Mid-Sem Design Process P1 | The Real Space + Precedents

During the Mid-Semester Break, my design group – Ethan Chung, Jien Lim, and Noah Foster – and I underwent a re-evaluation process on our response to the brief. Being a transitory phase between working as pairs to a group of 4, we endeavoured to explore each other’s visions of what a Digital Library should be; mediating between them to create a developed design. Here I will explain the details of this process from my own perspective; providing a retrospective on the ideas produced, and the process that led to them.

Post-Moment Brainstorming

To initiate the process, we tasked ourselves to articulate our personal ideas on the brief. My initial studies favoured the experiential aspects of the Digital Library. Translating over from me and Ethan’s Mid-semester Scheme, I was still convinced that a modest, ‘human’ architecture would still serve some role in our design. I wanted to elevate this concept further. Rather, I envisioned the Digital Library as a rebellion against digital media replacing the physical space:

What differentiates the physical realm from the virtual? Why should there be a difference?

Digital Media is constantly permeating and replacing the physical realm; what is the role of physical architecture against the virtual?

My response to these questions were evident in my Post-Mid-Sem Moments. Emphasising the difference between the real and digital realms was essential. The influence of a full-dive virtual realm in Steven Spielberg’s ‘Ready Player One’ was something that always resonated with me; even before my group and I started this project. The dreary ‘stacks’ lined the physical space as far as the eye could see; becoming a servant to the OASIS/virtual realm. At this point, physical space no longer serves any function but to sustain our physical bodies as we live in the virtual realm. As an architecture student, I wonder to what extent we can amplify the feeling of physical architecture; preserving the importance of physical space lost in the age of ‘digital invasion’.

The Stacks in ‘Ready Player One’: the Virtual Space has reduced the real environment into a dystopic urbanscape.

Precedents

Dealing with the feeling of physical architecture directed my studies towards Phenomenology. The idea of creating a sensorially stimulating environment immediately stood out as an effective area to explore. This thought led me to research two architects: Valerio Olgiati, and Steven Holl.

Precedents | Valerio Olgiati

While I have studied Olgiati previously to inform our Mid-Semester Scheme, I felt my exposure to his architecture has been quite shallow thus far. The articulations on light and form in Pearling Site Museum was only one response relating to Olgiati’s Phenomenological concerns. The height and footprint of the roof structure is intended to create the feeling of a civic space – a “natural locus” – within a historical typology. I am compelled by how effectively Olgiati’s architectural gestures translates a typology into a sensorial experience.

Spatial proportions and articulation of ‘walls’ allude to the building’s ‘public’ nature; complemented by form and materials that solidify Pearling Site as part of the “UNESCO Pearling Path”.

Despite the massive form of Pearling Site’s Roof, the perforations make this element feel lighter, inherently making the space feel more open.

Another example of Olgiati’s emphasis on the experience of space can be seen in Paspels School. Located in Paspels, Switzerland, the architect subverts from ‘perfect’ gestures to create a more interesting spatial experience.

Paspels School Plan: The square footprint + the cruciform interior distorted by no more than 5 Degrees. According to Olgiati, this gesture increases the feeling of “spatiality” and “physicality”.

Paspels School Interior: Non right angle elements distort one’s sense of perspective; the narrowing hallway makes the space feel deeper than it is.

Personally, I am inclined to believe in Olgiati’s gestures. Within the interior, space expands and narrows; distorting the perspective of the interior. Staring from a narrow hallway down towards an expanded end may make the space feel still and shallow, and vice versa. Even within Paspel School’s medium-sized footprint, these perspectival distortions are effective; it makes me wonder how much this effect could be accentuated in our much larger Digital Library design. Here, the flexibility to subvert architectural conventions greatly benefitted Paspel’s design. The simple transformations from a conventional cruciform square plan enhances the feeling of space; solidifying Paspel Schools as a strong precedent in stimulating real space.

Precedents | St. Ignatius Chapel by Steven Holl

When I think of a sensorially stimulating architecture, St Ignatius Chapel stands out as a significant precedent. Designed by Steven Holl, the Chapel’s concept is focussed on creating a comprehensive ‘Haptic Realm’. In other words, Holl manipulates “the composition of place” to capture a typologically-relevant narrative; “a horizontal invitation to a journey toward God and a vertical invitation to be lifted up in an experience of transcendence.” While Holl articulates the look of seven ‘bottles’ casting coloured light into their seven corresponding program elements (“The narthex, the procession hall, the main gathering space, the reconciliation chapel, the choir, and the Chapel of the Blessed Sacrament”), he also creates elements to stimulate the other human senses. Reflecting St Ignatius of Loyolas’ order of senses in understanding place – From most important to least: Hearing, Touching, Seeing, Smelling and Tasting – Holl implements the smell of the Beeswax wall; the feeling of a crafted door handle; altar; pews; baptistry; ambo. All these elements accumulate to create the chapel’s “Haptic Realm”.

St Ignatius Chapel Interior: Many different lights permeate and overlap the space

Beeswax Wall: Influencing the 'smellscape' of the Chapel

Front Door Handles: Crafted elements that stimulate 'touch' in the Haptic Realm

In speaking of his intentions, Holl refers to St Ignatius of Loyolas’ teachings in ‘The Spiritual Exercises’. Specifically, the chapel itself reflects certain principles outlined by Ignatius; translating the Spiritual Exercises into its phenomenological experience. The play between light and dark in St Ignatius Chapel is the most discerning element reflecting these teachings. To Ignatius, ‘Darkness’ represents “Consolation”; ‘Light’ represents “Desolation”. In saying there is comfort in darkness, Ignatius suggests the challenge of traversing into the light; the challenge associated with “the experience of growth”. I find this perspective to be especially insightful. Drawing upon Holl’s perspective, I see much potential in how light and darkness may influence how one moves through place. While I do acknowledge that adding this singular meaning would not represent all users – people who fear darkness will not find comfort in darkness; light does not incite some people do grow etc. – Ignatius’ perspective on light and darkness opens many possibilities regarding the meaning of these elements, and their power to influence the feeling of place.

In many ways, I feel St Ignatius Chapel stands as a strong precedent in phenomenological design. From Holl’s sensitivity to the human senses and spirit, to the spiritual layers St Ignatius’ teachings inject into the light and darkness. St Ignatius Chapel attempts to stimulate every element intrinsic to place; culminating in a space that feels ‘real’.

Closing Thoughts

We now treat the Digital Library not as a transition from the old library typology, but as a function independent from its predecessor. We want to solidify the difference between physical and virtual experiences. In the age of ‘digital invasion’, I believe stimulating aspects one can only experience in the physical environment is ‘the resurgence of place’; the validation for this architecture to exist. Because of this, Olgiati and Holl’s practices exemplify potential means that can be applied to our Brief’s discourse:

What architectural qualities differ a Digital Library from the Traditional Library?

What is the form/programme/proportion/moments/experience of a Digital Library?

What relationship does the Virtual Realm have with the Physical Digital Library?

How may we implement Digital Media into the Real Space?