Precedent Three | Thorncrown Chapel by Euine Fay Jones

Key Concept

The Thorncrown Chapel by Euine Fay Jones is driven by principles of organic architecture and biophilic design. Jones has managed to design a space which is so spiritually evocative and connected to nature. This can be attributed to the blurring of the boundary between inside and outside (Robert Ivy 2001), the response to its surroundings and the sensitive choice of materials. 

The structure is arguably the most prominent aspect of the chapel. Its fractal geometry and proportions are based on natural phenomenon (Kellert, Heerwagen and Mador, 2013). It could be argued that this has a subliminal effect on us due to our inherent connection with nature. Nonetheless, the tall vertical and diagonal elements are reminiscent of the surrounding trees and landscape. This abstraction of the surrounding natural environment connects users to it.

Furthermore, the interplay of light the structure creates, coupled with a long skylight in the roof creates the feeling of sitting under the forest canopy. The generous use of glazing and lack of filler between the structural elements also helps to blur the boundary between outside and inside, further connecting the user to the surrounding forest (Kellert, Heerwagen and Mador, 2013).

Jones has employed materials in an honest way and is supportive in the utilization of materials as intended by nature. The comparatively lighter structure sits on a stone wall and slab, and is built using local timber. All the wood has been rubbed with a greyish stain to match the surrounding trees (Watson and Kucko, 2001).

Selected Design Element

The entire building will be modelled. The timber structure needs to be viewed in its entirety to translate the fractal patterns and proportions in three dimensions. Every member of each truss contributes to the interplay of light and quality of the indoor atmosphere. They should also be modelled as close as possible to the way they were put together in real life. This would convey the honesty of the structure and the way timber naturally works.

The chapel has such a strong connection with the surrounding landscape that it would be beneficial to model the landscape around it. The landscape shows the natural curves of the site and how the chapel sits within it. The reflection of the surrounding trees through the structure should be conveyed. Verticality in the structure and trees are key. Therefore, the trees around it should also be modelled. 

The roof also needs to be modelled as it reflects the forest canopy. Even more important is the skylight in the roof that provide the connection to the sky. The light streaming into the chapel through them greatly add to the atmosphere of the interior.

The stone walls, floor slabs and paving should also be modelled. The walls which the structure sit on ground the building and show the contrast in weight between the lighter timber structure and heavy stone walls. From a more technical point of view, it also shows the need to lift the timber structure off the moist ground to prevent it from rotting.

How is the Key Concept Reflected in Design Studio?

Biophilic design has many aspects but the ones highlighted in the key concepts above are the ones that I would like to incorporate into my design studio project. I am exploring it as a technique to better connect the architecture of my apartment buildings to nature.

Jones does a terrific job in blurring the boundary between inside and outside in the chapel. I could try doing the same through the interplay of light and increasing visual permeability.

Naturally occurring patterns and fractals is something I would like to experiment with. As humans, we have an inherent attraction to patterns. It brings a comforting sense of order to a space, but it also reflects many of the qualities that nature has. The vertical and horizontal patterns of the chapel’s structure eases the mind but its complexity creates a sense of awe which is appropriate to the chapel. I would like to further explore this in studio, especially for the communal spaces of my apartment buildings.

Materiality is also important in biophilic design. Certain materials feel more natural to us than others. The use of timber in the chapel gives it a sense of warmth and relates it back to nature but Jones goes a step further to stain the timber to match the surrounding trees. This makes the architecture unique to its context and gives it a sense of place. I would like to experiment with different ways of manipulating a material to meaningfully enhance the quality of a space.

Geometrical Description of the Shape

The form of the chapel is simple. It has a rectangular plan. It is about twice as tall as it is wide, and about three times as long as it is wide. Timber columns and trusses hold up a simple gable roof.

The chapel sits on a hill within a forest that has trees slightly taller than it. The hill slopes downwards, perpendicular to the long edge of the chapel. The slope on the more elevated side of the chapel has an angle of about 20°. The slope on the other less elevated side of the chapel has an angle of about 45°.

The two long boundary edges are lined with stone walls approximately 550mm tall and 350mm thick. The ground floor step up three times to an altar at the front. Most of the timber structure sits on them. A large horizontal beam and three smaller ones tie the vertical elements together. The timber structures are a series trusses with vertical and diagonal members. The diagonal members are angled at about 30° from the horizontal to create a pattern of crosses and equilateral triangles. Each truss is approximately 1500mm apart. The entire timber structure almost looks skeletal. 

The structure holds up the gable roof with a fall of approximately 30°. The extensions of the timber trusses allow the roof to extend outwards quite a distance. The skylight is in the centre of the roof, rising up to its apex.

Proposed Scale, Material and Technique

The model will be made in a 1:100 scale. A smaller scale would make the timber members incredibly difficult to work with. The verticality of the timber structure and surrounding trees can be conveyed at this scale. The shadow patterns created by the structure can be clearly seen as well.

To give the terrain a rougher and natural look, cork will be used. Multiple layers of cork will be stacked to create contours. The stone walls, floor slab and paving will be made of the same material. However, they will need to be distinguished from the cork. A darker coloured timber such as eucalyptus or jarrah will be used. The timber structure above it needs to be distinguished from the stone as well. Lighter basswood would be used for this.

All the pieces will be laser cut and glued together.

Time Commitment and Budget

Time Commitment

Drafting and laser cut file preparation: 2 days
Laser cutting: 1 hour
Sanding: 3 hours
Gluing: 2 days
Total: Approximately 4.5 days

Budget

Cork: $12
Basswood ply: $16
Jarrah/Eucalyptus ply: $ 25

Total: $53