THE OASIS: A PLACE OF THERMAL DIFFERENCE AND CHOICE

Problem statement: A study of the impact of the 4 primary climatic zones on the design of spaces.

The Oasis suggests a place of choice and evokes images of destination: a grove or orchard, a market or crossroads, an arcade or verandah-- a sanctuary. The Oasis is a small compartment in the large scaleless boundary, where sun becomes shade, harsh light becomes dappled, still air becomes a breeze and monotony gives way to transition and variation. An Oasis is where you go for renewal and experience a ritual in your life like cool drink after a long trek or the cold spot under the warm blankets; like the warmth of a fireplace after a walk through the snow gathering firewood.

The inherent value in the oasis lies in awareness that thermal transitions are an essential element of our daily rituals. Special moments are recalled through associations with thermal and other sensual experiences- certain smells, breezes, sounds or tactile textures which define the uniqueness of a point in space/time, marking a transitional experience. In direct or subtle ways, we purposely seek relief and familiarity in the oasis. The value and richness of thermal variations in our day-to-day lives allows us to appreciate (and design for) meaningful experience of the built environment.

The Oasis speaks to architectural invention whose purpose is to create sublime comfort and the sensual experience of space -- much more than mediation or correction of the exterior environment -- much more than SHELTER -- beyond PROGRAM REQUIREMENTS and FUNCTION -- ACCOMMODATION OF THE BODY, THE SOUL AND REFRESHING THE SPIRIT...

An oasis is:
* a small but highly identifiable place in a large homogeneous field, like the classic desert oasis.
* a special destination, a stopping place but not a permanent habitation.
* a place of thermal differences created by architectural or natural elements.
* place of refuge from the primary environment.
* place of ritual.
* associated with sensual experience much more than with visual appearance.

“The character of climate cannot but become the character of self-understanding... As we find our gladdened or pained selves in a wind that scatters the cherry blossoms, so do we apprehend our wilting selves in the very heat of summer that scorches down on plants and trees in a spell of dry weather. In other words, we find ourselves as an element in the mutual relationship with climate.”
Watsuji Tetsoro, CLIMATE, A PHILOSOPHICAL STUDY

“Building systems, machines, appliances come to be regarded as having a reality independent of human beliefs, their form and function determined solely by physical laws. They are, however, most fundamentally, artifacts. They all have their origins in the human mind and therefore are inevitably formed by, and expressions of, the values, attitudes, and prejudices of their makers.”
Lisa Heschong, THERMAL DELIGHT IN ARCHITECTURE

Goals: familiarize yourself with human experience of the environment and how comfort and variety of sensation can be controlled architecturally; examine relationships of climate, site and building; explore/create an example.

The comfort zone chart from "Design with Climate" by Victor Olgyay

By sketches, writing, photographs and/or collage; describe a thermal oasis in a specific climate region as assigned. All graphics must be annotated (with legible writing) and your meanings must be clear and obvious. A real or imagined place can be your oasis. Use your memories of tactile experiences. Address the following points:

How does the oasis differ from the general environment? What separates and defines the oasis from its surroundings?

What architectural features influence perception and sensation of thermal conditions?
* the surfaces, shape, size and containment of the oasis
* color and light
* circulation, entry and sequence of movement
* sources of thermal variation

What other sensory clues (sight, smell, taste and touch) provide information linked to corresponding thermal sensations? How are they experienced? How is heat/cool experienced and by what mechanisms (conduction, convection, radiation, evaporation) does the human body communicate with thermal energies?

· To what extent is the thermal environment controlled by occupants of the oasis? Are the adjustments architectural (windows, rugs, shades...) or are they remedial (fans, heaters and air conditioners)?

· Think about ideas of daily and seasonal variation. To what extent do these reinforce the sense of oasis and how do architectural elements contribute to these ideas?

· What rituals of daily life are practiced here and how are they tied to the idea of oasis? What is the purpose of this place and who visits it when?

· What elements of choice do occupants have? How do they understand and express their options?

· What elements of seduction occur here that invite people to the oasis and insure their comfort and return?

· What is specific about the climatic region that is reflected in the oasis by allusion, inclusion, exclusion, similarity and/or contrast?

· What symbols or icons of thermal significance are encountered here and what is their place in creating an oasis?

Prepare two 11" x 17" boards. The first will contain your written/graphic description of the OASIS as you experience/ remember/imagine it. The above listed points will be used in evaluating your presentation you must address them fully and clearly. Do NOT use these criteria as a list or outline in any form. On the second board illustrate your oasis. Use architectural graphic representation to describe your idea of place.

ELEMENTS:
A memory dominated by thermal experience(s)
An architectural intention
An inspiration (poem, precedent ......)

Focus on ideas related to the invisible environments, how they are experienced and controlled. Discuss how sensory events are interrelated and how we interact with them in desirable ways. Explore how, as architects, we can direct this experience and interaction. IT IS THE WAY WE CAN CREATE SUBLIME ARCHITECTURE....

GOALS
As an introduction to the non-visual realms of architecture, this project seeks to explore the experiential context of architecture. Through this exercise we approach an appreciation for the way spaces/places are experienced and an understanding of how the architect is influenced and inspired by the notion of Oasis.

A byproduct of this project should be a broadening of thought about architectural significance and increased interest in design for and about thermal comfort.

OBJECTIVES
1. Create or remember physical and romantic experiences of thermal significance.
2. Consider the architectural contribution to that experience.
3. Communicate/document findings and exploration in a professional and compelling way.

HINTS
Find a poem or written passage that inspires you. Look for images that say 'oasis' for you, then interpret why and how you could recreate that architecturally. Think of a scenario then make a story and a place for it........

TRAPS
Don't forget this is about architecture and thermal comfort. Don't do a park or a nature walk.
Don't forget seasonal variation.

TRICKS
Let go of visual descriptions of facades and concentrate on tactile sensations as they are facilitated by architectural components. What does a window mean to you? What does the sound or experience of water and wind do to your psychological experience of space? What does warm sunshine feel like on your body through a window on a frosty winter day?

TERMS TO UNDERSTAND
Experiential context
Thermal oasis
Light

SUGGESTED READING
Banham, Reyner, THE ARCHITECTURE OF THE WELL TEMPERED ENVIRONMENT.
Tetsoro, Watsuiji, CLIMATE, A PHILOSOPHY.
Heschong, Lisa, THERMAL DELIGHT IN ARCHITECTURE.
Rasmussen, EXPERIENCING ARCHITECTURE.
Bachelard, Gaston, A SENSE OF PLACE.
Williamson, Ray, LIVING THE SKY, THE COSMOS OF THE AMERICAN INDIAN.
Fitch, James Marston, AMERICAN ARCHITECTURE, THE ENVIRONMENTAL FORCES THAT SHAPED IT.
Witold Rybczynski, HOME

EVALUATION, arranged alphabetically
1. A place of thermal difference(s)
2. Architectural elements
3. Variety, Delight, Sacredness... after Heschong.
4. Originality of content, approach and medium
5. Professionalism (neatness, format...)
6. Seduction of Oasis concept
7. Significant experiential context (sensual nature of Oasis)

“During the six years of my architectural education the subject of comfort was mentioned only once. It was by a mechanical engineer whose job it was to initiate my classmates and me into the mysteries of air conditioning and heating. He described something called the ' comfort zone' which, as far as / can remember, was a kidney-shaped, crosshatched area on a graph that showed the relationship between temperature and humidity. Comfort was inside the kidney, discomfort was everywhere else. This, apparently, was all that we needed to know about the subject. It was a curious omission from an otherwise rigorous curriculum; one would have thought that comfort was a crucial issue in preparing for the architectural profession, like justice in law, or health in medicine.”
Witold Rybczynski, HOME

“Imagine yourself on a winter afternoon with a pot of tea, a book, a reading light, and two or three pillows to lean back against. Now make yourself comfortable.......”
Christopher Alexander, author of A PATTERN LANGUAGE, as quoted in Rybczynski's HOME.

“...a fundamental weakness in most discussions of architectural aesthetics is a failure to relate it to its matrix of experiential reality ... this leads immediately to serious misconceptions as to the actual relationship between the building and its human occupants.”
James Marston Fitch, 'Experiential Context of the Aesthetic Process', JOURNAL OF ARCHITECTURAL EDUCATION, Winter 1988.

“The dynamic natural process of sun and wind, light and shade, heat and cold, are the ever present forces that the architect must address in enclosing or defining space. An understanding of these forces is essential in interpreting and responding to place. In a world of increasing concern about global environmental problems, the architect’s understanding of natural climatic forces is essential in order to design buildings that belong to a place, that minimize the reliance on fossil fuels, and respond to the rhythms of nature for the well being of man.”
Steven Dent, Associate Dean, 'Portfolio', Third Annual Publication of the University of Mexico, School of Architecture and Planning. March 20,1991.