Newport Sanctuary & Community Center

by Jeffrey Allen Mayfield

Thesis submitted to the faculty ofVirginia Polytechnic Institute

&State University

in partial fulfillment for the degree of

Master of Architecture

Approved by

Hunter Pittman, Chairman

Michael O�Brien

William Brown

February, 1999Blacksburg, Virginia

Abstract1

Machu Picchu3

Site5

Center8

Project12

Layers of Enclosure21

Threshold 31

Separation32

Path38

Kickwheel44

Bibliography47

Newport Sanctuary &Community Center

by Jeffrey Allen Mayfield

AbstractArchitectural treatment of sacred and non-sacred space is the primary focus of thisthesis. The sacred space is enclosed bya cylinder making known the presence ofcenter. A cube endures the non-sacredspace that exists outside the sanctuary.Corbelling reveals the thickness of thethreshold that simultaneously separatesthe two types of spaces and geometries.The secondary objective of this inquiry isa harmonious balance between light, ma-terial, and shape. The project is a struc-ture, in Clover Hollow of Giles County Vir-ginia, that will be used for worship, medi-tation, and social functions for the com-munity of Newport.

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Machu PicchuMachu Picchu, recognized as �the lost provinceof the Inca�, stands alone on the western edge ofthe Amazon Jungle. The Inca Civilization cre-ated architecture that established a harmoniousalliance with the natural environment. Agricul-tural terracing, observation platforms, and mag-nificent ceremonial architecture bring to light areverence for place.

Machu Picchu, Jan. �98

The non-secular precinct (left) is divided fromsecular (right) by a central courtyard. HuaynaPicchu is the sacred mountain to the north of thesite and is the focus of the lines created by thebalanced union of the city and the topography.

Residential sector, Machu Picchu, Jan. �98

Architecture, whether as a town or a building,is the reconciliation of ourselves with the natu-ral land. At the necessary juncture of cultureand place, architecture seeks not only the mini-mal ruin of landscape but something more dif-ficult: a replacement of what was lost withsomething that atones for the loss. In the bestarchitecture this replacement is through an in-tensification of the place, where it emerges noworse for human intervention, where culture�sshaping of the place to specific use results ina heightening of the beauty of the landscape.In these places we seem worthy of existence.W. G. Clark. Essay on �Replacement�, inModulus, p. 2.

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Not

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Project Center

Summer SunsetMountain Lake

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SunsetExtremes

SunriseExtremes

Due NorthKelly�s Knob

Appalachian trail

Summer Sunrise

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SiteThe Newport Sanctuary is placed on a sitethat is in view of a well known pinnacle of Clo-ver Hollow, known as Kelly�s Knob. Kelly�sKnob is a natural rock formation, located nearthe Appalachian Trail, that overlooks the Hol-low. From this outcropping the setting suncan be observed immersing Clover Hollowand the New River Valley in a spectacular or-ange wash.

The topography of the project site allows forthe main axis of the complex to be alignedwith Kelly�s Knob. The north corner of thesanctuary, which holds the baptismal pool,points toward the formation. The east andwest corner of the main sanctuary each holda small chamber for private prayer. Sunlightfilters into the sanctuary through screeneddoorways. The sunset is the focus of threeprivate chapels along the path to the mainsanctuary.

Clover Hollow from Kelly�s Knob, Carol Noblit

CenterThe aspect of center is an essential elementfor ceremonial architecture. In the followingexamples center is a point, a space, an axis,or a geometric necessity, with an underlyingexperiential truth.

The Big Horn Medicine Wheel, in the Big HornMountains of Wyoming, represents interlock-ing themes valued by Native Americanpeoples. Myth, magic, and meaning are cen-trally anchored to this highest point in Wyo-ming. The medicine wheel, the sweat lodge,and the bowl of a peace pipe are symbols ofan infinite cycle in which they participate. Withno beginning and no end, the circle representsthe cycle of life and interconnectedness of allthings. There are 28 spokes connecting theouter circle to a inner hub (suggesting an oc-cult of the moon). Conical heaps of stoneson the perimeter mark stellar backsites thatoccur on each of the three �warmest moons�of the year (Aveni, 288). This is the onlytime the site is approachable. The Big HornMedicine Wheel sights the summer solsticesunrise and sunset revealing an astronomi-cal consciousness consistent with prehistoricMesoamerican and South American cultures.

A line carved into the indigenous rock ofMachu Picchu perfectly bisects the June sol-stice morning sunlight as it shines through thetemple window. Archaeo-astronomers specu-late that a rod was used to cast a shadowaccurately marking this event on the rock(Frost & Bartle, 15). The peculiar geometryof this structure is exclusive to temples of thesun.

The Pantheon is one of the most universallysymbolic religious structures ever built. Abeam of light through an oculus in the top of ahemisphere tracks the passing of each day.

The spiral minaret, of The Great Mosque inSamarra, circumambulates vertically about acentral axis into the sky where an Imam callsout for prayer five times a day.

Partially underground and circular, kivas werethe ceremonial structures for the Anasazi cul-ture. All other Anasazi structures are rectilin-ear. The contrast in geometry represents adifferent attitude toward secular and non-secu-lar architecture.

Big Horn Medicine Wheel,Wyoming, Sacred Places in North

America, Courtney Milne, p. 11

Pantheon, Rome,Round Buildings, Square Buildings,

& Buildings That Wiggle Like aFish, Philip M. Isaacson, p. 66

The freestanding spiral minaret,The Great Mosque, Samarra, Iraq,The Mosque, Dogan Kuban, p. 81

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The Torreon, or Temple of the Sun,Peru, Machu Picchu Historical

Sanctuary, Frost & Bartle, p. 15

Kiva, Pueblo Bonito,Chaco Culture National Park,Sacred Places in North America,Courtney Milne, p. 61

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Wolf Creek State Park,Bland County, Virginia,June �96

Postholes in Bland County at Wolf CreekState Park reveal the pragmatic dependenceon center for the organization and fortifica-tion of a village. The village was constructedwith an abundantly available material that pos-sesses characteristics desired for creatingshelter (the principle role of architecture).Saplings from the surrounding forest efficientlyprovide a structural frame that would then beclad with large pieces of bark. Sinking thesaplings into the ground in a circular planmade the structures stable. Each �wigwam�is centered over a firepit and the entire vil-lage is centered around a �Spirit Pole� usedfor ceremonial purposes.

In the above mentioned precedents, the as-pect of center is achieved with strict geomet-ric order, or an informal arrangement of ma-terials. Each precedent represents the re-spective culture�s beliefs and state of techno-logical advancement at the time of construc-tion.

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The idealization of center.

Chiesa della Sacra famigliaa Fratte, Salerno, Paolo

Portoghesi, Mario Pisani,p. 16

Brion Family Cemetery, S.Vito d�Altivole near

Treviso, by Carlo Scarpa,a + u, p. 164

The initial idea of the project is to affirm cen-ter, as point in plan and axis in section, withplane geometry. An axial path leading to themain enclosure divides the complex into twosectors. Left of the path is the communal por-tion. This part is terraced for informal seat-ing. Three willow trees (Salix Matsudana)provide shade in the summer and an attrac-tive silhouette in the winter. Right of the pathare three meditation chambers facing the set-ting sun.

Salix Matsudana,All About Trees,

Barbara Ferguson,p. 45

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ProjectThe enclosures for the main sanctuary andthe individual chapels are the result of sub-tracting an inner cylinder from an outer solidcube. This is a specific architectural treat-ment delineating a boundary between innerand outer space. There are four doorwayson each side of the chapel that cut throughthe difference of the two forms. This opensthe building to the site for large ceremoniesand social gatherings.

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Layers of EnclosureSacred architecture is a spacewhere we encounter the divine. Aplace bounded from the vast pro-fane space that surrounds us.

In this structure, layers of brick areused to gradually contour a cylin-drical enclosure and make placesfor architectural elements, such astrusses and doors.

Sensitive to the incrementalchanges in each layer, brick andcontrolled natural light produce avisually tactile environment, ren-dering a sublime experience.

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Horizontal sections in three inch incrementsshow the inside and outside of the structure.The distance between each layer in this draw-ing is exaggerated. The 120 layers that makeup the building are shown in plan on pages24 and 25.

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Quarter sectionthrough bell cavity(left) and east chamber(right).

Half section throughbell cavity (left) andbaptismal pool tower(right).

Half section throughbell cavity (left) andbaptismal pool (right).

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Yale Center for British Art,Entrance Court, by Louis I. Kahn,In the Realm of Architecture,Brownlee & De Long, p. 233

Natural light knows a space through its thresholds of entry.Light, material, and geometry harmoniously balanced estab-lishes a sureness of place, anything else is just building.

Mediatheque, Villeurbanne,by Mario Botto, Architectures1980-1990, p. 143

Brion Family Cemetery,S. Vito d�Altivole near Treviso, byCarlos Scarpo, a+u, p. 161

Early Mycenaean tholos, Pylos,Architecture of the Ancient Civili-

zations, Cichy, p. 260

Michelangelo�s dome at St. Peter�s,Round Buildings, Square Buildings,

& Buildings That Wiggle Like aFish, Philip M. Isaacson, p.64

Moorish Baths of Granada,Round Buildings, Square Buildings,

& Buildings That Wiggle Like aFish, Philip M. Isaacson, p. 47

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Lower entrance to religious sector, of Machu Picchu, looking east intothe jungle, Peru, January �97

ThresholdThe threshold marks a break in homogenous space andis symbolic of a ritualistic shedding of the outside world(Elaide, p. 97). The thresholds into the non-secular pre-cinct of Machu Picchu are defined by double-jammeddoorways. Corbelling on each side of the header, in theabove section, reveals the thickness of the differencebetween the cylinder and the cube, thus placing archi-tecture in a role of mediating between sacred and non-sacred space.

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SeparationThe principle of separation between inside andoutside, or the sacred and the non-sacred, isanalogous to the separation of private and publicspace within this complex. There is a need forisolation from public domain, for contemplationand reflection. Three private chambers are lo-cated on the path to the main sanctuary and facethe setting sun.

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Inside

Outside

Intermediate

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The truss pockets are recessed into the brick cylinderpreserving the cylindrical form and creating a visualconnection to the piers. The load on the trusses is trans-ferred through the piers to the ground.

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The eye of the structure marks the center of the projectand symbolizes the ultimate threshold from the earthlydomain to the realm of the divine. The bottom ring is intension and transforms gradually to the smaller top ringwhich is in compression. The oculus and the four perfo-rations on the sides control the amount of light that bleedsinto the space. The light runs down the cylinder wallrevealing the texture of the brick.

PathRepetition leads worshipers to their destina-tion. A sequence of elements leads to a sa-cred precinct. Private chapels, covered brickpiers, and sections of uncovered walkway cre-ate an axial path to the main sanctuary. Alongthe path, spaces grow increasingly holy, sym-bolizing a spiritual journey or transformationfrom one state of being to another.

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Constituent parts create repetitive architec-tural elements that lead to the altar.

Marty Leonard CommunityChapel, Forth Worth, by FayJones, Architecture,March 1991, p. 94

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Sixty horizontal sections inthree inch increments showthe inside and outside ofthe private chapel. Each ofthese layers is shown inplan on page 41.

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Sunset Extremes

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Deep shadows and darkness are essential, because they dimthe sharpness of vision and invite unconscious peripheralvision and tactile fantasy. Homogeneous light paralyzesthe imagination in the same way that homogenization elimi-nates the experience of place. Juhani Pallasmaa, �An Ar-chitecture of the Seven Senses�, a + u, p. 34.

Brick silo, Ellet Valley, Virginia, July �97

KickwheelThe kickwheel is a project also ordered aboutcenter. The objective is to build a potter�swheel that is ergonomic, structurally sound,and light weight.

The first iteration is derived from a hemi-sphere divided into four quadrants thatorder the structural supports.

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Center is a geometric necessity for functionand structural integrity. All parts reference thecenter axis, which is a steel shaft. The rota-tion of the concrete slab is started by a kickfrom the potter. The momentum is transferredto the throwing surface, through the shaft,where the potter�s hands touch the clay, com-pleting the cycle.

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Bibliography

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Allen, Edward.Stone Shelters. Mit Press, Massachusetts, 1981

Aveni, Anthony F..Skywatchers of Ancient Mexico. University of TexasPress, Austin, 1997.

Barrie, Thomas.Spiritual Path, Sacred Place, Myth, Ritual, andMeaning in Architecture. Shambhala Publications, Inc.,Boston, 1996.

Botto, Mario.Architectures 1980-1990. Gustavo Gili, 1991.

Brownlee, David B., & Delong, David G..Kahn: In the Realm of Architecture. The Museum ofContemporary Art, Los Angeles, 1997.

Cichy, Bodo.Architecture of the Ancient Civilizations in Color.Thames and Hudson, London, 1965.

Clark, W. G..�Replacement�. Modulas. Rizzoli International Publications, Inc. New York, 1987.

Coldstream, Nicola.Medieval Craftsmen, Masons and Sculptors. Univer-sity of Toronto Press, Toronto, 1991.

Courtney, Milne.Sacred Places In North America, A Journey IntoThe Medicine Wheel. Stewart, Tabori andChang, New York, 1995.

Eliade, Mircea.The Sacred & The Profane, The Nature of Religion.Harcourt Brace Jovanovich, New York.

Ferguson, Barbara.All About Trees. Robert L. Lacopi, San Francisco,1982.

Frost, Peter.Machu Picchu Historical Sanctuary Cusco, Peru.Nuevas Imagenes S. A., Lima, 1995.

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Humphrey, Caroline & Vitebsky, Piers.Sacred architecture; Models of the Cosmos, SymbolicForm and Ornament, Traditions of East and West,Duncan Baird Publishers, Boston, 1997.

Isaacson, Philip M..Round Buildings, Square Buildings, & BuildingsThat Wiggle like a Fish. Alfred A. Knopf, Inc., NewYork, 1988.

Kuban, Dogan.The Mosque. Thames and Hudson Ltd., 1994.

Lawlor, Robert.Sacred Geometry, Philosophy and Practice. Thamesand Hudson Ltd., London, 1982.

Mann, A. T..Sacred Architecture. Barns & Noble Books, New York,1996.

Pallasmaa, Juhani.�An Architecture of the Seven Senses�. a + u. a +uPublishing Co., Ltd., July 1994.

Pisani, Mario.Paolo Portoghesi. Electa, Milano, 1992.

Rudofsky, Bernard.The Prodigious Builders. harcourt Brace Jovanovich,New York, 1977.

Scarpa, Carlo.�Carlo Scarpa 1985 October Extra Edition�. a + u. a+ u Publishing Co., Ltd., 1985.

Schwarz, Rudolf.The Church Incarnate; The Sacred Function of Christian Architecture. Henry Regnery company, Chicago1958.

Swan, James A..The Power of Place & Human Environments. QuestBooks, London, 1991.

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JEFFREY ALLEN MAYFIELD

EDUCATION MASTERS OF ARCHITECTURE Virginia Polytechnic Institute & State University, Blacksburg, VA Thesis: Sacred Architecture

BACHELOR OF SCIENCE IN ENGINEERING TECHNOLOGY Fairmont State College, Fairmont, WV Major: Civl Engineering Technology Major: Architectural Engineering Technology

ASSOCIATE SPECIALIZED TECHNOLOGY DEGREE Pittsburgh Technical Institute, Pittsburgh, PA Major: CADD Computer Systems Management Major: Computer Graphics/Architectural CADD

EXPERIENCE BRIAN BOYD, ARCHITECT, Blacksburg, VA Designer/Drafter: Working Documents, Digital 3D Rendering

COMPUTER-AIDED DRAFTING SERVICES, Morgantown, WV Owner: Custom Residential Design

HARTMAN AND SONS CONSTRUCTION, Morgantown, WV Forman: Carpentry Work (Layout, Framing, and Finish Work)

KISS ENGINEERING CORPORATION, Morgantown, WV CADD Operator: Sediment Control Channel and Haulroad plans

ACTIVITIES Timber Framing Workshop, Goshen Timber Frames, March �99American Society of Civil Engineers, FSC Chapter, President, �93-�94American Institute of Architecture Students, FSC Chapter, President, �92-�93AIAS International Forum 1992, Council of Presidents, November �92AIAS Grassroots Leadership Conference, Council of Presidents, July �92Epsilon Pi Tau (The International Honorary Professional Fraternity for Education in Technology)Vocational Industrial Clubs of America, Mon. County, President �87-�88

HONORS Bachelor Architectural Design Award Winner �93Contractors Association of West Virginia Scholarship Winner �93Associate Architectural Design Award Winner �923rd Place (WV State) VICA Mechanical Drafting Competition �881st Place Fairmont State College Architectural Drafting Competition �85

vita