Saturday I plan to explore some of my possible sites. At least I have narrowed it down to being by water and within an hour drive of Boston. I almost feel that I should be looking for a site that has been built previously that could either be preserved or, dare I say it, torn down (bad LEED AP!). I think there could be something beautiful about integrating the program into an existing condition. I may also just be confusing my topic and need to stick with the original site idea! This map is of the area that I have been exploring. Saturday I plan to take some images that I can post.
Washington's Death with Dignity Act(WDWDA) is my new research topic. I have looked at the various views on death and suicide amongst the different religions. I don't feel like that information is as relevant as what is going in Washington. Martin Sheen is very outspoken against passing WDWDA while the ex-governor, suffering from Parkinson's is rallying the votes. I will keep the blog update with interesting articles I find. Here is a good one that is from May of 2007, although dated, it provides the facts:
Results of recent polling show 57% in favor: http://www.ama-assn.org/amednews/2008/10/27/prsb1027.htm
A poll conducted Aug. 11 and 12, 2008, showed 51% of respondents were leaning toward supporting Initiative 1000, while 26% indicated they were leaning against it. Undecided voters made up 23%. The poll was sponsored by KING 5 and conducted by Survey USA. It included 1,000 adults and 718 likely voters.[24]
A statewide Elway Poll from early August indicated a higher level of undecided voters, with 39% of those polled saying they favor the measure and 26% opposing it.[24]
I will continue posting on this topic through out the thesis period.
For a facility associated with death and dying, strong emotions are immediately triggered from the name alone.The facility itself should not speak about death in a negative way.By embracing death and the natural processes of life, the visitors will be able to see beyond the basic idea and become inspired by what life is.The process of life is vital to the site.
As long as we have lived, we have died.The 16th century philosopher Michel de Montaigne said “Your death is a part of the order of the universe, ‘tis a part of the life of the world…’tis the condition of your creation…give place to others, as others have given place to you.”The order of the universe should be as much a part of the program as any other function.Finding a site that is rich with change and nature will emphasis the facility and help encourage others to look at the circle of life.
Julius Caesar says “Of all the wonders that I have heard, it seems to me most strange that men should fear; seeing that death, a necessary end, will come when it will come.”To take away the fear of death, the site should be a bright and lively place, one of tranquility and peace.I can imagine sitting along a creek, the wind, the sun and the noise of the water, quietly able to reflect on myself.
The changing seasons are a part of life.Spring is seen as a time of renewal; fall a time of death and decay.Letting the site speak for itself through the changing seasons will further emphasis the natural process of death.A site that provides all four seasons will be ideal.A mild winter would be preferred to allow greater access to the outdoor portions of the facility.
With Oregon being the only location where assisted-suicide is currently legal, it provides a great starting point for looking at which features are most important.Identifying the attributes that make Oregon so ideal opens up almost the entire country to provide an ideal site.Nature survives everywhere.Life and death have no boundaries.As Washington votes on passing their own Death with Dignity Act, others can’t be far behind.Ignoring the current legal implications of such a facility, my site choices are endless.
Attributes of Ideal Site:
Proximity to Water:Ideally located on the ocean, the rhythmic nature of the waves provides a soothing backdrop.The idea of being able to look to the horizon and see into infinity provides a spiritual connection.Water symbolically represents rebirth and renewal.For those that have lost a loved one, the proximity to water can be very important.
Changing Seasons:As we view the natural changes in earth, it provides a connection to the natural changes we go through in our own seasons.
Great Light:The way natural light plays across the water is difficult to replicate.Seeing the rays of light penetrate the deep forest are breathtaking.Moments of awe occur when we are able to see the basic function of the sun interact with our natural surroundings.
Natural Vegetation:Providing a view of nature helps patients feel better.Being surrounded by vegetation calms one’s mind and provides something ever changing to look at and engage.
Mild Terrain:Due to the nature of the patients, an easily traversable terrain is important.In order for everyone to engage with nature, it needs to be accessible.Wide paved trails will be required for access.
Proximity to Metropolitan Area:Looking at the statistical data of Oregon’s Death with Dignity Act, the majority of patients live in and around the major metropolitan areas.Situating the site within close proximity to a dense population will ensure that family and friends are able to visit frequently or even stay while they continue their normal tradition.
With these ideas in mind, I am going to focus on Massachusetts as my sight.
As many of you eagerly await the presidential elections, my focus has turned to Washington's Death with Dignity Act. There is a ton of information coming up from both sides of the issue. If this passes, it will further my intent of designing a facility that could be anywhere. With the issue of gay marriage, Massachusetts was first. Now that California has followed, other states are passing similar legislation. All it takes is Oregon plus one. I have spoke with my family and friends that are registered voters in Washington. Many great ads have been running in favor of passing WA's DWDA. I eagerly await the results!
My research topic this week is on death; personal and religious views on death, how we view death as a society and the statistical analysis of how we die. The books I requested for this topic just barely came into the library. I should have time to finish them this week and post this research next week along with my work on site. If anyone has any personal views or stories they would like to share, I welcome all comments!
Daitoku-ji is a Zen Buddhist monastery located in the ancient city of Kyoto.The Koto-In temple is only one of many sacred temples located inside the complexes high walls; the entire complex is surrounded by high walls separating the profane outer world from the sacred place.Main avenues arranged axially lead one around the complex.At the western end of the main avenue is the entrance of Koto-In.
The Koto-In temple is a tea-house.In order to reach this sacred space, one must take part in a journey.The path to Koto-In is a recreation of the experience of journey that is taken by pilgrims of all faiths.It is evocative of a pilgrimage to a monk's mountainside hermitage.The temple is built in shoin style which is a typical residential architecture used during the Muromachi period.Zen monastic life stresses austerity and simplicity with a rigorous work schedule and meditation.Life is viewed as short and precarious with death never far away.Enlightenment was possible at any moment.The Koto-In temple is located in the southwestern part of the Daitoku-ji monastery.Located on the main avenue, the entrance is typical of those to subtemples.The gateway here is smaller but similar to those of the monastery.Beyond the subtemple gateway, the edges of the path expand but still retain a feeling of enclosure and constriction.The alignment of the path is asymetrical.It shifts and turns at right angles as one progresses.A semi-enclosed environment is created by these shifts, the plantings and path enclosure walls.The environment created follows along a main path that is broken up to symbolize the journey and change that take place.Each segment is unique in volume, path, scale and threshold.The manipulation of these aspects creates the journey.
The first segment of the path is the entry from the main avenue.This entry court is the first gateway to the Koto-In temple.One has to step up to a wide stone platform to enter.This threshold acts as a way of marking sacred ground, delineating a border between the profane outer world and a sacred place.The enclosure of this space is entry is created by high clay walls, low bamboo railing and plantings.The walls establish the top of the inscribed volume.The walls are all at the same height.This first space is approximately 20 x 56 feet.The wall provides views to the bamboo grove on the right and to the deciduous grove on the left and ahead.The views of these trees suggest a larger volume beyond the space one is currently in.Traditional in Zen temple gardens, the view of the trees provides a visual relief and an indication of what lies ahead.The path here is set symmetrically inside a moss garden with small coniferous trees along the edges.The path is paved with irregularly shaped stone providing a smooth path.The low railing creates a smaller volume of space that directly relates to the individual and the path.In this first segment, three volumes are created.The first is created by the high clay walls.The second is the lines of the coniferous trees in the moss garden.The third is the low railing that directly surrounds the path, creating the smallest volume of all.
At the end of the first segment the path has turned 90 degrees and now approaches the main gateway to the Koto-In temple.The depth of the gateway and the lines of the roof overhang delineate the main volume here.The gateway is twice the height of the enclosure walls that one has previously encountered.A monumental set of doors with two smaller doors on the sides set the stage for this intimidating entry.This volume is approximately 26'x17'.
After one has passed through the gateway one enters a space offering the first unobscured views.This new space is delineated by the gateway one just passed through and trees.The volume here is approximately 43'x53'.The low bamboo railing continues direct one further on their journey.The path here has a new paving pattern.Linear pieces of stone line the edges of the path while the main path is now made of irregularly shaped pieces that provide a bit more challenging surface.The unevenness begins to suggest the trials of the journey to come.
One now turns 90 degrees to the right and enters the fourth segment of the path.This is the longest segment of the path.The volume created here is approximately 13'x151'.The long narrow space is defined by the typical low bamboo railing and manicured plantings.At the end of this path the next gateway is glimpsed.The next gateway is much smaller than the previous gateway encountered but one's first reaction is to assume that it is the same size as the previous one.This play in scale creates the impression of a much longer path.The stone here is similar to that of the last segment.It has become rougher and more uneven as one is progressing toward the temple.
As one finally reaches the end of the long path, the third gateway is encountered.The first choice in path is offered here.One can continue straight or by turning 90 degrees one is taken to the service entrance.This volume is approximately 13'x49' and is delineated by walls on two sides, plantings on another and the gateway on the last.This last gateway is recessed into the wall that surrounds the temple.It becomes the entry foyer into the next spaces.
If one continues through the gateway, one enters the foyer to the temple.This volume is approximately 10'x26' and is enclosed on all sides by walls and a roof.This constricted space offers the first views of the temple through its small openings and small window.The contrast of this space to the previous open linear spaces suggests an ending to ones journey.Having finally reached ones journey, one can notice the path is made up of smooth tiles in comparison to the rough stones that began the journey.Turning left and then right allows one to enter the last space.
The last segment of this journey leads to the veranda of the hojo.It offers the first unobstructed view of the temple.Due to ones proximity, even now this view is only partial.
The segmented path provides separate experiences along the way but each allow a glimpse of what is to come, allowing the entire path to act as one.The consistent palette of materials also acts cohesively to unite the experience.Symbolizing the spiritual journey, the segments become increasingly sacred (or private).This experience is created using a volumetric manipulation of the path.Using open and closed spaces creates a rhythm of compression and expansion.This rhythm symbolizes the emotional trials of the spiritual path.By manipulating the scale, the path appears longer than it really is.The gateways help to further identify each segment of the path.The changing texture of the path plays along with the purpose of one's journey.The entire process acts as a "symbolic story of initiation."
Daitoku-ji is a Zen Buddhist monastery located in the ancient city of Kyoto.The Koto-In temple is only one of many sacred temples located inside the complexes high walls; the entire complex is surrounded by high walls separating the profane outer world from the sacred place.Main avenues arranged axially lead one around the complex.At the western end of the main avenue is the entrance of Koto-In.
The Koto-In temple is a tea-house.In order to reach this sacred space, one must take part in a journey.The path to Koto-In is a recreation of the experience of journey that is taken by pilgrims of all faiths.It is evocative of a pilgrimage to a monk's mountainside hermitage.The temple is built in shoin style which is a typical residential architecture used during the Muromachi period.Zen monastic life stresses austerity and simplicity with a rigorous work schedule and meditation.Life is viewed as short and precarious with death never far away.Enlightenment was possible at any moment.The Koto-In temple is located in the southwestern part of the Daitoku-ji monastery.Located on the main avenue, the entrance is typical of those to subtemples.The gateway here is smaller but similar to those of the monastery.Beyond the subtemple gateway, the edges of the path expand but still retain a feeling of enclosure and constriction.The alignment of the path is asymetrical.It shifts and turns at right angles as one progresses.A semi-enclosed environment is created by these shifts, the plantings and path enclosure walls.The environment created follows along a main path that is broken up to symbolize the journey and change that take place.Each segment is unique in volume, path, scale and threshold.The manipulation of these aspects creates the journey.
The first segment of the path is the entry from the main avenue.This entry court is the first gateway to the Koto-In temple.One has to step up to a wide stone platform to enter.This threshold acts as a way of marking sacred ground, delineating a border between the profane outer world and a sacred place.The enclosure of this space is entry is created by high clay walls, low bamboo railing and plantings.The walls establish the top of the inscribed volume.The walls are all at the same height.This first space is approximately 20 x 56 feet.The wall provides views to the bamboo grove on the right and to the deciduous grove on the left and ahead.The views of these trees suggest a larger volume beyond the space one is currently in.Traditional in Zen temple gardens, the view of the trees provides a visual relief and an indication of what lies ahead.The path here is set symmetrically inside a moss garden with small coniferous trees along the edges.The path is paved with irregularly shaped stone providing a smooth path.The low railing creates a smaller volume of space that directly relates to the individual and the path.In this first segment, three volumes are created.The first is created by the high clay walls.The second is the lines of the coniferous trees in the moss garden.The third is the low railing that directly surrounds the path, creating the smallest volume of all.
At the end of the first segment the path has turned 90 degrees and now approaches the main gateway to the Koto-In temple.The depth of the gateway and the lines of the roof overhang delineate the main volume here.The gateway is twice the height of the enclosure walls that one has previously encountered.A monumental set of doors with two smaller doors on the sides set the stage for this intimidating entry.This volume is approximately 26'x17'.
After one has passed through the gateway one enters a space offering the first unobscured views.This new space is delineated by the gateway one just passed through and trees.The volume here is approximately 43'x53'.The low bamboo railing continues direct one further on their journey.The path here has a new paving pattern.Linear pieces of stone line the edges of the path while the main path is now made of irregularly shaped pieces that provide a bit more challenging surface.The unevenness begins to suggest the trials of the journey to come.
One now turns 90 degrees to the right and enters the fourth segment of the path.This is the longest segment of the path.The volume created here is approximately 13'x151'.The long narrow space is defined by the typical low bamboo railing and manicured plantings.At the end of this path the next gateway is glimpsed.The next gateway is much smaller than the previous gateway encountered but one's first reaction is to assume that it is the same size as the previous one.This play in scale creates the impression of a much longer path.The stone here is similar to that of the last segment.It has become rougher and more uneven as one is progressing toward the temple.
As one finally reaches the end of the long path, the third gateway is encountered.The first choice in path is offered here.One can continue straight or by turning 90 degrees one is taken to the service entrance.This volume is approximately 13'x49' and is delineated by walls on two sides, plantings on another and the gateway on the last.This last gateway is recessed into the wall that surrounds the temple.It becomes the entry foyer into the next spaces.
If one continues through the gateway, one enters the foyer to the temple.This volume is approximately 10'x26' and is enclosed on all sides by walls and a roof.This constricted space offers the first views of the temple through its small openings and small window.The contrast of this space to the previous open linear spaces suggests an ending to ones journey.Having finally reached ones journey, one can notice the path is made up of smooth tiles in comparison to the rough stones that began the journey.Turning left and then right allows one to enter the last space.
The last segment of this journey leads to the veranda of the hojo.It offers the first unobstructed view of the temple.Due to ones proximity, even now this view is only partial.
The segmented path provides separate experiences along the way but each allow a glimpse of what is to come, allowing the entire path to act as one.The consistent palette of materials also acts cohesively to unite the experience.Symbolizing the spiritual journey, the segments become increasingly sacred (or private).This experience is created using a volumetric manipulation of the path.Using open and closed spaces creates a rhythm of compression and expansion.This rhythm symbolizes the emotional trials of the spiritual path.By manipulating the scale, the path appears longer than it really is.The gateways help to further identify each segment of the path.The changing texture of the path plays along with the purpose of one's journey.The entire process acts as a "symbolic story of initiation."
Upon entering the main gateway, one than turns left 90 degrees to approach the second gateway.
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