Mission Field H2O R O X A N N E N O R T O N - E S A U • 2 0 2 2 • A w e t l a n d p r e s e r v a t i o n f a c i l i t y t o ‘ m a k e n e w ’ a c h u r c h ' s i d e n t i t y , w i t h i n t h e c o m m u n i t y … “ C o m e ! ” L e t t h e o n e w h o i s t h i r s t y c o m e ; a n d l e t t h e o n e w h o w i s h e s t a k e t h e f r e e g i f t o f t h e w a t e r o f l i f e " ( R e v . 2 2 : 1 7 N I V ) Figure: viii (above) Graph (Author, 2021) Figure: vii Figure: viii Figure: ix Figure: x Figure: xi Figure: xii Figure: xiii Figure: xv Figure: xvi Program C H U R C H | W E T L A N D : xvii BUILDINGS Utilities - Public: Public Square Amphitheatre Information Centre/ Library Gallery/ Circulation foyers Restaurant Resources: Semi-Private Multiple discussion rooms Water Purification Workshop and learning labs Recycling Zone Instructional Programs: Public/Semi-Private Multi-purpose training studio’s for developing of creative skills, and extra murals. Fellowship Cafe Breakaway rooms for counselling and support groups. Missionary Areas: Public Spaces Outdoor Amphitheatre Chapel/ Church / Main Hall/ Galleries Roof Market Constructed Wetland areas Other: Accommodation for waste pickers Services: Ablution Facilities Security /Maintenance response group On grade parking WETLAND Recreation: Walkways, Cycling and Running paths Children's play parks Figure xviii: Program superimposed onto site model, (Author 2021) Erf 208 Ptn & 4 & Erf 44 Ptn4 Ptn3Erf 443 Erf 382 Aerial View Figure 1.8 The church has been around for as long as Radiokop existed, around 2002. Start ing in the neighbouring school hall, ten members set out to make an impact on the Radiokop community. Nineteen years later, membership grew to 150 people that cont inues to grow annually. The primar y focus of the church was and will always be is to grow their memberships and spread the word of God. However, the focus primarily for this facility, was to add another layer to the church’s vision, and create a place for the broader community to visit , with a common goal of preserving the wet land, while at the same t ime, providing a platform for the church to grow in membership. The ancillar y amenit ies provided at the church site, therefore addresses the needs of the community as well as the church, and offers support ive str ateg ies to make it relevant for both spiritual growth and community building . By act ivat ing movement through the wet land, the percept ion of the wet land as an inaccessible isolated mass will become the glue to bring the church and the surrounding gated communit ies together. Further more, when restoring The fact that most members stand united to protect the wet land, proves that relig ion aside, a common interest has been established and in a similar way, the church preservat ion facility, will become a place for the community to meet and exchange. As for the wet land. It is current ly seen as a mass that separ ates the church from the community. It forces movement around its perimeter, rather than through it . However, the proposed progr amme lures the community toward the church through allocated landscaped pathways within the wet land, that is accessible from all direct ions (see page 30, Fig1,60 – illustr at ing the various entr ances from gated communit ies). , which includes empowering the disadvantaged ‘waste pick ing’ community. Figure 1.12: (above) 3d site analysis, (Author 2021) Figure 1.13: (above right) Orientat ion and aerial view of drone images st itched together (Author, 2021) Figure 1.14: (QR Code right) Scan QR Code for Drone Video footage (Author, 2021) Figure 1.15: (right middle) View 2 toward Radiokop Suburb & Dense Vegetat ion (Author, 2021) Figure 1.16: (far right) View 1 Toward Roodekraans Hill (Author, 2021) Figure 1.21: Photo montage of Fauna/Flor a found on the site on plan with photo view of Egoli Grassland and Granitic Ridge (Author, 2021) 24 25 Figure 1.28: Rock Scorpion Hadogenes © Kemp, A (2019). Figure 1.29: Puff Adder Bitis arientans © McNab, D 2019. Figure 1.30: Striped Mouse Rhabdomys pumilio © Gibbons, B (2021). Figure 1.31: Spotted Eagle Owl Bubo Africanus © Eccles, T (2012) Figure 1.32: Rinkals snakes (cobra) hemachatus haemachutus © About animals (2018). Figure 1.33: Giant Bullfrog Pyxicephalus adspersus © Brignell, C (nd) Figure 1.34: Slender Mongoose Galerella Sanguinea © Alongi, J (2011) 26 1 3 2 4 5 6 27 1 4 2 5 3 6 Figure 1.46: Figure 1.44 Figure 1.47 Figure 1.45 Figure 1.48 Figure 1.49: Figure Ground (in brown) demonst rate s the high-densi ty area, illustrating the volume of garbage collected from the Radiokop community and taken to the wetland. (Author, 2021) 28 Trail of Plastic bottles Trail of mess, Author 2021 A sea of Black plastic bags Cardboard boxes flattened Figure 1.43 Waste picker trolley in foreground Hard plastics Figure 1:50 Figure 1.51 Figure 1.52 Figure 1.53 Figure 1.54 Figure 1.55 Figure 1.56 Figure 1.57 29 Figure 1.59: Palisade fence as barrier to wetland (Author, 2021) Figure 1.58: Street Edge and Indigenous Landscaping (Author, 2021) Figure 1.60: (above) Figure ground showing Gated communit ies, Typolog ies and Entrances to wetland (Author, 2021) 30 31 ` Figure 2.1: Photograph across wetland, Author 2021 Figure 2.2: Montage showing the polluted wetland under the Church’s nose (Author 2021) Figure 2.3: (above) Mapping showing proximity of Recreational and Sports Facilit ies from Radiokop, with the closest park being 5km distance from the area. (Author, 2021) 34 Figure 2.4: Johannesburg municipal boundary with City parks and zoo data. Image sourced from MDB (2011b) City of Johannesburg municipal boundary; CoJ (2017) Johannesburg City Parks and Zoo Land Data ** Circled area highlights location of Radiokop, and its proximity to other green spaces. Figure 2.5: (above) The map shows the abundance of wetland spaces, water sources and streams that eventually link up into the crocodile river into Muldersdrift . (Author, 2021) 36 Figure 2.6: (above) Section showing catchment system, following the Barr engineering design approach (Author, 2021) Figure 2.7: Floor plan of Catchment / Retention pond, (Author, 2021) Figure 2.8: (above) The GI Approach: Sketches showing different water harvesting and urban drainage purifying systems to be used in series in and around the church site before entering the wetland below. (Author, 2021) (d) Grey Water Filtering Process with storage tanks And Series of urban drainage systems for rainwater harvesting. (b) Retention Ponds (c )Swales and Bioretention Streams along buildings (a) Rainwater harvesting (e) Underground Blackwater treatment with leaching field Figure 2.9: (right) Science Experiment on soil erosion, © Maria Marino (2012) https://www.lapappadolce.net/science-experiment- on-soil-erosion/ A range of interest ing interact ive experiments at various scales can showcase how combining a good variety of vegetat ion and aquat ic plants in these dr ainage systems work together to purify and preser ve the soil nutrient factor and prevent erosion (Culwick & Khanyile et al. 2019). As an example, experiments such as the home-based science experiment , by Marino (2012) will teach students the interdependency that the soil, water and vegetation, have to each other (Marino M, 2012). This experiment demonstr ates three soil environments in large soda plast ic bott les. In the absence of vegetat ion, water evapor ates quick ly, and soil erodes. The eroded soil breaks down further and contaminates the water, mak ing it diff icult to f ilter for drink ing water. Once visitors are exposed to this level of infor mat ion, they will realise how valuable soil is in shaping life. Like a porous sk in to the earth, it for ms a basic eco- system funct ion to regulate green-house gases, is home to micro-organisms and is crit ical for f iltering water. In the context of the wet land, visitors will understand its interconnected ecolog ical system before sett ing out into the wet land after being exposed to the visual lessons and lectures at the facility. This will open up their knowledge systems to understand the processes within the natur al sett ing of the wet land that will further be highlighted along the journey via informat ion display boards. Figure 2.10: (above) Montage Surreal Wetland Landscape (Author, 2021) Zone 2 Zone 1 † Zone 3 Zone 2 Marshland Nature Sounds Zone 1 Ridge Tranquil Zone 3 Residential Nocturnal Sounds Day Time bird sounds Aquatic Sounds Figure 2.11: (right) Montage Sound Mapping (Author, 2021) Figure 2.12: Vision montage – View from a residence home into the wetland (Author, 2021) Slide 43 RN1 Roxanne Norton-Esau, 2021/07/15 Figure 2.13: Montage Tactility (Author, 2021) Figure 2.14: (right) Montage Destr uct ion (Author, 2021) (Canter 1977). Figure 2.15: Sect ion through wetland and material study collage (Author, 2021) Browning et al (2020), in his book Nature Inside, developed 15 core patterns of biophilic design that enhances one's experience of place, to assist designers in mak ing their spaces more memor able. The list below are the basic biophilia principles, adapted from (Cushing et al, 2020) to be considered in the design. NATURE IN SPACE: Refers to the presence of nature in the built environment , through mult i-sensor y interact ions, such as; •Visual connect ion: A view to an element of nature (e.g., green walls, views, natural processes) •Non-Visual: Ephemeral connect ion, sound, touch, smell, as a good reminder of nature around us. •Ther mal and Airflow Variability: When building spaces mimic natural environments , surface temperature and subtle airflows. •Presence of Water : Water’s calming effect , visual and sound enhances experience of space. •Dynamic Diffuse Light : When light , shadows and var ying colours, change over t ime to create similar to movement and calm as nature. •Connect ion with Natur al systems: Awareness of Nature’s natur al occurrences, such as a change in season that can lead to a relaxing and profound moment. NATURAL ANALOGUES: Refers to the natural material that offer indirect connection with nature. •Biomor phic for ms and Patterns: Bring ing nature’s forms and arrangements into the built form. •Material Connect ion: Minimal processed material reflect a unique local ecolog y to create and authent ic sense of place. •Complexity and Order : Rich sensor y infor mat ion that adheres to spatial hierarchies, found in nature. NATURE OF SPACES: Refers to the spat ial conf igur at ions of Nature. •Prospect : Unimpeded long view enables safety and control. •Refuge: Providing protection from natural elements •Myster y: Part ial view, ent ices, and encour ages people to explore and discover. •Risk: The feeling of danger with a reliable sense of safety. •Awe: St imuli that def ies reference allowing one to perceive something. Combining a few of these spatial conf igur at ions, informs an interest ing experience of space . The montage on this page is an example of what Risk, Complexity, Prospect and Water might look like, if combined as special features in a space. Figure 3.3: Church Architectur al Timeline, Author 2021 https://www.re-think ingthefuture.com/rt f-fresh-perspect ives/a651-evolut ion-of-cathedral-architecture/ 4th Century Old Basilica Basilica of St. Sebena 5-6t h Century Eastern Orthodox & Byzantine Basilica of San Marco, Venice 11th Century Romanesque Speyer Cathedral 12t h Century Gothic Notre Dome 15t h Century Renaissance St. Peter’s Basillica 18t h Century Revivals/ Neo-Classic St. Patricks Cathedral 16t h Century Baroque St. Pauls Cathedral 20t h Century Modern Tokyo Cathedral Figure 3.4: Artist impression showing Solomon’s colonnade at Herod the Great's temple from inside the Royal Stoa © Balage Balogh (nd) Figure 3.5: Solomon’s Colonnade located east of King Herod’s temple; Perspect ive and Plan ©gracespearf ish.com (nd) Figure 3.6: The house of Calaphas converted into an Armenian church, Mount Zion – St. Saviour ©Biblewalks.com (nd) (John 18: 24, NIV): “Now Annas had sent him bound unto Caiaphas the high priest”. Figure 3.7: Illustr at ion Montage: Woman and the Church (Author 2021) Figure 3.11 :Remnants of Church (Peppard, 2016) Assembly Hall Courtyard Baptistry VestibulePortico Figure 3.10 :Isometric of House-church remnants (Peppard, 2016) Figure 3.8 :Floor plan Sketch house-church (Peppard, 2016) Figure 3.9 :Hypothet ical reconstruct ion house- church (Peppard, Prosol W, 2016) Figure 3.12 : Codex pur pureus rossanensis (c. 550): One of the oldest illuminated texts in the world https://f indatwik i.com/Codex_Pur pureus_Rossanensis Apse Figure: 3 .13: Reconstruct ion dr awing of the Old St Peters Basilica Perspect ive. ©Romano Impero (2021) Temple Court Nave Alter A p s e Aisle N a rt h e x T ra n s e p t Nave Aisle T ra n s e p t Temple Court Entrance Figure 3.14: (above) Artist impressions of old St. Peters Basilica Court with Cross section. ©Romano Impero (2021) Figure 3.15: (right) Artist Impression of Interior of Basilica Court with floor plan. ©Romano Impero (2021) https://www.romanoimpero.com/2010/10/basilica- costantiniana.html#.WvqQYcwaPFg.pinterest Figure 3.16 : (above) Artist impression of the Interior of St. Sabina Basilica, based on Basilica design principles ©Oneonta, (nd) http://employees.oneonta.edu/farber as/arth/arth212/early_christ ian_basilica.html Figure 3.18: Str asbourg cathedr al Façade Windows sketch, using geometrics inspired by nature (Author, 2021) Figure 3.17: Church of St . Serg io and Bacchuss showing plan and sect ional dome as a dominant feature of the architecture, Naos redeeming the world.(Author, 2021) Figure 3.19: Experiencing the stories told by the Stained glass cathedral windows © Levy S, (2011) http://www.poppytalk.com/2011/12/special-guest-post -european-christmas.html Figure 3.20 : Globus cruciger, Iconography: Symbol represent ing Christ ’s dominion over the globe or Salvator Mundi (Saviour of the world), (Author 2021) Figure 3.21: Dome Interior, New St. Peters Basilica , Italy ©viator.com https://www.viator.com/en-ZA/tours/Rome/Sk ip-the-Line-St-Peters-Basilica-Walk ing-Tour/d511-5660AUDIO Figure 3.22 : The many Symbols of the Church © Praisebanners.com (2021) Figure: 3.23 : Artist Impression, Church Spatial Experience – using symbols (Author 2021) Figure 3.24: (below) Stained glass window by French art ist Gabriel Loire, at St George’s Cathedr al, Cape Town. ©Halama Rainer (2018) Wikipedia commons Figure 3.25: (above) Emperor Justinian offering Hagia Sophia to baby Jesus, Emperor Constantine present ing the model of the city to baby Jesus as a g ift. Picture credit: ©Raddato Carole (2018) https://commons.wik imedia.org/wik i/File:Wik imani a_2018_by_Rainer_Halama-0503_cropped.jpg Figure 3.26: Dark theatre-like interior view at River church, showcasing the artif icial lighting. Picture credit: Stage Audio (2014). Figure 3.27: Artist impression; Cognitive states, (Author, 2021) Figure 3.28: Incense atmosphere © Daniel Kedinger (2021) https://aleteia.org/2017/07/06/holy-smoke-why-the- church-uses-incense-at -mass/ Figure 3.29: Submerged in the Baptism Ritual © First Baptist Church cleveland.com (2021) “The sacred is approached and experienced through religious practices, rituals and symbols. The role of the experience is to bring a better understanding of oneself and a revelation of the sacred in order to establish, maintain and develop a relationship with the sacred.” (Pretorius, SP: 2008) Figure 3.30: Water as place-mak ing tool (Author, 2021) Figure 4.2: Byzant ine-er a pools discovered at the site of Ein Hanya, near Jer usalem, showing importance of water at the worship space. ©- Assaf Peretz/Israel Antiquit ies Authority (nd) https://www.t imesof israel.com Stanley et al (1998) ‘CREATING GREAT PLACES’ Figure 4.5: Sketch Gathering spaces: Amphitheatre Space encourages arts and crafts (Author, 2021) Figure 4.4. Sketch Gathering spaces: Landscaped Public square of St. Paul Cathedral, London (Author, 2021) Figure 4.6 : Medieval Monaster y Herb Garden, © Daniè le Cybulskie https://www.medievalists.net/2018/04/t iny-edens-what-can-you-f ind-in-a-medieval-monaster ys-garden/ Figure 5.1: ©Google Map Image Figure 5.2: Locality Map, (Author 2021) Figure 5.3: Wetland Section, (Author 2021) Source Archdaily. Figure 5.8 Drone Images, ©Simon Wood , Source: Archdaily Figure 5.10 Historical Images of Landf ill site © Turf Design, 2015 Figure 5.7 (right) Steppingstones creates tact ile experience ©Adam Hunter, Archdaily Figure 5.9 Terracotta Waterfalls , Author 2021 Figure 5.6: (above) Site Diagram © Turf Design, 2015 Figure 5.11: Main axis pathway Figure 5.12: Meandering pathways Figure 5.13: Exchange spaces along pathways Figure 5.14: Exchange spaces interacts carefully with sensitive sites surrounding it. Figure 5.15: Natural Occurrence of space along main axis, offers opportunity for programme along pathway. Figure 5.16: Wetland as transitional space Figure 5.21 View to church from outdoors © Couvillion G, 2021 Approach by foot The chapel is in the woods and is only accessible by foot, indicated on the map (top left). From the google satellite image (top right), the architecture is almost hidden away by the canopy of treetops, making the architecture a successful integration into the site. Upon approach, the only view of the building is its frontal view, with the sloping of the typography. Nature takes centre stage. Connection between spaces The local materials of stone and pine wood creates a strong connection and relationship to nature, strengthening the chapel's structure and existence within its natural context. The integration of the flagstone floor base 'roots' the chapel into the hillside, the trees lined outside forms the opaque skin while the transparency of the glazed facade reinforces a connection to its sense of place. Figure 5.24 Interior spatial experience © Glen Couvillion, 2021 Figure 5.29: Night-time spatial experience © Glen Couvillion , 2021 Figure 5. 25: Truss system resembling tree branches (Author, 2021) Source Schwartz C, 2015 Figure 5.27: Door handle follows Rhomboid design (Author, 2021) Source Schwartz C, 2015 Figure: 5.26: Structural truss connection with rhomboid void in the middle. (Author, 2021) Source Schwartz C, 2015 Figure 5.28: Highback chair follows same Rhomboid theme (Author, 2021) Source Schwartz C, 2015 Figure 5.30: Moving beyond boundaries (Author, 2021) Figure 5.31: Public/Private Relations (Author, 2021) Figure 5.32: Vista’s and Views (Author, 2021) Figure 5.33: Controlling Views Out and Views In (Author, 2021) Figure 5.34: Proposed Textures and Tectonics to enhance phenomenology experience, crossing over beams, wood paneling, perforated bricks, tension rods. (Author, 2021) Figure 5.37 Aerial Photograph, ©Google Maps Figure 5.39: Misty Hills © Graham A Young (2014)Figure 5.36 View of Freedom Park on Approach from N14 (Author, 2021) Figure 5.38 Hapo // Resembling boulders against the rocky outcrop hillside (Author, 2021) Figure 5.40: Misty Hills © Graham A Young (2014) Figure 5.35 Locality Map, (Author 2021) Figure 5.43: Materiality © Graham A Young (2014) Spirituality Freedom park has become a place where multiple faiths are drawn to these serene spaces for contemplation and reflection. Its spaces are all drawn from the notion of African cosmology. The use of the water elements speaks to the narrative of cleansing and healing. It is seen and used throughout the park, in streams, and misty pools, setting a scene of tranquillity and the idea of the steam rising, representing liberation. According to Graham A Young, (Makhene, B; 2019) The materials used, such as stone, water, fire, and indigenous plants are part of the healing science of the site. The pond showcases an eternal flame that honours the ancestors of South Africans who had a role in sacrificing their lives for freedom. The African beliefs are that departed spirits find refuge in water (Makhene, B; 2019) and the reason behind placing the eternal flame in the water. The volumes of water seen thus speak volumes of all the spirits that reside there. Many of Freedom Parks built forms are stitched into the landscape, some submerged into the earth while others ascend out of the ground. These built forms become places of experience, which connects one to nature through the use of elements of earth, fire, water, light, natural and local materials. Using the five elements of nature enhances the spiritual experience as it allows time to pause and reflect in utter silence, whilst encouraging awareness of the natural ecosystem. Figure 5.41 Water Pond with eternal flame at chapel Figure 5.42 Aerial Photograph (2021) ©Aurecon, https://www.aurecongroup.com/projects/property/the-freedom-park- museum-phase-of-the-heritage-site-development-site-tshwane-south-africa © Author, 2021 © Author, 2021 Figure 5.47: Sketch showing how glazed mullions break down the scale toward the entry point, guiding its visitors (Author, 2021) Figure 5.44 Concept Analogy (Author 2021) Figure 5.45 Perspective Sketch to entry Figure 5.46 Monolithic Boulder Appearance (Author, 2021) Figure 5.50 Journey remains curvilinear in circulation similar to a Labyrinth Experience Figure 5.51 Stitching built form into the landscape Figure 5.52 Hierarchy of Spatial experience build up to church Figure 5.57. Reflective pond effect, 2016 © Steyn Studio Figure 5.55 Concept of Flock render © Steyn Studio, (2016) Figure 5.53: Frontal View © Adam Letch, 2016 Figure 5.58. Soft Curves resembl ing the mountain backdrop, 2016 © Adam Letch Figure 5.54: Section 1, Author 2021, Source Archdaily Figure 5.56: Section 2, Author 2021, Source Archdaily Figure 4.61 Formwork Preparation © Peri Formwork preparation, https://www.peri.co.za/projects/cultur al-buildings/bosjes- chapel.html Figure 4.62 Peri Formwork, Structural formwork render © Peri Formwork, https://www.peri.co.za/projects/cultural- buildings/bosjes-chapel.html Figure 5.59: Roof Plan, Author 2021 Water Collection roof shell sends water to the pond below via a sump system built into the shell. Figure 5.60: Elevation, Author 2021, Source Steyn Studio Figure 5.63: Formation of building, like a Fish Figure 5.64: Parametric and soft curves Figure 5.65: Reflect ive pools to emphasize building "...Let the one who is thirsty come; and let the one who wishes, take the free gift of the water of life" (Rev:22:17) “ Figure 6.1: Artist Impression Concept Analogy, Author 2021 CHARETTE F O R M F I N D I N G The historical enquir y into Christ ian semiot ics raised interest in the ichthys symbol, which is the sign of the f ish using two arcs. The element of water and the f ish surfaces as most signif icant and symbolic in Christ ian bible stories, r ituals and understanding. Jesus’ ministr y was associated with f ish and water, and he used these elements in profound ways to show his divinity. He chose f isher men for disciples, calling them ‘f ishers of men’ and offered us his g ift of life through his waters. Symbolically, just as a f ish f inds refuge in the water, so could ever y man f ind refuge in God’s symbolic water. This narr at ive of the f ish and the geometr y of the arc and circle, is part icularly important for the char rette explorat ion and design framework for the form-f inding process. The charrette explor at ion looks at ways in which water is preser ved in nature and uses elements found in the wet land, such as the Aloe Ferox leaf, to achieve 3D abstract forms. Figure 6.2a: Charrette 1: Resembling the Ichthys in elevation, (Author 2021) Figure 6.2b: Charrette 1: Translat ing the de-constr uct ivism of the Ichthys in plan and on the model, (Author 2021) The gel found inside the aloe plants had an interest ing web-like for mat ion that inspired a parametric form for the architecture. Addit ionally, the respir ator y system of the f ish takes water through its g ills , and extracts the oxygen from the water to breath. The idea is therefore, to adapt this respir ator y system onto areas of the façade of the pavilion/ building, allowing plants to grow on the façade, providing oxygen to the internal spaces. The Aloe Ferox plant leaves are long and waxy to allow water to r un r apidly to the core of the plant . It s spikey t ips assist in dissipat ing water to the soil where the roots are. The waxy leaf does not allow for easy transpirat ion, which makes this plant one of the best species to withstand drought . The sect ional view of the aloe leaf resembles the concave arc, which also acts as a basin for the water to f ill up and be diverted down to the soil. This sparked an interest for the roof for m to cur ve up from the ground, as an accessible roof-scape, serving a dual pur pose as a water catchment device. Figure 6.4: Form Analogy – Roof scape allowing movement of water to flow over it. (Author 2021) Figure 6.3 Aloe Leaf Structure: Arched form allows water to run down to the ground quickly. (Author 2021) Figure 6.6: Breathing Parametric Sk in Analogy for pavilion, (Author 2021) Figure 6.5: Charrette 2 Gel Formation inside the Aloe Plant - Inspires parametric pavilion facade. (Author 2021) The Aloe Ferox is an indigenous species found on the site. The st icks represent the tall flowing gr ass species at various heights as it appears on the site, as it sways in its left and right direct ions. The Aloe leaf in comparison to the gr ass is a much heavier mass. Yet in reality, when the aloe leaf is placed over the gr ass, the gr ass cushions it , protect ing impact with the soil. The act of treading light ly on the site is an important design consider at ion, with the st ick represent ing the gr ass as a lightweight str ucture of the building, holding up the roof-scape which is the aloe leaf. Figure 6.7: Charrette 3. Sticks depicting swaying grassland placed in an arc form at various heights and directions, (Author 2021) Figure 6.8: Aloe Ferox (heavy mass) held up by the thin lightweight structures, (Author 2021) The topogr aphy of the site should be taken advantage of for the roofscape. The aloe above illustr ates how users can be linked from one space to another, at various levels on the site. This inspires the not ion that the building’s roof space should be explored cont inuously with the site, blur ring lines between built form and nature, yet remaining conscious of the ground. Figure 6.10: Form superimposed onto the site mode topography, (Author 2021) Figure 6.9: Form Representation: Sticks depicting swaying grassland holding up the aloe roof, (Author 2021) The ‘divine circle’ in the Christ ian faith resembles God’s perfect ion. It has also been depicted as a crown or halo in Christian art and text . The idea of the halo and its illuminat ive propert ies are elements needed to be brought through in the design. I began by dr awing a repet it ion of 2-dimensional arcs, mir rored, and rotated along the same x-y axis. To create a 3-dimensional experience I lined it with wire arcs, to create 3Dimensional spaces around this circle. The lightweight and reflect ive proper t ies of the wire deflects the light in all direct ion, offering an illuminat ing and complex tectonic experience. Further explor at ions using other materials, such as aloe leaves, cardboard, melted wax and mesh was used to understand the tactile and visual experience that these 3D ‘arc’ spaces created. Figure 6.11: Charrette Exploration 4 using wire - Wire formation following the arc geometry, creating a dome.. (Author 2021) Figure 6.12: Charrette Exploration 5 – Adding Texture to the wire frame to create spaces. (Author 2021) Figure 6.13: Charrette Exploration 6 – Adding Candle wax for tactility. T R A N S I T I O N T E C T O N I C S F LU I D I T Y P O R TA L N O D E SPA T H L I G H T / F I LT E R M O N U M E N T S Y M M E T R Y / A X I S P R O P O R T I O NM O V E M E N T The theolog ical research developed an interest in iconogr aphy that inter rogates a formula for design ideas. The arc form rotated on its axis beg ins to represent an arr ay of beaut iful patter ns and geometries that each characterises a design principle. These abstr act design ‘stamps’ were created as a way to inspire the shape, patter ns and for ms of the architectural language, which is hoped to beg in a dialogue between one's experience of architecture and of nature to enlighten mysticism. Iconogr aphy in the tradit ional churches was a sacred for m of art that spoke to the sacred text . Ult imately these sacred art forms and geometries developed outstanding church architecture of our time. To capture the essence of the theor y, I experiment with ideolog ies to develop more meaningful architecture using the above design principles to outline design rules based on theoretical research. U N I T T O W H O L E Figure 6.14: Design Principles Iconography (Author 2021) Figure 6.15: Image Collage - Blurring lines (Author 2021) Urbanisat ion is linked to depression and mental illness. Studies have shown posit ive cognit ive effects of walk ing through nature and the need for more natural sett ings within urban environments to improve mental well-being. The Radiokop community can be act ivated through renewal of natural spaces, that encour age and celebr ate the ritual of movement and use of pathways as a ther apeut ic process to revitalise minds, with water as a constant element throughout the jour ney, cer tain tr ansit ional spaces may allow separ at ion or compression of spaces that allows various levels of interact ion between people. One's percept ion of spaces using light , shadow, scale, rhythm and the temporal element of water are important attributes for the design of the church as a vehicle to capt ivate one's experience of place and heightened spiritual awareness. Nature has been scient if ically proven to have posit ive effects on our br ains, as it calms and enlightens us. Thereby, invit ing the physical realm of nature and its elements into the worship space, it is believed that these could have a posit ive effect on our cognit ive processes and result in a pleasant mult i-sensor y experience that opens one to a spiritual experience. Stripping architecture down to its essence of pure beauty and exposing natural elements will aff ir m the individual's connect ion and awe in God and his creation. The idea is to blur boundaries between built for m and the landscape by using for ms, shapes and scient if ic systems found in nature to inform the design and encour age the connect ion between nature and man. The geometr y of the f ish and the aloe ferox, natur ally tends to use the ‘arc’ geometr y which lends the design of the built for m to be more organic and fluid. The idea for the design is to complement the environment by mimick ing the behaviour of the aloe leaf as a roof water catchment area further supported by a living vent ilat ion façade system and par ametric f ish scale design. CONCEPT NARRATIVE * S Y M B O L I C : D E C O N S T R U C T I N G T H E I C H T H Y S * * C O M P L E X I T Y V S . O R D E R * * L I V I N G W A T E R S * . Figure 6.16: Form Analogy and Concept, (Author 2021) L I V I N G W A T E R S . Figure 6.17: Parti diagram exploring water as liminal space between Heaven and Earth, (Author 2021) Figure 6.19: Concept Sketch: Blurring Built and Natural Environment, (Author 2021) Figure 6.18: Heaven on Earth _ Parti Diagram (Author 2021) CONCEPT APPROACH DESIGN ANALYSIS S I T E P L A N P R O P O S A L A N D A C C E S S . S I T E A S I T E B A C C E S S & P A R K I N G F I E L D T O T H E W E T L A N D 1 2 3 4 1 . E x i s t i n g c h u r c h b u i l d i n g - r e p u r p o s e d 2 . N e w p r o p o s e d w e t l a n d / c h u r c h c o m p l e x 3 . E x i s t i n g w e t l a n d w i t h u p g r a d e d r e c r e a t i o n a l f a c i l i t i e s 4 , E g o l i g r a s s l a n d a n d g r a n i t i c o u t c r o p 5 , P a v i l i o n s a n d p l a y s p a c e s A X I S / A P P R O A C H 5 55 Figure 6.20: Site Plan showing Approach, (Author 2021) DESIGN ANALYSIS M O V E M E N T . S I T E A S i n g l e R o a d A c c e s s - N o T h o r o u g h f a r e A n t i c i p a t e d M o v e m e n t M O V E M E N T Figure 6.21: Site Plan showing Movement (Author 2021) DESIGN ANALYSIS P R E S E R V A T I O N A N D P A T H S . S I T E A T r e e s a f f e c t e d P A T H Figure 6.22: Site Plan showing Pathways and preservation of trees (Author 2021) DESIGN ANALYSIS W A T E R S C A P E S. S I T E A C o n s t r u c t e d W a t e r s c a p e s a n d P u b l i c S p a c e s / A m p h i t h e a t r e M o v e m e n t o f W a t e r f r o m c o n s t r u c t e d R e t e n t i o n p o n d s f r o m S i t e A P e r i n e a l S t r e a m P O R T A L Figure 6.23: Site Plan showing Water elements as a portal to the spiritual place (Author 2021) DESIGN ANALYSIS J O U R N E Y P R O C E S S I O N V S P R O G R E S S I O N . P A T H S I T E B ( P A S S I V E S P A C E ) Figure 6.24: Active vs Passive spaces (Author 2021) ( A C T I V E S P A C E ) A C T I V E V S P A S S I V E S P A C E WETLAND UPGRADES R E H A B I L I T A T I O N. N O D E S Figure 6.25: Rehabilitated spaces (Author 2021) N O D E S DESIGN ANALYSIS S P A T I A L A R R A N G E M E N T S. S I T E A R o o f s c a p e m e r g i n g o n t o n a t u r a l l a n d s c a p e t o p o g r a p h y I m p l i e d D i r e c t i o n a l F l o w : T u n n e l / p a r t i a l v i e w i n v i t e s e x p l o r a t i o n i n t o W e t l a n d o r F a c i l i t y s p a c e s . C h u r c h F o y e r / G a l l e r y l i n k e d v e r t i c a l l y a n d a c c e s s i b l e o n a l l l e v e l s o f t h e s i t e F L U I D I T Y U N I T T O W H O L E Figure 6.26: Spatial Arrangements (Author 2021) PLANNING P R O G R A M S T R A T E G Y . Figure 6.27: Program Strategy showing relations between built form and wetland, (Author 2021) Figure 6.29: Program Strategy ii, (Author 2021) Figure 6.28: Program Strategy I, (Author 2021) P u b l i c A m e n i t i e s P r i v a t e A c c e s s e d C o n t r o l l e d S p a c e S e m i - P r i v a t e SPATIAL RELATIONSHIPS C L O S E D S Y S T E M V S . O P E N S Y S T E M . C i r c u l a t i o n V a r i o u s A p p r o a c h e s M a i n A p p r o a c h f r o m P a r k i n g Figure 6.31: Illustration – Circulation, (Author 2021) Figure 6.32: Illustration - Public / Private, (Author 2021) Figure 6.30: Illustration Closed System vs Open System SPATIAL ORGANISATION F L O O R P L A N S . 1 . C H U R C H W E T L A N D E N T R A N C E 2 . C H A P E L 3 . D O U B L E V O L U M E F O Y E R & S T A I R 4 . O F F I C E S 5 . A B L U T I O N F A C I L I T I E S 6 . K I T C H E N 7 . M E E T I N G R O O M 8 . W A L L O F R E M E M B E R A N C E 9 . W A T E R S C A P E & B A P T I S M P O O L B A S E M E N T L E V E L F L O O R P L A N 1 2 3 54 6 Figure 6.33 (right): Floorplans at basement level, (Author 2021) 7 8 9 0 1 0 SPATIAL ORGANISATION F L O O R P L A N S . 1 . M I N I L E C T U R E H A L L 2 . S U B M E R G E D W A L K W A Y T H R O U G H C O N S T R U C T E D W E T L A N D . 3 . G A L L E R Y S E A T I N G 4 . E N T R A N C E O P T I O N S 5 . F O Y E R 6 . F E L L O W S H I P C A F É 7 . S T U D I O S L O W E R G R O U N D F L O O R P L A N 1 2 3 6 4 7 Figure 6.34 (right): Floorplan at Lower Ground Level , (Author 2021) 4 5 0 1 0 SPATIAL ORGANISATION F L O O R P L A N S . 1 . E N T R A N C E C O U R T 2 . C O N S T R U C T E D W E T L A N D 3 . W E T L A N D I N F O R M A T I O N C E N T R E & C O F F E E B A R 4 . A M P H I T H E A T R E / W A T E R S C A P E 5 . R O O F T O P G A R D E N M A R K E T / M U L T I P U R P O S E S P A C E 6 . R E S T A U R A N T 7 . P L A N T R O O M / G R E Y W A T E R R E C Y C L I N G G R O U N D F L O O R P L A N 1 2 3 4 Figure 6.35 (right): Floorplan at Ground Level , (Author 2021) 6 7 5 0 1 0 SPATIAL ORGANISATION F L O O R P L A N S . 1 . P R O C E S S I N G Y A R D 2 . A C C O M O D A T I O N F A C I L I T I E S A N D R E C E P T I O N 3 . A N I M A L R E S C U E C E N T R E W I T H E X A M I N A T I O N R O O M A N D S U R G E R Y 4 . T R A I N I N G R O O M 5 . S E C U R I T Y / W E T L A N D M O N I T O R I N G 6 . L A B R E C E P T I O N 7 . B O A R D R O O M 8 . E D U C A T I N A L L A B 9 . P L A N T R O O M 1 0 . O N - G R A D E P A R K I N G 1 1 . R E C Y C L I N G Y A R D 1 2 . C O M M U N I T Y G A R D E N o t e : t h e c h u r c h w i l l b e r e - u s e d f o r t h e r e c y c l i n g d e p o t a n d a n i m a l r e s c u e c e n t r e . U P P E R G R O U N D F L O O R P L A N 1 2 3 5 4 6 678 1 0 Figure 6.36 (right): Floorplan at Upper Ground Level, (Author 2021) 9 1 1 1 2 0 1 0 SPATIAL ORGANISATION F L O O R P L A N S . 1 . L A B F A C I L I T Y W I T H O F F I C E S , S P E C I A L I S E D A B L U T I O N S W I T H C H A N G I N G F A C I L T I E S . F I R S T F L O O R F L O O R P L A N 1 Figure 6.37 (right): Floorplan at First Floor Level, (Author 2021) 0 1 0 The conceptual for m is derived from many explor at ions that made reference to the Ichthys and the geometric arcs, while remaining conscious of the ground. The char rette explor at ion was quite abstract , but as the design developed, the textures, the form and many of the ideas was translated into the design. . Natural ground sweeps up continuing over roof. Walkable roof-scape connecting at different levels. The two iter at ions below are prototypes exploring the roof of the church building. One speaks to the tradit ional church which is elevated to the heavens with a structure that is light , glorious and welcoming and has presence. While the other submerges into the ground, more natur al and brings man back to earth. The theoret ical stance is to bring both these elements together. Figure 6.39 (above) Roof elevated as per tradit ional church celebrat ing the waterscape and baptismal pool Figure 6.40 (above) Roof submerg ing toward the ground where the baptism pool is situated. Design Dichotomy: Its monolithic appearance offers a sense of myster y. One half emerg ing into the ground, host ing a part ially buried bapt ism chamber symbolic of being one with Christ in death before new life, while the other half of the roof elevates to the heavens. Figure 6.41: (above) Hybrid of both design iterations Figure 6.38 (above): Charrette explorations, conscious of the ground. (Author 2021) Experimental hybrid of all charrettes put together . Its structure is nestled into the ground and begins to emerge from it. H Y B R I D F O R M The theoretical stance looks to the church as a place of spiritual symbolism but also as a place that is symbolic of the preservat ion of the wet land. The design brings together different progr ams that assists in g iving the church a presence while at the same time highlight ing nature’s beauty. The for m brings together tr adit ional church architecture that is light and gr andeur, offering a moment of awe as you approach it from the street . The approach from the wet land blurs building with nature, offering a moment of sur prise as you ascend its roof-scape. Symbolically the ritual space where the bapt ism takes place is hidden under the lowest par t of the roof, with the effect that once you are submerged and is lifted from the water, your eyes meet the sky as it follows cues from the sweeping roof, that illuminates your spiritual experience . Sketch Designs Heaven on Earth A B CD E F G H A – C H U RCH B – INFORMATION C E NTRE C - LABORATORY D –RE C YCLING YARD E – RE STAURANT F – ROOFTOP MARKET ON GRADE G –RE NTAL STU DIOS BE LOW H - WATE R AMP H ITH EATRE. Figure 6.42 (above): Programme, (Author 2021) Figure 6.43 (above): Approach from street, (Author 2021) Figure 6.44 (above): Approach from Wetland Figure 6.45 (above): Section through site, (Author 2021). Wetland Church Information Centre Amphitheatre & Roof Market Restaurant Recycle Yard . Figure 6.47 (above): Central Amphitheatre / Waterscape Unobstructed view into wetland (Author 2021) Figure 6.46 (above): Street View toward Church (Author 2021) Figure 6.48 (above): Roof scape View on approach from wetland, Author 2021 Sketch Designs Design Development Progress drawings Soft curves: Plans to elevation relation Materiality The incor porat ion of nature, light and water combined with a soft natural palette of wood, brushed steel and concrete textures, will g ive the right amount of mysticism and spirituality to calm the senses . Figure 6.49 (above): Natural Sunken Courtyard with colonnade Studio and Fellowship Hall (Author, 2021) Figure 6.50: Materiality Collage . S T A T E M E N T O F I N T E N T Figure 7.1 (top): Life Cycle of Building Infographic Steel is centr al to society. It is used in ever y industr y and is made of iron which is a natur al source attained from the environment . Given the populat ion growth and demand for steel in ever yday use, steel has proven itself a sustainable material that has an inf inite life- cycle with the uniqueness of never losing its propert ies, no matter how many t imes it is recycled, it is considered appropriate for the demanding needs of society (metalfr ameconstr uct ion.ie). It also has the potent ial of low impact on the site environment as it can be prepared offsite and quick ly assembled or disassembled. Advantages: • Long Span • Accuracy • Recyclable • Manufactured off-site (low impact) Opposing Concerns: Wastewater product ion in the manufacturing process Due to wood’s natur al aesthet ic, it has the biophilic propert ies to enhance our well-being. Without the need to be felled, processed, or tr ansported, reclaimed wood will be used to clad certain steel beams and beaut ify interior spaces. Wood has good ther mal propert ies and sound absor pt ion propert ies which is ideal for the church/auditorium. Wood is an organic material, meaning that it omits low volat ile compounds (VOC’s) provided it is not processed. (Terr amai.com) While wood is not highly attainable in South Africa, there are a few companies dedicated to collect ing reclaimed wood, that could be sourced for this building’s material. Advantages: • No deforestat ion required • High Insulat ion rating • Biodegr adable Beautiful Disadvantages: Highly suscept ible to moisture. Requires annual treatment . . Clay-f ired bricks have a long-standing histor y in the South African constr uct ion industr y as early as 1656 (claybrick.org, nd). The Clay bricks envisioned for the design will be used for perforated walls and therefore can be recycled units collected off-s ite from some of the demolit ion work as well as can be sourced from salvage yards. With the bricks being re-used, a process of br ushing debris and washing off bricks and str aightening or r ubbing down of chipped edges can be done by using a gritstone. Advantages: • No processing required • Traditional • Pleasing weathered appearance Disadvantages: • Labour Intensive to clean • Clay bricks easily absorb chemicals from certain environments, and this alters the composit ion of the bricks. Sourcing of these bricks needs to be done with care. Figure 7.2 : Steel I Beams and energy perfor mance, http://www.metalfr ameconstr uct ion.ie/sustainability/ Figure 7.3 : Wooden Slat Beams/ Cladding, https://www.freepik.com/premium-photo/wood-slat - old-brown-textured- background_16196312.htm#&position=21 Figure 7.4 : Perforated Brick wall, https://gosmartbricks.com/7-totally-innovat ive-famous- buildings-made-with-bricks/ Concrete has flexibility, per manence and good ther mal propert ies. An alter nat ive to the tr adit ional concrete is the geopolymer concrete which replaces the usage of cement and uses 52% less fuel usage than the tradit ional Por t land cement , decreasing the CO2 emissions. (Assi et al, 2018) It uses waste materials from other constr uct ion materials. Can be crushed and recycled. Advantages: • Coolant • Protects water bodies from contaminat ion due to Fly Ash disposal. • Fly Ash increases lifespan. • Resistance against water. • Higher compressive strength Hydromedia by Le Farge provides an eff icient and sustainable advanced urban drainage system that minimises flash floods and rapidly drains water with its high permeable surface. It will be used in areas such as amphitheatre spaces and steps in landscaped areas where drainage down to the ground can flow at a rapid rate into the groundwater storage system underground and ultimately into the constructed wetlands around it. Advantages: • No need for underground piping, reducing costs. • Easily placed • Can be coloured to desired shade of colour. . Figure 7.5 : Geopolymer Concrete, https://www.tunneltalk.com/TunnelTECH-Jan2014- Sustainable-Earth-Friendly-Concrete-for-high-dur ability- tunnels.php Figure 7.6 : Porous Concrete, https://www.lafarge.co.za/sites/zarevamp/f iles/ documents/HydroMedia_Brochure2013.pdf Figure 7.7 : Glazed Curtain Wall, https://www.glasscon.com/products/str uctural- glass-facades/str uctural-glass-facades Composite Steel Suspended Decking Flooring Pond Axis Beam detai l Water Col lection Gabion Planter Steel cab le connection deta il to Edge beam & Wood screen deta il Figure 7.8: Cross Section - showing details of interest (Author, 2021) Figure 7.9: Perforated Clay Brick wall composit ion (Author, 2021) Figure 7.10 Floating stepping stone details in the waterscapes (Author, 2021) The pur pose for the technical workshop was to explore and ref ine the physicality of the design. We were required to extract details of interest and invest igate how these areas will be constr ucted. The next few pages will clarify some of these connect ions and will be developed further as the design is ref ined. The cross-sect ion to the right is taken from Section A-A on Figure 7.16. The roof ing system was an important explor at ion, as it for med part of the ideolog y to ‘blur lines’ between built for m and nature, thus the vegetated roof ing system was used as a predominant feature. A tensile str ucture was explored for the church space, to add to the illuminance of the space. Steel connect ions and lightweight for mwork was explored cognisant of the idea to ‘tread lightly’. Being a pre- manufactured material, supports the idea of having as low impact as possible on the site. Embracing water was vital in the design, therefore certain elements, such as a skylight water stream, gabion planter gutter systems, and waterscapes were considered as systems to collect water, for an interest ing experience. Natur al light ing effects will be explored in the design, through using perfor ated brick walls and wood cladded systems for a play on light , that could f ilter and create shadows in the interior space of the church. Tensile roof str uctures is a str uctur al system that is applied by interlacing cables in two direct ions in tension with lightweight covers that cover large spans. The flexible, stretchy cover is a manmade material, composed of Advantages of steel cable str ucture: • Lightweight and durable • Prefabricated and Installat ion is quick. Advantages of ETFE Material: • Ultr aviolet , high temper ature and Fire resistant , It has self-vent ilat ion proper t ies to reduce heat build up. • Found safe for the ozone layer due to its . Figure 7.11 : Showing ETFE triple layer installat ion https://theconstructor.org/building/etfe-propert ies- applicat ions-building-constr uct ion/14940/ Figure 7.14: Segmented steel plates Figure 7.12: Leave in the landscape’ ©Tobias Hein(nd Figure 7.13: Cable and fork connectors with threaded f ittings along edge beam. Figure 7.15 Manufactured at 15m lengths at a time. [Figures 7.12, 7.13, 7.14, 7.15 all sourced from: https://www.researchgate.net/publicat ion/320101296] Figure 7.16: Floor plan of Church Building using 7.5 x 7m grid for setting out of internal steel structures, (Author, 2021) Steel Formwork The steel column spans and overall str uctur al design system was presented to Mr. Lloyd Feshete for comment, a reg istered Engineer. He was impressed with the complexit ies of the design and how the str uctur al systems came together. He suggested Geopolymer concrete for the composite deck ing and a water proof ing addit ive such as Penetron in the concrete on green roof areas. He also suggested that a building of such a scale and complexity, would require a team of eng ineers and specialists to further assist the architect to develop more ref ined junction details . While I do acknowledge that some of these junct ions, or details stop shor t of ref inement ; there is a basic understanding of the many intricate systems researched, and according to Mr. Feshete, successfully came together for its intended pur pose for this project . The framework consists of steelwork with a tectonic assembly that engages with the spaces beneath it to form an interest ing experience of space. The bottom half roof assembly will have a vegetated roof surface that blends in with the steep hill-type topogr aphy. Composite steel deck flooring can be applied on the slight convex cur ve. The other half of the roof uses a different pre-tensioned tensile str ucture. (As an extr a support , Steel columns are beneath the edge beam for glazed curtain walls and could double up as support to the edge beam). Anchor points are highlighted with an ‘x’. Steel Formwork Figure 7.17: Two opposing structures meet at the central axis, (Author, 2021) ANCHORED INTO CONCRETE FOOTING ‘X’ = COLUMN SUPPORTS AXIS BEAM TO GROUND STEEL GRID SUPPORT TENSIONED STEEL CABLES Figure 7.18: Structural composit ion: Exploded Axonometric, (Author, 2021) Steel Formwork Figure 7.20: Section A-A Model generated, (Author, 2021) Figure 7.19: Perspect ive of steel framework construct ion methods. Steel Grid Support for concrete casting Internal Steel Light load- Bearing structure for galler y seating. Anchor Footing See Fig 7.21 Wood Cladded Screen Steel Substructure for Glazed walls and optional support to edge beam above. Internal Wall structure sAxis Beam Support Lightweight Profiled Steel Edge Beam Tension structure Figure 7.21: Typical Anchor Footing base detail adapted from Porsche Pavilion bearing of the monocoque shell, (Author 2021) Sourced: https://www.researchgate.net/publicat ion/320101296 Concrete base Mortar Bed Footplate Tendon Welded bearing Table Elastome ric bearing protruding into steel member base plate Upper Anchor plate HV Bolts Steel member Cantilevered edge beam in tension Tensile structure connected to edge beam . Figure 7.23: Intensive (I) vs extensive (E) green roof ing systems (Author, 2021) I E Figure 7.24: Intensive (I) green roof detail (Author, 2021) Figure 7.25: Typical extensive (E) green roof detail (Author, 2021) Non walk vegetated roof scape using lightweight steel str ucture metal roof sheet ing system. See Typical Intensive Green roof detail. Walk Up Roof Non-walk Non-walk Tension roof structure Figure 7.22: RD House, Vegetated roof, Abreu Eduardo (2014) E I Sand Layer Geotextile Drainag e Mesh Styrofoam Sand layer Metal Profile Sheeting Layer Vapour Barrier Structural Concrete Sand Layer Styrofoam Drainag e Mesh Geotextile Sand Layer E E I I This lightweight shallow flooring system uses a metal deck prof ile from Global roof ing solut ions. Filled with in-situ concrete that slots into the I-Beam framework that for ms part of the for mwork and reduces the flooring thickness, with a minimum 50mm topping. This deck ing system could also be used for the vegetated roof on a convex shell for m (to be casted in portions). Advantages: • Long Spans 6-12m depending on the depth of metal sheet. • Lighter • Less Concrete used Design Challenges: . Figure 7.29: Detail Option 2: Beam support under composite deck ing (Author, 2021) Figure 7.28: Detail Option 1: Beam support cast within slab (Author, 2021) Figure 7.27: Typical steel deck ing detail (Author,2021) Figure 7.26: Installat ion of Decking © Global Roof ing (2019) Green Gabion wall & Roof Detail Junction Upstand with overflow pipe into perfor ated gutter flashing dispersed water into green mesh and down into stormwater drain and retention pond. The Gabion Mesh Façade is an extension of the green vegetated roof, and acts as a gutter system collect ing water off the roof. One of the charrette explor at ions was to create a breathing façade that displays different colours seasonally, touching on one’s visual, tact ile and sense of smell. The mesh wall could be planted with vegetation. Figure 7.30: Gabion Wall section Detail, and 3D perspect ive (Author, 2021) Figure 7.33 Cast-In anchors for Steel portal base detail Figure 7.32 Wooden Clad bottom rail detail Wooden Screen and Glazed façade detail Glazed curtain wall f ixed to steel str ucture. Wooden substr ucture f ixed to steel portal frames to support the vert ical wooden screens, with top rail and bottom rail steel supports. Cool air from water pond below assist in passive cooling of façade with heat ris ing up to the roof space where the tensile cover releases the heat. The wood façade screen device appears to hold up the roof as the charrette below. Figure 7.31: Wood Cladding Fixing Detail Section and 3D perspect ive, (Author 2021) Charrette . Figure 7.35: Grey water tanks will be provided in the labor ator y machine room (green square), to collect and purify grey water (illustrated by green circles) Water recycled for toilet cister ns and vegetated roof ir rigat ion. ©Pure Aqua, Inc. https://pureaqua.com/water-treatment-plant/ Figure 7.36: Sept ic Tank receiving black water and waste from all toilets and lower-level ablut ions (illustrated by pur ple circles) into the wet land via leaching f ield. Figure 7.37: Left over purif ied grey water and purif ied water from sept ic tank can go into the wet lands via the leaching f ield (illustr ated by arcs) ablutions Figure 7.34: Water Harvest ing and Purif icat ion operations, (Author, 2021) v . Figure 7.38: Wetland Pavilion Option 1- Tension structure. (Author, 2021) Figure 7.39: Wetland Pavilion Option 2, (Author 2021) Low impact clip-on pavilion structure erected from recycled material. INVESTORS The co-operat ion between the departments of Department of Water and Sanitat ion, Environmental Affairs (DEA), and Department of Agriculture and Forestr y and Fisheries (DAFF) have spearheaded the “Work ing for Wetlands” init iat ive in 1996, that integr ates the protect ion of wet lands whilst providing employment . The object ive of a strateg y like this is to revitalise the wet land while addressing socio- economic relat ions that suppor t small business and sk ills development . Project Informat ion Current Building Name: Ridgecrest family church Property Address: 7 Erasmus Road Suburb, City: Radiokop, Johannesburg. Erf Number : Erf 44. To be consolidated with Port ion 4 and Port ion 3 (donated land) and neighbouring the Wetland on Erf 208. The feasibility study is based on the early conceptual design phase and will explore current market data, which will attempt to meet the ident if ied needs of the community, and the current gover nment state of affairs regarding degraded wet lands. Wetlands have been recognised as important natur al occur ring assets that offer the “free service” of purifying water. In 2002, the government established a nat ional wet land rehabilitat ion progr amme that combats the increase of urbanisat ion, and its adverse effects on the eco- system, to encourage bio-diversity. The programme provides a plat for m for training and enter prise development that par tnered with the Department of public works, Small business enter prise development agency (SEDA), and Constr uct ion industr y training board (CIDB) provide support to small medium and micro enter prises (SMMEs). These benef iciaries will receive training in wet land development that is accredited with the Sector of Educat ion and Tr aining Authority (SETA). The projects will be implemented by the Department of infrastr ucture who will ensure that the standards required are complied with. Figure 8.1 (above): Main departments who form part of the ‘working for wetlands’ programme Figure 8.2 (above): Supporting departments who form part of the ‘working for wetlands’ programme Ridgecrest Family Church Radiokop Community Waste Pickers Environmental – Activists -Scientists Animal Rights (SPCA) NGO Client: Ridgecrest family church Trust Facility Operations Security and Operations Director Facilities Manager Environmental Wetland Affairs Water Sciences Animal Rescue Wetland information centre (Educational and Training) Church Social integration Waste Management and skills development Figure 8.4: New proposed structureFigure 8.3 : Stakeholders of the wetland facility Private Public Figure 8.5 : Private Public Funding Infographic Studios 278m² Roof market 604m² Lab & Training Facilities' 1000m² Public Information Centre 733m² Recycling Building 336m² (existing) Yard 2114m² Animal Rescue 478m² Restaurant 725m² Church 1508m² Fellowship Café 311m² Secular Spiritual Security / Operations 155m² Recycling Facility (all existing) Total: 336m² Accommodation 61m² Exist Ablutions 54,6m² Exist Reception 21m² Existing Office 22m² Existing Kitchen 31,5m² Partially enclosed Yard 145m² Information Centre Total: 733m² Internal Coffee Shop 58m² Ablutions 72m² Library Space 498m² Mini Lecture Hall 105m² Church Total: 1508m² Foyer 1st Floor (Gallery space) 215m² Foyer Gr. Floor (Gallery Space) 230m² Chapel 330m² Ablutions 46m² Multi-purpose rooms / Offices / Prayer rooms 330m² Gallery 198m² Studios Total: 278m² Studio 1 59m² Studio 2 56m² Studio 3 64m² Studio 4 92m² Fellowship Hall/ Cafe Total: 311m² Kitchen 68m² Hall Space 177m² Covered Porch 66m² Communal spaces Total: 725m² Shared Ablutions 44m² Amphitheatre 681m² Restaurant Total: 725m² Kitchen 56m² Bar 75m² Ablutions 19m² Lounge 165m² Covered Porch 410 Laboratory/ Learning Labs Total: 1000m² Learning labs / Training rooms 543m² Ablutions 41,2m² Private labs 394m² Additional Services Total: 2269m² Security Office 155m² Animal Rescue Centre + kennels 2114m² Wetland 604m² Figure 8.6 : Area Schedule Figure 8.7 : Program and square meterage allocat ion Summary Estimated Construction Costs R 82 366 885,50 Professional Fees R 9 060 357, 41 Capital Expenditure R114 713 701, 24 Income per month R 556 772, 00 Projected Income accumulation over 15 years R 212 280 341, 31 Expenses per month R 185 485, 08 Total donated contributions received from government departments R 42 444 069,46 Total donated contributions from Private Sectors and NGO’s R 72 269 631, 78 50% 6% 2% 5%1% 10% 10% 10% 3% 3% Funding EstimationBaptist Union : Developer 50% Ridgecrest Family Church: End User 6% National Youth Development 2% Donor: Other 5% DID: Infrastructure 1% Dpt. Water and Sanitation 10% Public Works 10% Forestry and Agriculture 10% CIDB 3% SEDA 3% Pr iv at e Pu bl ic Figure 8.8 (top right): Financial Summar y Figure 8.9 (bottom right) Pie Chart showing funding percentages 0 50m 100m Fe llo w sh ip H al l a nd C ol on na de E xt ra -M ur al S tu di os H al l o f R em em br an ce R es ta ur an t C ha pe l L ea rn in g L ab s an d T ra in in g R ec yc lin g fa ci lit y In fo rm at io n & L ib ra ry A ni m al R es cu e C en tr e Se cu ri ty N E W . 0 50m 100m c † c c b b a a a Zone 3 Marshland Nature Sounds Zone 2 Granite Ridge Tranquil Zone 5 Residential Zone b Walkway 0 50m 100m . 2 1 3 4 5 6 8 9 7 4 4 7 0 1 5 10m 8 1 2 5 64 7 8 3 0 1 5 10m 2 3 4 5 6 7 8 9 1 3 1 1 1 1 0 1 2 1 4 1 4 0 1 5 10m 1 2 4 3 5 0 1 5 10m With a variety of access points to the site, the laborator y was placed closest to the park ing for faster access. The scent , colour and visual experience of the landscaped entrance courtyard, ent ices the journey further into the site. Large glazed walls and perforated screens along the circulation route allows for an inter penetrat ion between internal and exter nal spaces. With a variety of access points to the si te , the laboratory was placed closest to the parking for d irect access. The scent, colour and visual experience of the landscaped entrance courtyard entice the journey further into the si te . Large glazed wal ls and perforated screens along the circula tion route allows for an interpenetration between internal and external spaces and offers a learning experience. 0 10 20 305 A A 0 500 1000 1500 2000mm0 500 1000 1500 2000mm B B The choice of materiali ty , colour palette, permeable facades, and views into the wetland, invi tes the user to connect more with nature and continue their experience into the wetland. 0 10 20 305 C C The design stance i s a dichotomy between traditional church architecture that elevates up to the heavens, whi le remaining grounded to i ts natural environment, as a reminder to man to respect God’s creat ion and preserve it for future generations. 0 10 20 305 S Y M B O L I C A R C H I T E C T U R E The archi tectura l d ialogue is symbolic of the ritual space for bapti sm. Bodies are submerged into the water , burying old li fe, and ascends out of the water as ‘new’ spirits born into the religion; The sweeping roof design simulates the bapti sm ritual by ascending from a place of buria l upward towards the heavens, il luminating the spi ritua l experience of the space. 0 10 20 305 ephemeral Stepping into the realm of the chapel intensifies one's imagination and awe of God in that space. A glimpse of the subtle fi sh-scale detail on the roof and stained glass tower, plays an imperat ive role in the percept ion and spatial dimension of the space, as the movement of light awakens the myst ic ism and the acknowledgement of God. 0 100 500 1000mm 0 100 500 1000mm 0 100 500 1000mm S O C I E T A L A D V A N C E M E N T – I N F O R M A T I O N C E N T R E A N D L I B R A R Y The gallery space seen here can function as a multi - purpose space with an architectural language that speaks to fluid ity and lightness. The relaxed library and lecture spaces, invi tes the public into the realm of science to encourage societal advancement , while leisurely enjoying a cup of coffee. 0 500 1000 1500 2000mm . 2. 3. 4. 5. 6. 1. 0 10 20 305 . 0 10 20 305 0 10 20 305 Allers, Rudolph. “St. Augustine ' s doctrine on illumination .” Franciscan Studies, vol. 12, no. 1, 1952, pp. 27–46. JSTOR , www.jstor .org/ stable/ 41974505 . [Accessed 6 Aug. 2021] Assi, L, Carter, K, Edward, D, Anay R, Paul Ziehl,(2018) Sustainable concrete: Building a greener future, Journal of Cleaner Production , Volume 198, Pages 1641-1651. Aversano- De arborn, B and Winkler, G (2018) “Is There a Relation Between Ecological Practices and Spirituality? The Case of Benedictine Monaste ries .” J Agric Environ Ethics, no. 31: 559–82. Baranek , S . “Iconoclasm in Netherlands .” University . Khan Academy (blog): https://www.khanacade my.org/ humanit ie s/ renai ssance- re format ion/ reformation-counte rre format ion/ beg inne r- guidereforrmation/ a/iconoclasm- in -the- nethe r lands- in- the- sixte enth -ce ntury [Accessed May 26, 2021] Barett, M (2018) “How Reformation Transformed Church Architecture .” Crossway Video. https://www.crossway .org/ art icle s/how-the -reformat ion- transforme d- church- archi tec ture/ [Accessed 13 May 2021] Bourke, V. J. (1962). "Rational i sm". In D. D. Runes (Ed.), Dictionary of philosophy. Totowa, NJ: Littlefield Adams, and Company. Browning, W.D., & Ryan, C.O. (2020). Nature Inside: A biophil ic design guide (1st ed.). RIBA Publishing. Canter, D (1977) The Psychology of Space . London: RIBA Publications . Cartwrig ht , M (2018) “Medieval Monestry ” Available at: :https://www.worldhi story .org / Me dieval_ Monaste ry /. [Accesse d 23 May 2021] Catorce, I (2013) “Post-Mode rni sm and Its Influence in the Church.” College page. Asbury Theological Seminary (blog): https://asburyse minary .e du/ el ink/ post- modern ism-it s - inf lue nce -in-thechurch/. Clark, N (2020) “The Green Read: Will Coronav irus Help Nature Reclaim the Earth?” https://www.aljaze e ra.com/ fe ature s/ 2020/ 4/ 29/the- g ree n- re ad-wil l-coronav i rus-help- nature -rec laimthe- earth. [Accessed 29 April 2021] Claybrick (nd) Save construct ion costs, save the environme nt with recycling: https://www.clay brick.org .za/ ne ws/ save-const ruc tion -costs - save -e nv ironme nt- re cyc ling [Accessed 29 August 2021] Comisky, J (2015) What Was the NEW Testament church like, SmallGroups (blog), https://www.smallg roups.com/ artic le s/ 2015/ what -was- ne w- te stament-church -l ik e.html [Accessed 24 March 2021] Constas, V. Rev. Maximos (2019). “Maximus the Confessor: A Bridge Between the Churches .” New Orleans , https://www.acade mia.e du/40288313/ Maximus_the _C onfe ssor_ A_ Bridge_ Betwe en_ the_ Churche s. [Accessed 17 May 2021] Cushing, D.F, and Miller, E (2020). Creating Great Places: Evidence Based Urban Designfor Health and Well-Being . United Kingdom: Taylor & Francis Culwick F C, Khanyile S, Bobbins , K, Dunsmore, S, Fitchett, A, Monama, L, Naidu, R, Sykes, G, van den Bussche J, Vieira, M (2019), Towards applying a Green Infrast ructure approach in GCR, GCRO Report 11: https://www.g cro .ac.za/outputs/ re se arch- re port s/ detail/towards- applying - a-g ree n-in frast ructure- approach -in-the- gcr/ [Accesse d 11 May 2021] Cuthill, C (2008). “Rethinking Sacred Space in the Age of the Megachurch.” CARDUS (blog) https://www.cardus .ca/ ne ws/ media- cove rag e/ reth inking- sacre d- space- in -the- age- o f-the- megachurch/. [Accesse d 13 May 2021] Comisky, J (2015) “What Was the New Testament Church Like?” Smallgroups .C om (blog), https://www.smal lg roups .com/ art ic le s/ 2015/ what- was- ne w- te stament -church- like .h tml . [Accessed 1April 2021] DWA:De partme nt Water Affairs (2010), Groundwater Strategy 2010, https://www.dws.gov.za/ Groundwate r/ Docume nts/ GSDocume nt%20FINAL%202010_ Me dRes .pdf [Accesse d 24 June 2021] Department of Forestry, Fisheries and the Environment (nd), Working for Wetlands , https://www.e nvironme nt .g ov .za/ pro jec tsprog rammes/work ingfowe tlands#top [Accesse d 04 Septembe r 2021] Duffield , G.E and Bruce, M (1972) “Feminism and the Church.” In Why Not? Priesthood and the Ministry of Women , pg.9–25 . The Marcham Manor Press, 1972. https://www.womenprie st s.org/ fe mini smand-the-church- by- gervase-e- duff ie ld-f rom- why- not- prie s thood- and- the - mini s try- of- wome n/ . [Accessed 2 April 2021] Economou E.K (2015). Postmode rni sm Theorie s and Analysi s of Architecture II, https://blog s.cornel l.e du/ arch5302sp15/ 2015/ 05/ 20/the- autopoie s i s-o f- archi tec ture- pat r ik- schumache rs- parame tr ic i sm- and-theory/ [Accessed: 01.06.2021] Farber, A (nd), Santa Sabina, https://www.k hanacade my.org/ humanit ie s/ ap- ar t-h i story/ e ar ly -e urope- and-co lon ial- ame ricas/ me dieval-e urope- is lamic- wor ld/ a/ santa- sabina [Accessed 16,09,2021] Fischer, Saul. (2015) Philosophy and the Tradition of Architectural Theory . Stanford Encyclopae dia of Philosophy, https//plato. stan ford.e du/e nt r ie s/ architecture/t radi tion .h tml . [Accessed 02.06.2013] Fletcher, E (nd) “Cities in the Ancient World – Bible Archaeolog y.” Womaninthe bible .Ne t (blog): https://www.wome ninthe bible.net/bible- archae olog y/ ancient-c itie s/ [Accessed 24 March 2021] GAPP + Mashabane Rose Architects + MMA. “Freedom Park.” ArchDaily, February 8, 2014. https://www.archdaily.com/ 297678/ free dom- park- phase- 1- g app- mashabane- rose- archi tec ts - mma. [Accesse d 1 May 2021] Green Building South Africa (2019) The Building and Construction Sector Can Reach Net Zero Carbon Emissions by 2050: https://gbcsa.org .za/the -build ing- and-const ruc tion -sector-can- re ach -netze ro-carbon- e missions -by- 2050/ [ Accessed 29.08.2021] Hays KM (2017), Aesthetic Perception and the Architectural Imaginat ion . You tube Video, Harvard X Vol. Lecture 1. : https://www.y outube .com/ watch?v=P Y_ H sw4B YpY&t=2s. [Accessed 13 May 2021] Heidegger, M (1961) Quote from quotefancy : Accessed https://quote fancy.com/ quote/ 1232292/ Martin- He ideg ge r- A- boundary-i s- not-that - at- which- someth ing- stops- but-that- f rom- which#:~:text=Martin% 20He ide gg er%20Quote %3A%20% E 2% 80% 9C A% 20boundary ,that% 20f rom% 20which%20someth ing% 20beg ins .%E 2% 80% 9D Hertzberge r, H(1991) “Lessons for Student s in Architecture.” 010 Publishe rs Holl, S, Pallasmaa, J, and Perez-Gome z, A (1994). Questions of Perception . Japan: A+U publishing co.ltd. Holgate C, (2003) Scoping Report for the propose d Strubensvallei Ext 21 Townsh ip Developme nt on Portion 4 of the farm Uitsig 208 IQ, Report SV21-121203 , Holgate and Associate s . Issitt M and Main C (2014) Hidden Religion The Greatest Mysterie s and Symbols of the World’s Religious Beliefs, Santa Barbara, California, ABC-CLIO, LLC. https://k updf.ne t/ download/ hidde n- re ligion -the- gre ates t- mysterie s- and-sy mbols-o f- the- wor lds- rel ig ious- be lief s- micah- is s itt -carlyn - main_ 5a79af0ae 2b6f57d2e 7b35cd_ pdf [Accesse d 13 Septembe r 2021] incluude . (2022). The Cultural Atlas. Retrieved from https://cul turalat las. sbs.com.au// south- af ri can- culture/ south- af ri can- cul ture- re ligion Jodidio, Philip. (2012). Hadid. Los Angeles. Taschen. JoJack, B (2021) “How Has the Pandemic Influence d Our Relationship with Nature?,” March 1, 2021. https://www.me dicalne wstoday.com/ artic le s/ how-has- the- pande mic -inf lue nce d- our- re lat ionsh ip- with- nature [Accesse d 13 Septembe r 2021] Jonathan , M (2010) Green Like God: Unlocking the Divine Plan for Our Planet. Faithwords, 2010. https://archive.org /detail s/ gree nl ik eg odunlo00me rr. [Accesse d 24 March 2021] Kestin, O, Lock, H, Gralki P (2020) 12 Important Moments in the History of Climate Action: In Photos, Global Citizen: https://www.g lobalc it ize n.org/ en/ content/important- mome nts-c limate- hi s tory-in- photos/ [Accesse d 28 March 2021] Lawless , T.C (2012) "The Postmode rn Church" Senior Honors Theses. 301.Accessed: https://digi t alcommons .l ibe rty .e du/ honors/301. [Accesse d 24 March 2021] Makhene, B (2019) “South Africa Architecture News” Sacred Architecture: Freedom Park Heritage Site And Museum (blog), https://wor ldarch itecture .org/ architecture-ne ws/e pme e/ sacre darchi tec ture- f ree dom- park- he r it age- site-and- muse um.html . [Accessed 17 May 2021] Mathews, P.J, (2003) Architexture, South Africa: Visual books. McDowell , J and Bellis, D (2006) The Last Christian Generation . Green Key Books. Accessed: https://probe.org/ is -thi s-the -last -chr i stian- ge ne rat ion/ . [Accessed 24 March 2021] McGinn, B. “Mysticism and the Reformat ion: A Brief Survey,” 2015. http://www.sc ielo .org .za/ pdf/ at/ v35n2/ 04.pdf . [Accessed 13 May 2021] Meeks, W (2003) The First Urban Christians : The Social World of Apostle Paul. New Haven and London: Yale University Press. MFC (nd), Metal Frame Construct ion : http://www.me tal f rameconstruction. ie/ sustainabil ity / [Accessed 29,08,2021] Miller, T.G, and Spoolman, S.E (2017) Living in the Environme nt . Boston: National Geographic Learning. Morgan, S (2011) “Thorncrown Chapel – Connecting to Its Natural Surrounding s .” About Morgan (blog): https://mstack m an.wordpre ss .com/ 2011/ 11/ 08/ 101/ [Accesse d 17 May 2021] Otero-Pai los, J. (2010). INTRODU C TION: Architectural Intellectuali ty at the Dawn of Postmode rn i sm. In Architecture' s Historical Turn: Phenomenolog y and the Rise of the Postmode rn (pp. Xi-Xxxiv ). University of Minnesota Press. from http://www.js tor .org / stable/ 10 .5749/ j.c ttt tv jt .4 [ 13 May 2021] Peppard M (2018) The world’s oldest Church : Volume 26, https://www.acade mia.e du/ 37040971/ The _ Worlds_ Olde st_C hurch_ Bible_ Art_ and_ Ri tual_ at_ Dura_E uropos_ Syr ia_ by_ Michael_ Pe ppard_ Book _Revie w_ Journal_ o f_E ar ly_ Chr i stian_ Studie s_ Volume_ 26_ Summe r_ 2018_ pp_ 340 _342 [ Downloaded 13 March 2021] Pickett, S, Mary, L, Cadenasso , J, Morgan Grove, Irwin, E.G, Rosi, E.J, Swan C.S (2019) Science for the Sustainable City . New Haven and London: Yale University Press. Pillay, Jerry. (2017). The church as a transformat ion and change agent. HTS Theology Studies / Theological Studies . Vol 73. number 3: http://www.sc ielo.org .za/ pdf/hts/v73n3/ 25.pdf [Accessed 13 March 2021] Pretorius, S.P (2008) “Understanding spiritual experience in Christian spirituali ty .” Thesis. University of South Africa, South Africa. https://pdf4pro.com/vie w/ unde rs tanding- spi ri tual -ex per ie nce -in-chri st ian -3 f2cab.html [Accessed 17 April 2021] Rowling, M (1968). Everyday Life in Medieval Times. London: Jarrold and Sons Ltd. Salingaros , N.A & Masden K.G. (2007). Restructuring 21s t Century Architecture through Human Intelligence . Arch net-IJAR, Internat ional Journal of Architectural Research, Volume 1-Issue 1. Pg. 36-52. https://www.re se archg ate .net/ publ ication/ 26502798_Rest ructuring_ 21st -C entury_ Architecture_through_ H uman_ Inte ll ig ence [Accessed 02.06.2021] Salzaar , L (nd). “The Seeker.” https://www.the seek e r.org/ le arn ing/ churchbui ld ing/ wbt -par t6c.htm [Accesse d May 23, 2021] Schloede r, Steven. “What Happened to Church Architecture? ,” March 1995. https://www.acade mia.e du/ 2513749/ What_H appe ne d_ to_C hurch_ Arch ite cture . [Accessed 16 March 2021] Schwartz, C (2016) “Architecton ic , Spatial , and Environmental Design.” Investigating the Tectonic: Grounding Theory in the Study of Precedents Vol 10, issue. 1: https://cj schwartz. fi le s.wordpress .com/ 2016/ 01/ 2015- investigat ing- the-tecton ic- arch ite cton ic- spat ial- and-e nv i ronme ntal- de s ig n- digi t al- ar tic le .pdf [Accessed 17 May 2021] Senibi, James. (2019). The Role of Technology in the Architecture of the 21s t Century . https://me dium.com/ @senibi jame s/the - ro le- of -te chno logy -in-the - arch itecture -o f-the- 21st- ce ntury- 3dd301e9dc50 Singh V, Geopolymer concrete ppt, https://www.sl ide share.net/VibhanshuSing h5/ ge opoly me r-concrete- ppt- 70043653 , [Accessed 29 August 2021] Summers- Ef f le r E. (2006) Ritual Theory. In: Stets J.E., Turner J.H. (eds) Handbook of the Sociology of Emotions . Handbook s of Sociology and Social Research. Pg. 135-154 . Springer , Boston, MA. Accessed: https://do i.org/ 10.1007/978- 0- 387-30715-2_7 [Accesse d 19 April 2021] Stanley, B.W, Stark, B.L, Johnston K.L, and Smith, M.E (2012) “Urban open spaces in historical perspective : a transdi sc ip linary typology and analysis .” Bellwethe r Publishing , Ltd., no. 33, Issue 8: 1089–1117. Serratel li , AJ (2017) Praying Ad Orientem, https://www.catho licne wsage ncy .com/column/ 53712/ pray ing- ad- oriente m [Accessed 16 September 2021] Swilling , M (2020) The Age of Sustainabi li ty : Just Transitions in a Complex World. United Kingdom: Routledg e. Sydney Parks (2015) “Sydney Park Water Re-Use Project.” ArchDaily: https://www.archdai ly .com/ 793523/sy dney- park- wate r -re- use- proje ct- tur f- de s ig n- studio- plusenvironme ntal -par tnership- alluvium-turpin- plus-c rawford- dragonfly- and- part ridge. [Accessed 17 May 2021] Symbolsage (nd), What Is Ichthys Symbol – History and Meaning , https://sy mbolsag e.com/ ichthy s- sy mbol/ [Accessed 16 Septembe r 2021] Taylor,M Rev ( 2016) “God Is Connecting with Us as Spiritual Beings.” Sermon. Baltimore sun :h ttps:/ /www.balt imoresun.com/ maryland/carrol l/opin ion/ ph-cc- re lig ion- tay lor100816- 20161006column.html. [Accesse d 17 April 2021] The Holy Bible: New International Version 2011, http://www.bible g ate way .com/ quick se arch/?quick se arch=1+corinthians& qs_ ve rsio n=NIV [Accessed 13 March 2021]. Von Meiss, P (1990) Elements in Architecture   : From Form to Place . New York: Van Nostrand Reinhold (International ) Waugh, B (2020) “In Pandemic , People Are Turning to Nature - Especial ly Women.” News Release. EurekAler t: https://www.e urek ale rt .org/ ne ws- rele ase s/ 611393 [Accessed 17 April 2021] Wagnermeters (nd) Why reclaime d wood? Discovering the beauty and sustainabil ity of reclaime d wood: https://www.wagnermeters .com/ moisture- meters/ wood-info/ advantage s- wood- build ing/ [Accessed 29 August 2021] Zucker, S, and Harris, B (2018). “Introduct ion to the Protestant Reformat ion (Part 2 of 4) : Martin Luther," in Smarthi story .” Video: https://smarth i story.org /prote s tant- re format ion- part -4 -o f- 4/ [Accessed 15 May 2021] Zucker, S, and Harris, B (2018). “Introduct ion to the Protestant Reformat ion (Part 4 of 4) : Martin Luther," in Smarthi story .” Video: https://smarth i story.org /prote s tant- re format ion- part -2 -o f- 4/. [Accessed 15 May 2021] Zhao, N., & Zhou, G. (2020). Social Media Use and Mental Health during the COVID-19 Pandemic: Moderator Role of Disaster Stressor and Mediator Role of Negative Affect. Applied psycholog y. Health and well-being , 12(4), 1019–1038. https://doi .org/ 10 .1111/ aphw.12226 [Accessed 17 Septembe r 2021]