kale grayson harper.

The architectural intervention should not strive to be a beautiful object in a landscape. In order to transcend itself and resonate with its context it must draw from and celebrate the embodied qualities of the existing environment. The end goal is to change peoples perspective and expectations about industrial landscapes, to draw out and display their incredible architectural qualities and uncompromising  presence.  By this mode of thinking, architecture becomes a facilitator or device to experience a place in a new way.

Ultimately, this investigation is a recognition of what is, not what could be. It is about exploring the experiential phenomena of engaging with the existing; architecture that derives its reason, influence and meaning from its context. This approach proposes a peaceful coexistence between urbanism and industrial landscape, grafted together by a modest design intervention derived from a poetic reading of place.

The religious practice of ‘vodou’ originates from Haiti’s west african background. It is a hybrid of african beliefs and roman catholic christianity which was imposed on Haitian’s during their slavery. 

A common application of ‘vodou’ is to communicate with ‘spirits’ through the use of symbolic objects. Haitian’s often rely on this practice to communicate and pay respect to deceased family and friends. Following the 2010 earthquake mass gravesites were quickly dug in order to deal with the significant number of casualties. This disrupted the ‘vodou’ practice of communication because it is not known the location of where most people are buried, this is an on going source of anxiety for the Haitian people. 

The cemetery attempts to address this disconnect by providing a processional space where temporary grave stones serve as a place where this important ritual can continue. It is a place of spirituality and remembering. 

Where-as the cemetery is about ritual and remembering, this stair element is inspired by the practice of baptism. It is about the act of cleansing and moving to higher ground. The direct experience with the materials and how light is framed creates a processional movement that ends with the view. It is an experience that is meant to evoke a sense of moving forwards.  

This design studio, led by Brian Mackay-Lyons was focused on the technological applications of wood and how the resolution of wood details can address the vernacular and environmental considerations associated with building on the south shore of Nova Scotia. The studio was divided into two parts, first a complete set of as-built drawings were produced of a specific Ghost project. 

The latter part of the studio was to produce a design that responds to the Ghost project but that introduces a new set of wood detailing challenges.  

My design proposal responds to the Ghost tower through its proportions and structural hierarchy. In order to introduce new wood detailing challenges the vertical tower was rethought of as a horizontal form cantilevered over the landscape. Concrete fins anchor the form while the primary structure becomes an inhabitable wooden box truss. The cladding provides additional lateral stability through its orientation that allows it to function as shear walls.