Exploit Excess
CHRISTINE SCHORR
University of South Florida School of Architecture + Community Design Terminal MP Spring 2016
Exploit Excess
Speculating bar culture though architecture and light Documentation By:
CHRISTINE ANN SCHORR A masters research project presented to the Graduate School of Architecture and Community Design at the University of South Florida, Spring 2016, in partial fulfillment of the requirements of the degree of Masters of Architecture. Thesis Chair:
Michael Halflants, AIA Professor of Architecture, USF Tampa, FL and Principal of Halflants + Pichette Studio for Modern Architecture, Sarasota, FL
Thesis Committee:
Wes Featherston, AIA Adjunct Professor of Architecture, Valencia College, Orlando, FL and Pricipal of Process Architecture, Orlando, FL David Hugglestone, AIA Adjunct Professor of Architecture, USF, Tampa, FL and President at SHiFT Architecture, Tampa, FL 2
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Thank You! “So, my boy, do not trouble yourself as to whether or not others understand your words as you do. Seek rather to understand yourself -- regardless of words; and in due time, if so it be written in the great book of destiny, others will perceive in your works more or less of what you, more or less adequately, have thought, felt, lived, loved and understood.� Louis H. Sullivan, Kindergarten Chats Over the years I have received many gifts in many forms. I have been taught to work dilligently and to never settle for less than I could imagine. During my time at USF, a great many people have influenced me as a designer, a student, a peer and a leader; to all of them I give thanks. To Michael Halflants, for embracing my crazy and directing me toward goals I would have never achieved without him. Our many classes, projects and travels together will always be some of my fondest memories. To Bob MacLeod, for being a mentor, a listner and a friend. To the faculty and staff, who are too many to mention, that have challenged me, supported me and aided in my constant persuit to better myself. And, to the Class of 2016, without whom I would have missed so many valuable lessons. Also, a special thanks to my committee members that followed me through the rabbit-hole: Wes Featherston and David Hugglestone. And especially to Zack Yarnell, without whom I could not have come this far.
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Table of Contents List of Figures Abstract So, What’s in a Bar?
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Investigation Inspired Quotations
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With and Without - Light Studies With and Without Object to Organism Kineticism Texture
21 21 28 33 36
But, Why Bars? Case Study I - Bullitt Bar Visual Interest Case Study II - Native Catalyst - Conversastion
40 42 44 46 48
Context: Downtown Orlando Site Pine - Orange History of the Site Existing Conditions
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Concept: A Vessel for Light Concept Introduction Moments Moment I: Entry Moment II: Above the Bar Plan Views
56 56 62 64 68 72
Works Cited
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List of Figures Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
Through the Louvers Tori Tori Interior; gestalten. (2012) Let’s Go Out! BBQ Bar Interior; orlandosentinel.com What Happens When Experimental Kitchen; gestalten. (2012) Let’s Go Out! Bullitt Bar: Front Bar I; Photographer: Nickie Potts Bullitt Bar: Chandelier; Photographer: Nickie Potts Tori Tori Exterior; gestalten. (2012) Let’s Go Out! Besiktas Fish Market; gestalten. (2012) Let’s Go Out! Yakiniku Master Restaurant; gestalten. (2012) Let’s Go Out! Bullitt Bar: Back Bar I; Photographer: Nickie Potts Dissection of Study – DTO Light Where there is None – Without With and Without NV – Art Bar; judysbook.com The Matador; articles.orlandosentinel.com Tokiyo Coffee Shop; gestalten. (2012) Let’s Go Out! Chan Hotel Lounge; gestalten. (2012) Let’s Go Out! House on a Dune: Day; http://www.archdaily.com/632125/chad-oppenheim-shouse-oppenheim-architecture-design Figure 19. House on a Dune: Night; http://www.archdaily.com/632125/chad-oppenheims-house-oppenheim-architecture-design
15 16 16 16 16 16 16 16 16 16 20 20 20 22 23 24 25 26 27
Figure 20. Figure 21. Figure 22. Figure 23. Figure 24. Figure 25. Figure 26. Figure 27. Figure 28. Figure 29. Figure 30. Figure 31. Figure 32. Figure 33. Figure 34. Figure 35. Figure 36.
LAM Café: Day; http://www.archdaily.com/196756/lam-cafe-a21-studio LAM Café: Night; http://www.archdaily.com/196756/lam-cafe-a21-studio LAM Cafe: Night Sketch BbHome: Day; http://www.archdaily.com/431271/bb-home-h-and-p-architects BbHome: Night; http://www.archdaily.com/431271/bb-home-h-and-p-architects BbHome: Night Sketch Kineticism Study Silhouettes Through Glass Floor; http://www.gettyimages.com/detail/video/ silhouettes-through-glass-floor-cold-colors-textured-stock-footage/473208973 Silhouettes Hands Creepy Images; http://www.rosettastone.com/blog/5creepy-legends-from-around-the-world/ HMS Brick Wall Photo Wall Texture Study; http://creativity103.com/collections/Rock/slides/light529 Housing – Privacy Study; http://25.media.tumblr.com/tumblr_ m4m9t4v2fe1r6y3u1o1_500.jpg Bullitt Bar: Chadelier II; Photographer: Nickie Potts Bullitt Bar: Back Bar Wall; Photographer: Nickie Potts Bullitt Bar: Stair Lighting; Photographer: Nickie Potts Bullitt Bar: Front Entry; Photographer: Matty Terassi Bullitt Bar – Visual Interest: Bullet Proof Glass; http://www.lucy-pearl.com/ Business/Bullitt-Bar/
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List of Figures Figure 37. Bullitt Bar – Visual Interest: Lower Bar; http://www.lucy-pearl.com/Business/ Bullitt-Bar/ Figure 38. Bullitt Bar – Visual Interest: VIP Couches; http://www.lucy-pearl.com/Business/ Bullitt-Bar/ Figure 39. Native: Front Entry; http://www.todaysorlando.com/restaurant/native-social-bar Figure 40. Native – Catalyst to Conversation: Front Bar; http://www.alamy.com/stockphoto-march-12-2013-orlando-florida-us-will-vragovic-times-the-frontbar-54452002.html Figure 41. Native – Catalyst to Conversation: Cage Lighting; http://www.todaysorlando. com/restaurant/native-social-bar Figure 42. Native – Catalyst to Conversation: ShotGun Bar; http://www.todaysorlando. com/event/watch-super-bowl-native Figure 43. Native – Catalyst to Conversation: BENATIVE; https://twitter.com/ BLAKTIEPRO Figure 44. Native – Catalyst to Conversation: BENATIVE Diagram Figure 45. Site Model 1:200 Figure 46. Pine – Orange circa 1890s; http://photos.orlandoweekly.com/38-classicshots-of-orlando-from-the-early-20th-century/?slide=1&1san-juan-hotel-andbeacham-theater-orlando-florida Figure 47. Angelbilt Hotel circa 1940s; https://www.pinterest.com/nanaginger1/orlandomore-than-just-disney/
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Figure 48. City Arts Building circa 1890s; http://www.orlandoslice.com/page/history-1 Figure 49. City Art Building circa 2008 Figure 50. City Planning circa 1884; http://photos.orlandoweekly.com/38-classic-shotsof-orlando-from-the-early-20th-century/?slide=1&1san-juan-hotel-andbeacham-theater-orlando-florida Figure 51. Pine – Orange Site: Current; Photographer: Wes Featherston Figure 52. Orlando Existing Context Hospitality Map Figure 53. Massing Model 1:20 Figure 54. Concept Rendering I Figure 55. Concept Rendering II Figure 56. Concept Rendering III Figure 57. Concept Rendering: Day Figure 58. Concept Rendering: Night Figure 59. Massing Model 1:20 LIT Figure 60. Designing in Section Figure 61. Moment I: Entry Model Figure 62. Moment I: Section Figure 63. Moment I: Day Render Figure 64. Moment I: Night Render Figure 65. Moment II: Above the Bar Model Figure 66. Moment II: Section
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53 55 57 59 59 59 59 59 60 62 64 65 66 67 68 69 10
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List of Figures Figure Figure Figure Figure Figure Figure Figure
67. 68. 69. 70. 71. 72. 73.
Moment II: Day Render Moment II: Night Render Plan View: First Floor Plan View: Second Floor Massing Model 1:20 LIT (from above) Rendering South East: Day Rendering South East: Night
70 71 72 72 73 74 75
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Abstract “Is this about bars?, or is it about architecture without light? Or, perhaps, is the hyper-socialist nature of a space inspired somehow by the use of a dark interior spaces? Could it be that there enlies a gradient; invasive to the human predisposition for comfort in dimness? Pose the question: why we interact with architecture the way that we do. Is it just architecture?, is it just space?, is it the abundance or is it the absence - of light? Case and point, everyone looks hotter in the dark.� From every corner of the world there is an architect or three, that hold a deeply rooted conviction concerning the notion that architecture simply cannot exist without the presence of natural light. As natural light does, of course, benefit a space of any particular kind or scale, this belief instantly, to a degree, diminishes architecture specifically hosting spaces that are predominantly occupied at night. Here enlies the itinerary on which this thesis has been based. While there is no doubt that lighting with sunlight is the initial driver for the majority concerning spatial development, why then can there not be such emphasis on designing around the absence of light? While I believe there should be no architecture built without the intention of creating spaces that would ease seemlessly from day-to-night, there is a responsibility to the designer to account for the less obvious. The intent of this thesis is to speculate on an architectural narrative concerning a program previously deprived of examination; to Exploit Excess: speculating bar culture through architecture and light.
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1. Through the Louvers 14
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2-10. Tori Tori Interior, BBQ Bar Interior, What Happens When Experimental Kitchen, Bullitt Bar: Front Bar I, Bullitt Bar: Chandelier, Tori Tori Exterior, Besiktas Fish Market, Yakiniku Master Restaurant, Bullitt Bar: Back Bar I figures
So, what’s in a Bar?
“There is something about being sober in a sea of drunk people day after day, for 14+ hours a day, basically playing god of spirits on who gets to drink what and when and how much. Bartending really is a project on many scales: judging the crowd, then groups, then couples, then individuals, seeing them change and watching them interact, and even alter their interaction style as the night goes on. After all, watching the individual morph over a gauntlet of beers, shots and peer pressure is really what got me into architecture in the first place. People’s reaction to a thing. A group of things. A drink. A place. A sense of place. A space? A building? A bar.” Bar science and the eruption of spatial and socio-behavioral understanding that happened upon me from my time serving drinks to the deserving has driven me to this point in my life. There is more to the act of visiting your favorite watering hole than meets the eye, a sub-concious understanding of your surroundings, those you choose to associate with, and the importance of, or not, pertaining to mood and lighting and quality set forth by a space. The purpose of this second abstract is to inform the reader of the personal connection and purpose this researcher has to this terminal master’s project. Exploit Excess: speculating bar culture through architecture and light is, simply put, a reverberance of experiences. To exploit is to speculate, and in this case, the subject to be dissected and put out for display is the fabric of the cultural aspect of frequenting a bar. Too often are people caught up in the negative preconception that considering yourself a bar patron makes one, simply: a drunk, a misfit, a burden on society. In reality, to embrace bar culture is to live in excess: to socialize frequently in a steadily compartmentalizing world, to embrace the importance of third space, perhaps occasionally to have a few too many, to dance too much, to laugh too much, to live. 16
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“There is no Architecture without Natural Light” -Alberto Kalach
Investigation Inspired “Light, God’s eldest daughter, is a principal beauty in a building.” Thomas Fuller “Architecture is the learned game correct & magnificent of forms assembled in the light” Le Corbusier
“A room is not a room without natural light” Louis Kahn
“A truly great book should be read in youth, again in maturity and once more in old age, as a fine building should be seen by morning light, at noon and by moonlight.” Robertson Davies
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Figure 11 - 13. Dissection of Study: DTO, Light Where there is None: Without, With and Without
With and Without Upon hearing Kalach’s quote, an investigation was launched to discover, or possibly disprove, the notion that there simply cannot be an architecture completely void of sunlight. The idea seemed off-putting that someone could completely dismiss every space that was intended to be used mostly at night or when the sun is absent, for example a bar. In order to do so, a series of existing structures were analyzed: first from the area of interest, Downtown Orlando (figure 11), from around the world (figure 12), and additional examples containing many programs as they transition from day to night (figure 13). The Downtown Orlando study tests the lighting from bars of different types, or with different attitudes that already exist and thrive in the given context. The second, or international board’s range of typologies is much broader, incorporating other service-industry type venues including bars, hotel lounges and coffee shops. The day to night study strictly focuses on dramatic changes in lighting, diversifiying the spectrum of types of structures studied to: housing, cafes, street markets and parking structures. Watercolor, graphite and ink wash on bristol paper is meant to draw attention to the relevance of each example pictured. This study’s focus is on the lighting from the adjacent image. Each individual graphic diagramming, in the simplest form, only the the essence of the light and focusing on the importance of placement, type, material choice and relevance of the image to this lighting study.
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NV - Art Bar Downtown Orlando, FL
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14. NV Art Bar
The Matador - Mixology Orlando, FL
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15. The Matador
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Tokiyo - Coffee Shop Dusseldorf, Germany
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16. Tokiyo Coffee House Stair
Chan - Hotel Lounge Thessoloniki, Greece
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17. Chan Hotel Lounge Interior
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House
figure
on
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18. House on a Dune: Day
Dune,
Bahamas
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19. House on a Dune, Night
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Object to Organism i LAM Cafe Location: Nha Trang City, Vietnam Architect: a21 studio Nguyen Hoa Hiep Ngyuen Qui Nhon
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20. LAM Cafe: Day
From the study of light qualities from images of places found all over the world, an interesting phenomena was unveiled. This example (figure 20-22) (as well as the example found on the next spread (figure 23-25)) peaked interest when being analyzed regarding their transition(s) as spaces that are existing in both day and night. The LAM Cafe and Blooming Bamboo Home both exhibit the same basic quality: during daylight hours, they appear as a single form within a landscape: object, and transform into a fascinating, glowing, animated entity at night: organism. This transformation from object to organism begins to speak on the topic of excess. Relating back to the original idea of Exploit Excess this technique
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21. LAM Cafe: Night
can be used to speculate upon the happenings of a building. Perhaps, in fact the absence of light can be used to expose proof of concept: to display imagery of the activities inside the bar in an extreme or “excessive” way. The LAM Cafe’s design was initially intended to resemble coconut leaves and fishing nets, allowing for natural ventilation and quick conctruction both when being assembled as well as in the act of being torn down. “Lam” which directly translates to “louvers” in english, provides the perfect envelope to control views and breezes, but more importantly, light, both natural for lighting during the day, and artificial, projecting silhouettes at night.1
1.“LAM Café / a21 studio” 04 Jan 2012. ArchDaily. Accessed 28 Apr 2016. <http://www.archdaily.com/196756/lam-cafe-a21figure 22. LAM Cafe: Night: Sketch
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Object to Organism ii B H b
ome
Location: Hoan Keim District, Hanoi, Vietnam Architect: H&P Architects Doan Than Ha Tran Ngoc Phuong
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23. Bb Home: Day
The Blooming Bamboo Home by H&P Architects allows for study of a similar technique as the LAM Cafe used, but in within a completely different setting. Note figure 23, the home seems to be a solid, angular mass floating above the organic ground cover. The stilts provided to save the home from extreme flooding, along with projected
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24. Bb Home: Night
lighting from the sun, now force the mass to behave visually as if it were on a pillar, allowing the bulk of the home to float over the ground, disengaging itself and creating a heavy shadow: “object”. Now reference figure 24. The dense bamboo louver system creates a screen - emiting light from the inside out as well as down, engaging with and becoming a piece of the landscape: “organism”.2
2. “Bb Home / H&P Architects” 26 Sep 2013. ArchDaily. Accessed 28 Apr 2016. <http://www.archdaily.com/431271/bb-home-h-and-parchitects/> figure 25. Bb Home: Night: Sketch
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26. Kineticism Study
Kineticism Light as a spatial phenomena has been the topic of many architectural theses, the root driver for main concepts, the basic go-to for any designer time and time again. I would go as far as to say that light has had a major role in every single project, completed or otherwise, in all of documented history. As there is an appropriate time and place for everything, there is also an understanding of factors when creating with light that are condusive to a spaceâ&#x20AC;&#x2122;s functionality, feel (or intensity), and scale. The series of images left (figure 26) are basic shots of light-kinetics; documenting the simple gesture of a backlit figure moving his hand across his body and creating differing intensities of gradient, shadow and sharpness. While thinking about kineticism, a topic that many have tackled at an experiential level, light is the easiest naturally occuring example to percieve. Many architects and artists have attempted to create spaces, building skins, furniture, works of art, etc. intended to react to its user(s) automatically or by use of a mechanism when engaged. From the example left, it is clear to see that light is the original kinetic element, reacting instantly to its viewer: becoming darker and more clearly defined as the hand moves closer to the wall, or blurring around the edges and losing intensity as the subject moves farther from its projection surface or within another shadow.
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27. Silhouettes Through Glass Floor
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28. Silhouettes Hands Creepy Images 34
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Light and Texture We’ve all seen brick and its well-known texture that comes along with it. In full light each brick is clearly defined by shadows in all directions, gifting the respective surface that it is cladding the rhythmic modulation with which we have become so familiar. But, in directional light, or a darker space with specific lighting qualities (downlight in this case, figure 29), the texture of the brick surface is transformed. As seen in the photo of the USF HMS-Architecture building to the right, the late night darkness and directional downlight change the texture of the wall from a modular rhythm of its’ building blocks to linear in the areas where the light is brightest. The down lights create stronger shadows below the horizontal ridges and wash out the vertical shadows we are used to seeing during the day. Daylight’s four-sided shadow-effect is what helps create what we percieve as a brick wall; on the same note the lack of shadows around all four sides, like at night, alters its shapes, patterns and textures. The kinetecism of light and its’ natural ability to create texture from shadow can be an important tool when designing for areas of low or directional lighting, or more specifically, spaces intended to be occupied at night.
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29. HMS Brick Wall Photo 36
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30.Wall Texture Study 38
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But, Why Bars? Few program typologies focus on a space lit from the interior to project an image on the street at night; and even fewer do this on purpose. The image right (figure 31) is an example of a housing tower at night. To bring natural light into the space(s) during the day, large windows are fitted into the facade. When the light is from the exterior (sunlight), there is no worry about privacy, those walking along the street cannot see though the lightly tinted glass. But, at night, the light projecting from within paints clear images of the residenceâ&#x20AC;&#x2122;s interiors and activities, omitting privacy at night in order to create brightly lit spaces during the day. So, why bars? Bars, restaurants, nightclubs and other nighttime venues operate differently than other forms of program wherein, that they do not require total privacy at any given point of the day or night. The idea here is to discover ways of activating a space by exploiting this phenomena, to use this idea of projection from interior as an advantage. However, light is and can be used in many facets and forms when designing a nighttime spot. Thoughout the next few spreads, case studies were completed to expose different lighting techniques from precedents already thriving within the chosen context.
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31. Housing - Privacy Study 40
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Case Study
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bullitt
Bullitt Bar is located in the Northern portion of the historic district within Downtown Orlando, Florida, at the north-west corner of Pine Street and Court Street. This establishment was chosen as a case study due to it’s unique relationship to the street, deliniation of bar-to-patron space, artificial light and visual interest, and familiarity to the researcher. Bullitt Bar, named for the famed 1968 Steve McQueen flick, has been a successful business since early 2010. It’s decor supports local artistry as well as a sort of untold history of Orlando - murals and artwork were completed by local artist Tramaine Dion, and some of the memorabilia donning the walls are items like the old bar top from one of Orlando’s most famed strip-clubs, Dancer’s Royale. Appropriately, this bar’s mantra is: “...a collision of music, art, alcohol and some bad decisions”.3 3. Fitzpatrick, Kelly. “Bullitt Bar Breaks the Mold -- Thankfully.” Orlando Sentinel. Orlando Sentinel, 25 Mar. 2010. Web. 24 Apr. 2016.
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32 - 35. Bullitt Bar: Chandelier, Bullitt Bar: Back Bar Wall, Bullitt Bar: Stair Lighting, Bullitt Bar: Entry
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Visual Interest Bullitt Bar not only uses light to denote spaces (figure 38), but also as a way to invoke visual interest. This venue is packed with tedious detail, from the carved brick liquor displays to the bullet-proof glass bar front and top (figure 36). Had the artist that designed this bar lit it in any other way, a guest may not even notice. Careful planning and placement, backlighting, uplighting, or reflective mirrored ceiling tiles add to the feel and theme of the bar, as well as creating an exciting space to inhabit. (figure 37)
36 - 38. Bullitt Bar – Visual Interest: Bullet Proof Glass, Bullitt Bar – Visual Interest: Lower Bar, Bullitt Bar – Visual Interest: VIP Couches figure
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native
Case Study
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Native, which was originally named Mako’s, was located at 27 West Church Street in the historic Kress Building just down the street from the old Church Street Station. For over ten years Mako’s/ Native was a known constant within the fabric of downtown Orlando. Sadly, it is no longer a functioning social club. A particular image, (which will be referenced on the next spread), began a conversation pertaining to Kalach’s quote: ‘there is no architecture without natural light’, upon which this master’s project is based. This site was chosen as a case study because of its many changes pertaining to the interior layout, design, lighting qualities and use of materials, status as a particularly progressive bar within the region and familiarity to this researcher.
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39. Native: Front Entry 46
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Catalyst to Conversation The image to the right (figure 43) was the original catalyst that evolved into the conversation “is there architecture without the presence of natural light?”. The diagram below the image (figure 44) is to demonstrate the reflection, refraction, glow or placement that denotes an architectural narrative that defines the space(s). The lowered pendant cage lights, give off a soft glow and create a peppered ceiling, promoting movement over the dance floor, while the reflective material of the half-level and bartop along with the glow of the display case and BENATIVE sign, begin to carve out a form within a darkened space, denoting ‘rooms within a room’ and secondary spaces with a more intimate feel to encourage gathering. The lightest colored objects in the room are the barstools, dividing the edge condition of the front of the bar into smaller tertiary spaces to foster personal space.
Figure 40 - 44. Native – Catalyst to Conversation: Front Bar, Native – Catalyst to Conversation: ShotGun Bar, Native – Catalyst to Conversation: BENATIVE, Native – Catalyst to Conversation: BENATIVE Diagram
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site
Pine - Orange
Surprisingly, at the heart of the historic district in downtown Orlando, lies an empty corner lot on the NorthWest quadrant of the busy intersection connecting Orange Avenue and Pine Street. This site, only vacant since 2005, was once the home of the historic McElroy Building, which in turn housed many Orlando “staple” businesses over the years when it stood at this corner. (Red, figure 45) Since 2005 there have been many designs proposed for this site: a car lot, a number of mixed use buildings, and an office tower, yet none of them have come to fruition, mostly because downtown is very much a ‘park and walk’ city. Those who live within walking distance tend to do so, but the majority of the work force in this area live outside the city grid in one of the many suburbs. This fact forces this site to require parking - unless, of course, that what is put in at this corner is a bar.
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46 - 51. Pine â&#x20AC;&#x201C; Orange circa 1890s, Angelbilt Hotel circa 1940s, City Arts Building circa 1890s, City Art Building circa 2008, City Planning circa 1884, Pine â&#x20AC;&#x201C; Orange Site: Current figure
Pine - Orange
history
The site, as it stands today (figure 51), is a sad vacant lot frequently inhabited by the homeless displaying their artwork, or banging on up-turned buckets and cans or simply begging for cash. Occasionally, a group of lost or indecisive bar crawlers find themselves here, gathered, deciding on which establishment to visit for their next adventure. But this site has been home to many of Orlando’s historic institutions since it was first built upon in 1894. James Newton “Old Doc” McElroy built the first structure here and named it The Queeny Building after his wife: Esther “Queeny” Peel, it has since been passed down through the family from generation to generation. Some of the tenants from this building’s history include Abernathy Drug Store, Walgreen Drug Co., and the Southern Music Company. Unfortunately, the building was destroyed by a fire in 2005.4 4. Rajtar, Steve. “Downtown Orlando Historical Trail.” Downtown Orlando Historical Trail. N.p., 2006. Web. 10 Feb. 2016. <http://www. oocities.org/yosemite/rapids/8428/hikeplans/downtown_orlando/ plandowntownorlando.html>.
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existing
Site Context and Conditions
As far as a downtown area goes, Orlando is supersaturated with things to do, both during the day and at night; it is littered with bars, restaurants, shops, parking structures, churches, housing towers, parks, theatres, art galleries and event space. Figure # is a diagrammatic graphical representation of existing bars and bar-restaurants, concentrating on density in certain areas in relation to this site. (figure 52) From these studies, the question arose: can Orlando sustain another bar within this district? Current bar owners and companies such as Orlando Bar Concepts and The V Group, are flipping bars and opening new venues constantly, the same group of buildings changing names and owners as little as every 3-5 years. But, as it turns out, this researcher was thoroughly surprised to find out that yes, yes it can. According to the Downtown Orlando Market Report Summary for Fourth Quarter 2015, the downtown area is about to experience a growth in pretty much everything on a scale that has not been seen in years. With the continuous growth of tourism, residency, business space and retail space, the downtown area currently has fourteen projects underway, or nearly $3.9 billion in growth. On top of that, there is an additional $1.56 billion representing 10 more that are in the proposal stages of development. These projects include Church Street Streetscape improvements ($20m), repair and upkeep of the Gertrude’s Walk ($1.5m), 11 housing towers (approximately 4,000 units), over 600 hotel rooms, 300,000 sqft of retail, and 1.3m sqft of rentable office space. Not only would these numbers be impressive for the city as a whole, but these figures relate specifically to the downtown area.5
5. Orlando Downtown Development Board. “Downtown Market Report Summary 4th Quarter 2015.” Introduction: Downtown Orlando Market Report Summary for Fourth Quarter 2015 (n.d.): n. pag. Downtown Orlando: Doing Business. Downtown Orlando, 2015. Web. 6 Mar. 2016
Downtown Orlando 1 : 200 Context Existing Hospitality Site
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52. Orlando Existing Context Hospitality Map 54
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A Vessel for Light
concept
A massing model (figure 53) was produced to demonstrate the main driver for the concept of the intended bar for this downtown Orlando site. The idea expressed here is to create two masses on the lot: one solid to the West to house the service portion of the program (elevator, restrooms, office/liquor storage and fire stair), and a second transparent mass toward the center of the lot that will house circulation and the bar(s) inside. The transparent mass is intended to be wrapped by of a system of C-channels that would house strips of LEDâ&#x20AC;&#x2122;s or tube lighting to create a glow affect, lighting the bar space as well as hilighting silhouettes of those who are moving up or down the main circulation. Parts of the C-channels will also be fitted with metal plates to protrude from the underside, creating displays for liquor bottles and also act as the back wall of the bar space, separating patrons from staff. At the same time, the transparency will also allow guests to view the happenings behind the bar, a place that is
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53. Massing Model I 56
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normally hidden from view, turning the bar insideout and in turn give the â&#x20AC;&#x153;wallâ&#x20AC;? interest, as silhouettes progress up and down between floors. The envelope used for this space is to be a thin, permeable louver system, as seen in the LAM Cafe and Bb Home, to allow the venue to be a controlled environment, while keeping the bar openair. The thin structure also allows for the passing of light, either: from outside to in during the day to create shadows, or from the inside out in reference to the kineticism of light and privacy studies at night. Portions of the exterior screen system are removed for ample sight lines in two directions to ensure maximum view when approaching from either of the main streets Orange Avenue or Pine Street. This design decision was made to enforce the notion that the transparent mass at the center, housing the majority of movement and life within this space, would act as a literal billboard on the street, promoting business as well as bringing liveliness to this corner of downtown. Massing renders (figures 54 - 56) were produced as proof of concept; should the material used to create the glow from the bar fronts and tops, along with the C-channel system be successful, the presence on the street would work as intended. Additional concept renderings were also produced to study the object-to-organism, day-to-night transition and functionality. (figures 57 - 58)
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54 - 58. Concept Rendering I, Concept Rendering II, Concept Rendering III, Concept Rendering: Day, Concept Rendering: Night
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Figure 60. Designing in Section
Designing
in
Section
moments
To create dynamic spaces within a bar, the idea to ‘design by moment’ arose. When in the mind set to visit your favorite night time spot, a venue is first approached and entered before it is to be explored; like a library, there is a pattern to use of space in sequential order. When experiencing a library: first the entry, then aquisition of a book, and last, finding the perfect space to read, given the lighting conditions are ideal. A bar is no different: first the entry, then aquisition of a drink, and last, a place to gather with friends or colleagues where there is comfort in dimness, the perfect place to people-watch. The ideas from the privacy study come into play, where this bar, a vessel for light, acts from far away as an attractant, peaking the interest of those viewing it from the exterior. Then, the entry, a space to view what lies ahead and in this case, being drawn into the space adjacent the bar by the gradient of light emitting from the bar itself. And last, a space to sit and gather, to be viewed and become a piece of the ‘landscape’ within the space that you have chosen to come; from the viewing of, to engaging in, to becoming a piece of the architecture itself activating the envelope and thus the light-cycle is complete. 62
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Moment i: Entry
figure
61 - 62. Moment i: Entry, Moment i: Section Study 64
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Figure 63. Moment I: Entry - Day
Figure 64. Moment I: Entry - Night 66
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Moment ii: Above the Bar
figure
65 - 66. Moment ii: Above the Bar, Moment ii: Section Study 68
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Figure 67. Moment II: Above the Bar - Day
Figure 68. Moment II: Above the Bar - Night 70
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AVessel for Light
plan view
Although not a completely darkened corner within the urban fabric of downtown Orlando, the unfortunate burning of the historic McElroy building left a scar â&#x20AC;&#x201C; a dead zone adjacent a high-traffic, crucial cross roads within the downtown district. This ideal location has been dark and abandoned for too long, and there is a sufficient need to bring in a liveliness, laughter, a vessel for light, to bring life and light back to this important corner within the downtown district. In order to complete this study of a bar to become a vessel for light, promoting itself from afar, projecting the actions happening within, and the created excitement of becoming a piece of the living architecture on display, these floorplans are to further demonstrate the concept of light bringing this venueâ&#x20AC;&#x2122;s presence to the street. So, can there be an architecture without the presence of natural light? I certainly think so.
Figure 69 - 71. Floor Plan I, Floor Plan II, Massing Model II: LIT 72
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Figure 72. Rendering from South East - Day
Figure 73. Rendering from South East - Night 74
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Works Cited “Bb Home / H&P Architects” 26 Sep 2013. ArchDaily. Accessed 28 Apr 2016. <http:// www.archdaily.com/431271/bb-home-h-and-p-architects/> Fitzpatrick, Kelly. “Bullitt Bar Breaks the Mold -- Thankfully.” Orlando Sentinel. Orlando Sentinel, 25 Mar. 2010. Web. 24 Apr. 2016. Klanten, Robert, Sven Ehmann, Sofia Borges, and Shonquis Moreno. Let’s Go Out!: Interiors and Architecture for Restaurants and Bars. Berlin: Gestalten, 2012. Print. “LAM Café / a21 studio” 04 Jan 2012. ArchDaily. Accessed 28 Apr 2016. <http://www. archdaily.com/196756/lam-cafe-a21-studio/> “New Study from Western University Shows Alcohol Affects Vision by 30 per Cent.” WesternU. Western University, 14 Jan. 2014. Web. 10 Feb. 2016. <http://mediarelations.uwo. ca/2014/01/14/new-study-from-western-university-shows-alcohol-affects-vision-by-30-percent/>. Orlando Downtown Development Board. “Downtown Market Report Summary 4th Quarter 2015.” Introduction: Downtown Orlando Market Report Summary for Fourth Quarter 2015 (n.d.): n. pag. Downtown Orlando: Doing Business. Downtown Orlando, 2015. Web. 6 Mar. 2016 Rajtar, Steve. “Downtown Orlando Historical Trail.” Downtown Orlando Historical Trail. N.p., 2006. Web. 10 Feb. 2016. <http://www.oocities.org/yosemite/rapids/8428/hikeplans/ downtown_orlando/plandowntownorlando.html>.
Schorr, Christine Ann. Morphosis of a Chrysalis: The Paradox of Downtown Orlando as Seen by a Bartender. 2014. MS. University of South Florida, Tampa. “Cheyenne Saloon Information Session.” Personal interview. 2008. “Downtown Orlando: By Neighborhood.” Orlando Downtown Deartment Board, 2014. Web. 6 Sept. 2014. http://www.downtownorlando.com/life/downtown-map#.VAvBmvldWSo ESCY. City-Data. N.p., 7 July 2013. Web. 6 Sept. 2014. http://i157.photobucket.com/albums/t50/ itsgr82b/Apr0101.jpg. “History of Lake Eola.” City of Orlando -- Lake Eola. City of Orlando, n.d. Web. 07 Sept. 2014. <http://www.cityoforlando.net/>. “Bob Snow Lane.” Mapio. N.p., n.d. Web. 26 Apr. 2016 <http://mapio.net/s/18660019/> “Location.” Thornton Park The Neighborhood for Locals. Thorton Park District Committee, n.d. Web. 07 Sept. 2014. <http://thorntonparkdistrict.com/?page_id=14>. Snow and Associates, Robert. “Church Street Station.” Church Street Station. N.p., n.d. Web. 06 Sept. 2014. <http://snow-and-associates.com/css.htm>. “Wall Street Plaza Downtown Orlando.” Wall Street Plaza. Central Florida Magazine, 24 July 2014. Web. 07 Sept. 2014. <http://www.central-florida-magazine.com/wall-street-plaza>. Taffer, Jon. Raise the Bar: An Action-based Method for Maximum Customer Reactions. N.p.: n.p., n.d. Print.
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Contact Information
Christine Schorr cschorr@mail.usf.edu
1549 Lalique Lane Orlando, FL 32828 (772) 519-1711
Thank You 78
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