtyard. This would still serve the function of being a space to be in, before deciding whether to continue up to the meditation spaces or go into the chapel.

Inspirations

This abandoned building, located on the coast of Pacific Ocean inspired me tofit the chapel within island boundaries without extending it into the ocean. I regarded the elevated earth on which the building is sitting on in this picture as the island, and the ground beneath- as the sea level.

This support column inspired me to create a walkway from the main forty person space, down to thebeach, where I later decided to put a third single-person meditation space.

Inspiration for the beams/ columns that hover over the platform of the island.

The inside of the chapel was supposed to be similar woodenbeams coming out of the walls and hovering over the people sitting down. Instead of electric light, there would be slitsin the concrete walls letting in light from in- between the wooden beams.

A person entering the building would pass through this hallway, light coming from slits in concrete from above. At the end of this hallway there would be an opening to the left and astaircase ahead. Turning aroundthe corner, there would be acontrast between the dark andcold atmosphere of the hallway, and the warm but still serene feel of the chapel created by the curved wooden beams and abundance of light.

To-Scale Site

Entrance

40 person outdoor spaceMain programmatic spaces

Circulation

Secondaryspaces

Restroom

View point

Single person Meditation space

Tunnel

Flooding bridge

Entrance to Chapel building

10 person Chapel

Platform

Single personmeditation space

In this model I attempted to show the interior wooden beams and how they are held by the concrete walls. Realizing that I couldn’tfit every detail I wanted into the model, I decided to keep the model relatively abstract. I put no roof and to represent a 2nd story,a flat panel that extended out was attached to the top of the structure.

I spent some time in designing the restroom not because I’m fascinated with bathrooms, but on the contrary, because I find them as places that are often dirty, dark, clustered and repulsive. For a project to be fully successful I believe that all of the elements need to be intact with one another. It is often a strange experience while being in a fancy new building, to go to use their restrooms and find them looking like dungeons from the middle ages. This is why I tried to let in as much light and air as possible without making it visiblefrom the outside. The bathroom is partially open, with a roof hovering above the space as to protect from rain.

Restroom for oneView of excavated restroom (right) and sitting area (left)

After a while of not being able to decide how to show the inside of the building, I decided to model the outside only, anddraw the inside. Still wanting to make the building be constrained to the islands’ boundaries, I configured it in such a way that there was enough room for 10 people, a speaker and a narrow hallway of 3 ½ feet wide. Once a visitor goes into the building they go through the dimly- lit corridor with light shining from above and soon comes to a slight turn beyond whichto the left there is the entrance to the chapel. Straight ahead- are the stairs leading up to the 2nd story that serves as a open-aired but roofed meditation place.

Looking North- East

Looking South Looking North

Entrance and hallway Interior of Chapel w/ benches and place for speaker. Early Morning

Upper level meditation space. Evening View from upper level looking down stairwell and down hallway. Evening.

Once out on the platform, person has achoice between going to the right- in betweenthe concrete walls guiding into a dark tunnel,or turn towards the obvious- the 40 person space.

Solitary bench in front of entrance, but hidden fromview.

3 rows of concrete bleachers looking out to ocean (right) and the entrance to the tunnel that leads to the island.

40 person space and overhead beams flowinginto “view point”.

The “view point”- with narrow passage- ways between concrete walls. Slits in walls to create shadows.

Entrance to restroom and “waiting place” on other side of wall. Wall is made so that people coming out of bathroom still doing their hair orTucking shirts in aren’t confrontedimmediately with people gaping at themfrom the bench across. However there is a slitat knee- level so that it is possible to see people approaching, and have time to stand up in time to greet them.

View from above the restroom towards island. Island ismeant to look plain until one actually goes to islandand is confronted with the overhanging beams and the wooden curves growing from the concretewalls inside.

View of Chapel on island from the path.

View of Chapel through the window,

2nd story meditation space