DREXEL ARCHITECTURE THESIS 2013 2014

2013-2014 MICHAEL PEARSON THESIS PRIZE FINALISTS DREXEL UNIVERSITY DEPARTMENT OF ARCHITECTURE & INTERIORS

© 2014 DREXEL UNIVERSITY

TABLE OF CONTENTS INTRODUCTION

MARISSA HEBERT ALYSSA STEIN ZESHAN MALIK

gold medal silver medal bronze medal

finalists DANIEL CHITTICK ROB HALLOCK BRANDON JANY JEFFREY PETERS CAITLIN YOUNGSTER Class of 2014 Christopher Aker, Angelo Camano, Michelle Casso, John J Evans, Elise Farano, Kim-Uyen Franey, Melanie Groch, Anthony Guerino, David Halter, Ian Hertzler, Murray Kamara, Hal Kessler, Jacob Knipper, Mikel Koroveshi, Lech Machura, Sean Malloy, Scott McMillen, Donald Nicholas, Brian Nunziato, Christopher Rafalowski, Shawn Rebuck, Kevin Rorabaugh, Christopher Schiefer

THE MICHAEL PEARSON PRIZE This prize was established in memory of Michael Pearson, a 1988 graduate of the Drexel Architecture Program. His life, so full of promise, was tragically cut short in 1989. Prizes are awarded each year to the architecture students who produce the best Thesis Projects, and who, in the course of the Thesis year, show exceptional spirit in pursuing the work. The winner receives a gold medal and a generous stipend for extended travel in the study of architecture. Second and Third Prize winners receive medals. The Pearson Prizes are award at the Final Thesis Reviews by the vote of the faculty.

Year 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014

Winner

Ellen Sisle

James Livo5

Sherri Kimmel Doug Proctor

Lance Lukasiak Glenn Fearon

David Lachi

Richard Miller Bram Janai5s

Miguel Fernandez

Gold

Mar5n Breen

Terrance Woods Eric Heidel

Karie Wong

John Keene

Joshua Janisak Francesca Oliveira Kristopher Harris Uk Jung

Roseann Randa Jonathan Chizacky Isaac Southard Joshua T. Lessard Jennifer Yunhee Shin Marissa Hebert

Runners-­‐up Bill House

John Howard Doug Hertsenberg John Yoder Manuel Tsihlas Caroline Ly Anthony Bracali Silver

Michael Metzger Courtney Anspach Mary Frazier

Jackie Ford

John Myers

Kelly Anderson Joshua Kiehl

Gloria Orfanos David Artman Soha Shah

Ashley Hedrick Kara Haggerty Michael Fierle Agnieszcka Vinson Alyssa Stein

Bronze MaS Heckendorn MaS Xavier, Kirs5 Kuhns Andrew Lengel Ming Tung Timothy Bailey Timothy Cock Robert Piasecki Laura Glantz

Rebecca Vargas John Sakoian Erin Robertson Thomas LaPorta Benjamin Currie Kevin Malawski Zeshan Malik

GOLD MEDAL MARISSA HEBERT RECultivate Advisor: Robert Nalls

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SILVER MEDAL ALYSSA STEIN Common Ground Advisor: Jon Coddington

BRONZE MEDAL ZESHAN MALIK Serene HavenThe Language of Two Advisor: Jon Coddington

FINALIST DANIEL CHITTICK Outlier: Building in the Alaskan Wilderness Advisor: Sherman Aronson

outlier designing for the alaskan wilderness

Outlier is a series of structures located 60 miles into the pristine expanse of wilderness know as Denali National Park and Preserve in central Alaska. This project seeks inspiration in these natural surroundings and endeavors to create buildings with minimal environmental impact, that embrace the mission and ethos of the national park service, and that establish a bold architectural aesthetic reminiscent of this beautiful yet unforgiving environment. In doing so, the hope is to embody a careful balance between built structure and the natural world.

Daniel Chittick / Advisor - Sherman Aronson

site

Denali National Park and Preserved is composed of 6 million acres of pristine wilderness ranging from 200 feet in elevation to 20,320 feet, the highest point on the North American continent. The site selected for Outlier is that currently occupied by the Eielson Visitor Center. This point is located at mile 66 along the Denali Park Road. The site looks out across the Thorofare River, the Muldrow Glacier, and up towards the Peak of Mt. McKinley.

Park Photos from 2013 Visit

Mt. Galen Moose Creek Green Dome

Thorofare River

Denali Park Road

Mount Eielson 5,802

29%

16 mph

15 mph 23 %

22% J

F

M

A

M

J

J

A

S

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N

D

12 mph

66°

64°

61° Average Highs

53°

Site as Picnic Camp 1930s

Site as Picnic Camp 1938

Average Lows

50°

Site as Military retreat 1947å

43°

39°

38°

39° 32°

31°

29° 25° 15°

18°

16°

14°

11°

9° J

F

M

1° A

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J

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A

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1°

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-5°

-8°

-6°

D

Alaska Railway

D

Completed Allowing Visitors Acccess To The Park Mckinley Park Renamed

Denali National Park And Preserve

1.6 Million Acre

Mount Mckinley Park

M

1980

J

J

2000

1971

1939

1917

1923 1921

1916

S

DAYLIGHT 5.75 / 19.12

PRECIPITATION 0.3”/3.16”

DARKNESS 18.25/ 4.88

SNOW 0”/13.7” SNOW DEPTH 0”/22”

Park Road

Charles Sheldon

Completed To Wonder Lake

Petitions Congress For Denali Region Preserve

National Park Service

Alaska Highway Completed Easing Travel To The Park

Founded

200

Harry Karstens

Caribou

Appointed First Park Superintendent

Grizzly Bear

1

6

11

16

21

26

31

Moose

41

46

51

56

61

66

W. Lake

80

40

36

Wolf

OUTLIER SITE

60

Polychrome

Dall’s Sheep

100

Toklat

Inhabitants In Denali Region

1950

Teklanika River

Athabaskan

M

Savage River

First Evidence Of Native

1900

1908

500

1850

S

Expanded To 6 Million Acres

Established By Congress

71

76

81

86

91

outlier

program

The Program for Outlier is the result of series of interviews. During the summer of 2013, Denali Park facilities staff, the director of operations for the main visitor center, the head of park research, and a partner from a local firm that has completed work in the park were each interviewed at length. All of this information was synthesized in order to establish the ideal program elements for a structure at mile 66. The result is a multi- use facility servicing the western half of Denali Park. The three main program elements are a wilderness center to orient and initiate park visitors, a research facility with small lab and workspace, and a dormitory style housing structure for park staff and researchers.

Housing / Storage 100

Outlier Hut 100 SF

restrooms 120

S

Research Facility

Labs

2,300 SF S S F

470

storage

280

offices 500

kitchen

Housing

508

bathrooms

3,400 SF S S F

200

common 800

Cafe

Wilderness Center

630

5,650 SF

bedrooms

S

900

Restrooms 650

exhibit

Exhibit 2,000

Kitchen 200

Service 900

Housing / Storage 100

Outlier Hut 100 SF

Housing / Storage 100

Outlier Hut 100 SF

S

S

inspiration

The following are a few projects that both inspired many of the concepts behind Outlier and informed the technical development of the project.

Tåkern Visitor Center

Monte Rosa Hut, SAC

Tåkern Visitor Center

Antarctica 2009 20,000 sf

Zermatt, Switzerland 2009 12,000 sf | 15000 ft altitude

Glänås, Sweden, 2008 8,000 sf

This is the first zero emission polar research station on antarctica. The research center uses a combination of photovoltaics, wind turbines, and passive techniques in order to produce energy year round. The station also uses what is termed a ‘programmable logic controller.’ This computer system constantly monitors 2,000 points of energy production and consumption prioritizing and delivering energy with maximum efficiency. Also the station has the capacity to reuse 100% of its waste water using space based technology. This project showcases successfully implemented sustainable technologies in an extreme polar climate.

Built to replace an existing alpine hut, the Swiss Alpine Club chose to design a highly modern and sustainable structure in the high Alps. Construction at this location involved 3,000 helicopter to trips to deliver precision milled timber, prefabricated glass, and aluminum panels. The stated goal for this structure was complete self sufficiency and it manages well, producing 90% of its own energy. The structure can house up to 120 people and is only accessible by foot or helicopter. While the focus of the ‘hut’ is efficiency and functionality, the structure also has some very warm and pleasant interior spaces. This structure meets both the sustainable criteria, and possesses a certain remote and essential quality that ideally will be replicated in this project.

This visitor center is built on pilings beside a lake in the Tåkern nature preserve in Sweden. The structure sits at the forest edge and appears to ‘touch the earth lightly’ to borrow Glenn Murcutt’s phrase. The crystalline geometry of the structure appears dynamic and fresh yet not out of place in its natural environs. The center also possess a simplicity in program with flexible open spaces compact and efficient service spaces. It maintains a consistent interior connection to the natural environment. The space appears comfortable but not overbearing. The minimal interior finishes and natural wood are particularly appealing, and appear to resonate well with the verdant surroundings.

Transmission Yosemite This is a series of rendered digital laser scans produced by the photographer, Dan Holdsworth. Holdsworth reappropriates terrain data gathered by the USGS from the National Parks to create a series of stark yet familiar landscapes. As with much of Holdsworth’s work, these landscapes articulate an uneasy tension between the natural and built environment and express the potential for beauty therein. This innovative synthesis of digital technology and natural forms serve as a potential source of inspiration for building in Denali.

outlier

mid review

The Mid Review presentation consisted of a comprehensIve site analysis, program studies, form making concepts, site test fits, conceptual floor plans, and potential methods for seasonally expanding and contracting program space.

Prospect / Refuge

Arrival / Sequence

Enclosure / Porosity

Expansion / Contraction

Orientation / Disorientation

Resonance / Definition

The perception of safety and comfort can be magnified by the vastness of Denali Park. Spaces in which one can survey long distances from shelter tend to resonate with their occupants as pleasing.

These forms will shape the experience of their users.

Specific attention must be paid to the experience of the park visitor.

As the park experience for many is limited to the park road and visitor centers, the placement of forms and spaces in the sequence of the visitor’s experience, and the way in which they color that experience will dictate the success of these structures.

The form should enclose to the degree that a distinctive sense of identity and place are archieved. However, there should also exist a sense of porosity in which the user of the space remains in constant contact with the natural world and never loses a sense of their place within that broader context. This permeablilty is also crucial in diminishing the interuption to surrounding ecological systems

As the scope of program will shift seasonally, these structures must shift as well. One looks to the metaphor of a seed expanding into a plant and then contracting back to a seed. The size and function of these structure will change with shifting program demands and also the seasonal shifts of the natural environment.

The visitor center and research facility can also be viewed as a points of departure. This is the place at which a user transitions form a single path to and infinite number of paths. These structure should organize this transition but not dictate or limit the experience.

These structures should possess a formal resonance with the surrounding evironment while simultaneously distinguishing themselves from this same environment. While showing a deep sypathy for the natural context, these structures will ideally also express a tension between the natural and built world.

ness Orientation WildernessCenter Orientation Center

Total

Exhibit

5,500 / 1,500 3,000 / 1,000

Approach 1

Café Exhibit

Kitchen

1,0003,000 / 500/ 1,000500

Café

Research Facility Research Facility

Toilet

1,000 /500 500

Kitchen Staff

Toilet

Staff

Total

Total Lab

Office

500

500

500

2560 / 1040

2560 1440 / 1040 / 720

640 / 320 1440 /320 720

500

Approach 2

Lab

Housing

Storage

Housing

Office Toilet

Storage

Toilet

Total

Bedroom Total

Common Bedroom Kitchen

Common Rest-

Kitchen

Rest-

640 / 160 320

320

160

2,000 / 760

880 2,000 / 440 / 760

640 / 320 880 / 440 320

640 / 320 160

320

160

Approach 3

Expansion Studies

Base

Deck

Canopy

Preferred Approach SIte Plan

Office

Sto.

Lab

Lab

T

Office

BEDROOMS T

T

COMMON KITCHEN

Kitchen

T Staff T

Exhibit

Café

Café Exhibit

outlier

tech review structure

systems

assembly

outlier

final

WILDERNESS CENTER AND TERRACES

outlier

plans

Research Lab

MECH

MECH MECH

MECH

STORAGE

CAFE

EXHIBIT

MAP ROOM

LAB SPACE

WORK SPACE COMMON

SEASONAL WORK / STAGING AREA

SEASONAL EXHIBIT / LECTURE AREA

Wilderness Center

KITCHEN

Research Lab

Housing

seasonal use

Most activity in the park is dictated by a huge seasonal shift. The use of Outlier is no different. During the summer months, buildings open and program space spills out onto the surrounding terraces. Conversely, during the winter months, The structures seals up and usage is extremely limited. In this way the use of the facility reflects natural cycles.

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Wilderness Center - April 15 - September 15

Park open to public May 1 - Sept 1

Research Lab - April 1 - October 1*

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A

*Uses Entirely Renewable energy - Open beyond with non- renewable backup

Housing- March 15 - October 15*

*Uses Entirely Renewable energy - Open beyond with non- renewable backup

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Summer

Winter south trailhead

outdoor Cafe

north trailhead

Snowmobile Parking bus / park staff parking

covered observation area

covered drop off / waiting area expanded work space

partially open depending on demand

seasonal work / staging area

expansion of living space / kitchen

outlier

Ramp to Research Lab and Housing

WIlderness Center Map Room and Main Hall

Housing Common Space

WILDERNESS ResearchCENTER Lab Collaborative AND TERRACES Space

outlier

engaging the wilderness

The National Park Service is perennially looking for ways to encourage visitors to venture out into the wilderness without compromising the purity of this environment. The park service is hesitant to set permanent trails as these will create human thoroughfares and disrupt the surrounding ecology.

This project proposes a transient network of trails and deployable hut structures to guide visitors as they enter the back country. Each season these paths can shift allowing former paths time to return to their natural state

Outlier Huts are designed to be air-dropped into place. Due to the pervasiveness of small aircraft in Alaska and the incredibly rugged terrain, these 100 s.f. structures are intended to be air lowered via helicopter as a refuge in some of the most inhospitable regions of the park. As they touch down they expand and deploy themselves on the ground.

These structures are composed of a double layer of pvc fabric with pv film cells imbedded in a south facing side. This will provide sufficient power to provide illumination during the nightime, creating beacons in the wilderness.

’-0

10 ” 10 ’-0

”

7’-0”

Closed

Transition

Open

Heli drop

LED Illuminated Hash Marker

PV Film

Ground Plane Anchor Key Deployable Anchor

Trail Markers are designed to be stacked and easily transportable. A Ranger could stake out a new trail with markers every mile in a single trip. They are comprise fo a thin sheet of steel and have a keyed anchoring device so that they remain fixed in place until needed to set the next trail. They also have a small PV cell and illuminated hash marker to help guide wayward hikers in the evenings

outlier

Path to Terraces

Research Lab and Housing In the Winter

outlier

FINALIST ROB HALLOCK The Link Advisor: Matt Heckendorn

FINALIST BRANDON JANY The HMHS Brittanic wRECk Center Advisor: John Blatteau

FINALIST JEFFREY PETERS Coming Soon Advisor: Stephen Varenhorst

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N I M CO FIL

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Jeffrey Peters Thesis Advisor: Stephen Varenhorst

This thesis project seeks to analyze the relationship between film and architecture. Both film and architecture aim to create a sense of harmony and story with a sequence of events or spaces. Can architecture replicate the excitement and emotion of the movie experience?

South Broad Street still lacks a clear identity; this project aims to work at different scales to create a 21st century vision for South Broad Street. The concept of the proposed building is a theater, school, and residential tower.

The theater portion of the building will showcase student work as well as newly released films. Also host local and international film festivals.

The function of the school is to teach movie making, and film production, film theory and screen writing. Students will develop the skill required with help from professional instructors. The school will be a annex to the local Philadelphia Unversities that teach film to bring together graduate students under one roof to work together.

The residential tower will house a small portion of student housing with it’s primary focus to be on market rate apartments. The tower can be used fund the school and theater programs.

60’

CEL 2 PARCEL 1

20’

Broad Stre

43’-6”

ce St

et

115’

150’

NEW COMBINED PARCEL 90’

95’

90’

PARCEL 2 PARCEL 1 90’

90’

PARCEL 3

150’

150’

115’

64’-6”

Spru

108’

64’-6”

223’

Broad Stre

et

NEW COMB

22

list of spaces

Site Context The selected site is located at 311-315 South Broad Street in Philadelphia Pennsylvania.

Currently hosting the Philadelphia Horticultural Societies pop-up park event, the site and the area were reengaged with a green space and mobile beer garden. The PHS pop-up park will be closed and dismantled at the end of October, 2013 returning the site back to a vacant lot.

The 300 block of Broad Street contains a vacant retail corner building (1344-52 Spruce St), a vacant historic cafe (311 S. Broad St), Broad Street ministries church, University of the Arts Anderson Hall (333 S. Broad St,) a 10-story building with classroom spaces and offices on the upper floors, and an existing 4 story parking garage with a Starbucks on the ground floor. Across the Broad is the Street Kimmel Center for Performing Arts and University of the Arts Hamilton Hall.

Zoning Base District: CMX-4 Center City Commercial Mixed-Use • Allowed uses

assembly and entertainment

business and professional

retail: consumer goods,

eating & drinking establishments

passive / active recreation

educational facilities

libraries and cultural exhibits

radio television and recording services

visitor accommodations • Max occupied area (% of lot):

buildings greater than 5 stories with

1 or more dwellings units 90% others 100%

Zoning Controls Supplemental Use Controls: 14-502(5) Parking Loading Controls: 14-502(6)(a): Vechicular ingress and egress is prohibited to and from the following: Accessory parking and loading and trash areas or structures 14-502(6)(f): Accessory parking lots are prohibited.

Special Review Controls: 14-502(8)(a): L&I shall not issue a building permit for the erection of a building or alteration of a façade in the Chestnut and Walnut Street Area, South Broad Street Area, or East Market Street Area until the Commission has reviewed plans of the facade and determined that the proposed facade, in the opinion of the Commission, is in harmony with Center City’s historic commercial area and pedestrian-oriented environment. The Commission has 60 days to approve or disapprove the application, after which its approval will be presumed.

School Entry Reception Admin Classrooms (6) Studios Film - Studio Screening Room Music - Recording Studio Graphics - Studio (4) Lounge Library Restrooms Storage Mail Room Mechanical Offices Conference Room Employee Lounge Residential Apartments (160) Theater Large Theater (250 seats) 2 Medium Theater (185 seats) Café Kitchen Resturant with kitchen Gallery/Exhibit Space Restrooms (16 total)

Total Square Footage

SF 100 s.f 300 s.f 2,200 s.f 1,200 s.f 2,000 s.f 3,000 s.f 1,000 s.f 600 s.f 1,400 s.f 1,525 s.f 1,525 s.f varies 2,000 s.f 100 s.f 1,000 s.f 150-200 800 s.f 800 s.f

150,000 s.f

4,000 s.f 3,200 s.f 1,200 s.f 800 s.f 10,000 s.f 2,000 s.f varies

190,750 s.f

‘CINEPALEGO’ FUTURISTIC CINEMA COMPETITION ENTRY TOKYO, JAPAN ARCHITECT: CHANSOO BYEON + DAICHI YAMASHITA COMPLETED: 2012 • • • •

URBAN INTERVENTION A NETWORK OF SCREENS DESIGNED TO CREATE A VARIETY OF SOCIAL SPACES INTEGRATE CINEMA INTO DAY-TO-DAY LIFE MAKE THE ACT OF WATCHING A MOVIE LESS OF INDIVIDUAL EXPERIENCE

MAXXI MUSEUM ROME, ITALY ARCHITECT: ZHA HADID ARCHITECTS COMPLETED: 2009 • • •

“CAMPUS FOR ART” PATHWAYS OVERLAP AND CONNECT IN ORDER TO CREATE MANY DYANMIC AND INTERACTIVE SPACES EVEN WITH OVERLAPING SPACES PROGRAM REMAINS CLEAR AND ORGANIZED

COLUMBIA COLLEGE CHICAGO MEDIA PRODUCTION CENTER CHICAGO, USA ARCHITECT: STUDIO GANG ARCHITECTS COMPLETED: 2010 • • •

OVERLAPING PROGRAM FILM PROGRAM THAT COULD BE USED FOR PROPOSED BUILDING CREATED SPACES USING FILM TECHNIQUES

BERNARD TSCHUMI & ARCHITECTURE FILM THEORY The architecture of Bernard Tschumi is inspired by cinematic terms and techniques. Tschumi’s Parc de la Villette in Paris is an urban park designed with consideration of the temporal quality of space, and the spatial quality of time derived from movement.

The Cinematic Promenade is regarded as a film strip composed of a montage of sequences and frames” (Tschumi, 1987:8). Successive frames of individual gardens represent the image track, and connecting pedestrian walkways represent the sound track.

Tschumi (1987:VI) argues that a cinegram is created by the rapid succession of frames, and therefore exists as a superimposition of independent parts. The relationship between the independent frames and the whole is essential in the understanding of the film, and the sequence of events becomes important.

Space, moment and events Tschumi (1994:9) states that “in their individual state objects, movements, events are simply discontinuous. Only when they unite do they establish an instant of continuity”. The relationship between objects, movements and events formulates the architectural experience. These form three levels to which the element of time is introduced in the form of moments, intervals and sequences.

The chief characteristic of the Transcripts is the sequence.

Tschumi (1994:10) defines the sequence as a “composite succession of frames that confronts spaces, movements and events”.

In order to gain the complete experience the succession of one frame after another is necessary. “The Transcripts are thus not self-contained images. They establish a memory of the preceding frames, of the course of events, their final meaning is cumulative; it does not depend on a single frame but on a succession of frames and spaces” (Tschumi, 1994:11). Similarly, movement through a building should be experienced as a sequence of events stimulating a sequence of experiences.

MID-REVIEW The principal of the design up to this point was taking the school spaces and laying them out in a linier sequence like a filmstrip. The spaces would be squeezed and stretched to create the linear form. Then taking the “filmstrip” created by the spaces and wrapping in around the building to inform the design of the interior.

Then taking the public spaces and places them in the empty area between the school spaces. The main theory influencing the design at this point was the idea of being watched and watching.

Theater

School

Residence Market-Rate Dorm

On the exterior the design would be informed by the surrounding context along Broad Street. Drawing sight lines from the adjacent properties such as Kimmels balcony and the university of the arts main building steps.

These sight lines would be used to place projectable surfaces on the building.

COMING SOON Film.theory.architecture 12.14.2013 Jeffrey Peters Thesis Advisor: Stephen Varenhorst COMBINING A FILM THEATER, FILM SCHOOL AND A RESIDENTIAL PRODUCING ‘COMING SOON’ PUBLIC SPACE LOBBY AND GATHERING SPACE ALONG SOUTH BROAD STREET FOR STUDENTS AND THE PUBLIC ONE SCHOOL LARGE FILM THEATER TWO MEDIUM THEATERS CAFE GALLERY/EXHBIT SPACE RETAIL SPACE CLASSROOMS STUDIO-SPACES FILM-STUDIO RECORDING-STUDIO COSTUMES-STUDIO LIBRARY SCREENING RESIDENTIAL SPACE 48 DORM APARTMENTS 160 MARKET RATE APARTMENTS PG Public Space for Everyone

Some Material May Be Inappropriate for Children Under 13

TYPICAL CLASSROOM SPACE

SQUEEZE AND STRETCH

CLASSROOM SPACE

LINEAR FORM

CLASSROOM SPACE

TECHNICAL REVIEW

FINAL REVIEW The final design was informed by the context of the site and the original idea of film, the principal that I filet was important since mid-review; that a person is being watched and is watching.

On the exterior the building was cut back along Broad Street to leave space at the side so that Broad Street Ministries could be used as a backdrop for the building.

The church’s historic façade would be a key component of the design. With the residential entry adjacent to the church it wouldn’t to public or to private.

The building would have two entries one along Broad Street with a small plaza in front; the plaza would add much needed green space to Broad Street. The second entry would be at the corner.

The two programs (school and theater) would both use the first floor as an entry, then spilt to separate the uses. The school would always be visible from the theater side to the public. The public could watch as the students worked and learned about film. Then the students could watch the public as well.

The public side would have a large atrium space and the visitors would experience a liner story like progression through the space as they worked their way up to the theaters. Visitor’s views would be directed into and out of the building at key points.

The exterior façade would add a type of drama to the building. A metal second skin would allow projection on the side of the building. During the day the public moving through the space would animate the building, then at night projection would animate the surface of the building. Allow movies to be projected on the façade of the building, the steps at University of the Arts and the Kimmel balcony would both become more inviting to the public. Creating a public realm outside the building along Avenue of the Arts.

3rd Floor Theater

Studio Admin

2nd Floor School

Cafe Entry

Ticket

Entry

Ground Floor

SECTION A

SECTION B

SECTION D

SECTION E

CONFIGURTION A – LECTURE

THEATER #4 & #5

CONFIGURTION B – FILM

THEATER WITH CHANGABLE USES - 150 SEATS (PER THEATER)

SECTION C

E

T TA RO

APPLY

INFO-GRAPHIC BECOMES INTERACTIVE FLOOR PATTERN. CAN BE USED BY VISITORS TO LEARN ABOUT THE MAKING OF FILM.

Story Board Scene 1: Along Broad Street

Scene 2: At the Steps

Scene 3: The Lobby

Scene 4: Lobby Part 2

Scene 5: The Second Floor

Scene 6: Large Theater

Scene 7: The Roof Deck

Scene 8: The Roof Theater

Scene 9: The Roof Theater(s)

OON

NG S

I COM

Scene 10: The Lobby Down

Scene 11: The Roof Deck

FIL

Scene 12: From Kimmel

M.T

HEO

R

C Y.AR

HIT

ECT

UR

E

Jeffrey Peters Thesis Advisor: Stephen Varenhorst

FINALIST CAITLIN YOUNGSTER The Plant Advisor: Natalie Malawey-Ednie

thePLANT  

  

initial design concepts//research + ideas + analysis PUBLIC SPACE

REVITALIZATION of two existing waterfronts for a purpose beyond developer driven projects or “green space” ESTABLISHMENT of a new product, service, industry and culture relavent to the modern city, integrated into a public space for the community INTEGRATION of old industrial relics as new pieces of infrastructure PERCOLATION of ideas to other post-industrial urban s new pieces of infrastructure

INDUSTRY BUILT WORLD INFRASTRUCTURE supported COMMUNITY supported INDUSTRY

NATURAL WORLD PRODUCERS CONSUMERS

     



     

//site selection + context















        







 



      



 

  

 

//site analysis

 









//historic context

2013

LOWER VENICE IS. PROJECT PWD installs stormwater basin New theatre constructed New children’s park + recreational equiptment

1980’s 1935

1815

SCHUYLKILL NAVIGATION CONSTRUCTED Manayunk Canal is part of it 62 miles of canals total Brings resources to the city Manayunk grows as a result

LAST FACTORY CLOSES Marks end of industry along Manayunk Canal

1815-1828

GROWTH IN MANAYUNK Industry drives demand for town Housing and Main Street built, pop. 1,098 10 mills on Venice Island

DECLINE IN BUSINESS Manufacturing is obsolete in the township Empty storefronts along Main Street Venice Island is abandoned

NOW THE PLANT

2004

CONDOS BUILT ON VENICE ISLAND First big development project

1890

HIGH POINT OF INDUSTRY Most land along canal is developed by factories/shops Largest is Economy Mills Manuf. cotton, textiles, paper, lumber, chemicals, and power

1812

RIDGE TURNPIKE COMPLETED Connects Philadelphia to Manayunk for the first time by road along Schuylkill

1690

LAND PURCHASED FROM WILLIAM PENN Built mills in Wissahickon Farmlands established

1830

TRACK LAID FOR PHILA, GERMANTOWN, NORRISTOWN RAILROAD Marks end of need for the Schuylkill Navigation System

1990’s

REVITALIZATION Developers open several restaurants on Main Street Advertised as a place to visit Re-establishment of an upscale commercial cooridor



                                                                                      

//site + contextual photos

conceptual design//planning

//design intentions in section Vertical Farm

The gardens take advantage of southern explosure and are supplemented by LED lighting, powered by a micro-hydro system. Automatic operable windows help to reduce conditioning costs while maintaining an ideal climate for plant growth

Plans to extend the Bala-Cynwyd Heritage

Bike and Pedestrian Trail

accross the old Manayunk Train Bridge to conne Aquaponic and hydroponic stacks take advantage of southern explosure and are

Putting the Past on Display by framing the wool mill ruins and creating a canvas for public art installations in this space.

The Lookout spot.

Growing roof and water harvesting system

Main Street, Manayunk +24.3’ Towpath +15.8’ Top of Venice Island +12.7’ Schuylkill River 0.0’ New trees for shade and soil remediation

Connect to and enhance existing Towpath trail





Modular Design

Farm units are modular in design, allowing the farming component of the building to increase or decrease in production based on future demand.

Percolation

Modular farms can be set-up on site, then transported to one of thousands of vacant properties in post-industrial Philadelphia, acting as a model for design and establishing a modern industry for a modern city.

Vertical Greenhouse Farm

Aquaponic and hydroponic stacks are efficient with space and with resources, re-using water and creating a closed-loop system with the introduction of fish.

Public Plaza

This space acts as an extension of the marketplace

Brings people to upper levels and provides seating and social space

protects the island edge from erroding and from adjacent land , improves water quality and creates a habitat for creatures.use,

Main Street, Manayunk +18.8’ Towpath and Venice Is. Rail Line +13.3’

Continuation of Pedestrian Path



Constructed based on existing industrial bridge to access second floor of building

Big Stairs

Riparian Buffer

Schuylkill River

New Pedestrian Bridge

ADA Ramp to Second Level

Observation Deck

Existing Healthy Riparian Edge



Storage and rec. equip.

Venice Island (Fill, Brownfield)

Schuylkill River 0.0’

Grassy place for picnics and recreation

Venice Is. Rail Line

Manayunk Canal

Towpath Trail

Existing Commercial w/ Apartments Above

Main Street, Manayunk

//design intentions in plan The Venice Island Garden creates a place especially for the

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Infrastructre as a canvas for

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EXISTING WOODED PLACE

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Use light, water, kinetic sculpture and art to attract people to

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the canalfront and Enliven the space

NEW PARK AND PEDESTRIAN BRIDGE ACROSS

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Up to 50 Kw electricity from a micro-hydro system to power vertical farms or to give back to the grid

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Re-Use of old

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infrastructure elements for new purposes

shallow place to Explore the water while also managing

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NEW PARK AND PEDESTRIAN BRIDGE ACROSS

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allow for new recreational activities that engage people with nature and water.

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EXISTING RIPARIAN BUFFER

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

A Public Plaza is the convergence of the built and natural, the public and the industrial, for people.

NEW PARKING FOR EMPLOYEES 24 SPACES

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//system + structural design concepts

the Plant//final design

       

//site design





 

//main building concepts + phasing diagrams

    



    

    

     

   

     

    

//building + structural components

//ground floor plan

//upper floor plans

5WOOGT 5WPUJKPG 28 2CPGNU 5WOOGT 5WPUJKPG

agriculture

//building systems

5WRRNGOGPVCN 28 2CPGNU

*8#% /CKPU ├Д )TQYKPI WPKVU RNWI KPVQ EKTEWNCVKQP WPKVU

2QUV├Д6GPUKQP %QPETGVG 5NCD $GCOU CPF %QNWOPU

water

яБ┤яБияБ▓яБпяБ╡яБзяБияАаяБ╢яБеяБ▓яБ┤яБйяБгяБбяБмяАаяБжяБбяБ▓яБняБйяБояБзяАаяБняБпяБдяБ╡яБмяБеяБ│яАаяАляАа яБ░яБ╡яБвяБмяБйяБгяАаяБ░яБмяБбяБ║яБбяАаяАляАаяБояБбяБ┤яБйяБ╢яБеяАаяБеяБдяБйяБвяБмяБеяАаяБзяБбяБ▓яБдяБеяБо

/GVCN 1RGP├Д)TCVG (NQQTU HQT .KIJV 2GPGVTCVKQP CPF 4GHNGEVKQP

energy

яБУяБеяБгяБ┤яБйяБпяБояАаяБРяБеяБ▓яБ│яБ░яБеяБгяБ┤яБйяБ╢яБе

daylighting

*[FTQRQPKE 6TC[U

//building design

 

 

//physical model

 