Re-Urbanize: Redeveloping an Anachronistic Urban Space

Re-Urbanize: Redeveloping an Anachronistic Urban Space Evan Robert Stellman Presented to the Faculty of the Department of Architecture Wentworth Institute of Technology in Partial Fulfillment of the Requirements for the Degree of Master of Architecture April 2015 Approved by the Committee: Primary Advisor:

________________________________________ Zachariah Pursley

Interim Director, Graduate Studies: ________________________________________ Elizabeth Ghiseline

- RE-URBANIZE A THESIS STUDY OF THE (RE)DEVELOPMENT OF AN ANACHRONISTIC URBAN SPACE.

EVAN STELLMAN

2015 M-ARCH THESIS PROFESSOR ZACHARIAH PURSLEY

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YELSRUP HAIRAHCAZ ROSSEFORP

NAMLLETS NAVE

THANK YOU I would like to thank my family for supporting me throughout my education, my friends whom accompanied my on the journey, and the professors whom have enlightened me with incomperable knowledge and wisdom.

ABSTRACT

This book is a manefestation of the research, analysis and design conducted at Wentworth Institute of Technology from September 2014 to April 2015 as partial fulfilment of the degree requirements for the Master of Architecture program.

This thesis examines manner in which adaptive reuse can be utilized to revitalize an urban setting. This is an important study because it examines how a city can be rejuvinated my manipulating the existing formal spatial arrangements rather than demolishing and starting new again.

CONTENTS

INTRODUCTION 1

Definitions Introduction Statement

RESEARCH 5

Development of Style Manipulation of Place Passing of Time/ Adaptive Reuse The International Style

CASE STUDIES 15

Ford Point/Craneway Pavilion Artscape Wychwood Barns Mass MOCA Urban Outfitters Headquarters

SITE 25

Site Selection Site Photographs Preliminary Program Analysis

PROJECT GOALS

31

PROPOSAL

Methodology Process Ecology Economy Community Housing

39

CONCLUSION

45

APPENDICES

59

Site Program Circulation and Connections Ecological Design Economic Improvement Residences Community Spaces

Site

Works Cited Ima`ge Credits

CHAPTER

01

INTRODUCTION

DEFINITIONS Style [stahyl] : In reference to architecture: a particular appearance, that draws allusions to specific, times, places and cultures.

Soul [sohl] : In reference to an inanimate form, object, or architecture: The spirit that is not present in visual or physical form, but portrayed via metaphysical conditions.

Adaptive Reuse [uh-dap-tiv ree-yooz] : The act of providing essential contemporary elements in order to rejuvenate an anachronistic form, object, or architecture Appropriation [uh-proh-pree-ey-shuh] : To recontextualize an object or form with the intended outcome being rejuvenation (prominent term in art).

Revitalize [ree-vahyt-l-ahyz] : To provide a form, object, space, or architecture with a new life.

Rejuvenate [ri-joo-vuh-neyt] : To bring a form, object, space, or architecture to a new state; to make new again.

Renovate [ren-uh-veyt] : To make a form, object, space, or architecture new again, usually by updating anachronistic qualities.

Remodel [ree-mod-l] : To make a form, object, space, or architecture new again by redefining its formal spatial arrangements.

Restore [ri-stawr] : To make a form, object, space, or architecture new again by returning it to its original state.

Metaphysical [met-uh-fiz-i-kuh] : An abstract ideology that implies a deeper connection than visual or physical.

Genius Loci [jeen-yuh s loh-kahy] : The protective spirit of a place; the prominent characteristics that define a place.

Introduction

3

INTRODUCTION

This thesis is an exploration of how an anachronistic building development can be adapted in order to improve the overall health of the entire community. My initial research in the implementation of this thesis focuses on the relationship between an architecture and its time, place, and culture. Theoretically, when we strip a building from the design tendencies influenced by time, place, and culture, we would be left with a common shelter (skeleton): A primitive hut. Style is developed when time, place, and culture introduce new materials, new programs, new construction techniques, and new forms to the primitive hut. This allows the build form to develop an intimate connection with a given time, place and culture. These influences allow an architecture to develop a soul. This soul allow architecture to become a machine for living, working, and playing; rich in spirit and character. The next area of focus analyzes the passing of time and manipulation of place, and their effects on architectural styles. The passing of time has an interesting impact on a built form. In some cases, a home will grow as a family grows, responding to new needs and satisfying new demands. As the building responds to its given time and place, it will develop a stronger soulful relationship; a deeper connection to its site, and its inhabitants. This thesis focus on what happens when a building does not initially adapt to the passing of time. How should the renovation, restoration, or remodel of a building that has outlived its purpose be approached? Although they have lost their cultural connection, these buildings still maintain an intimate connection with their site, and they are expressive a past time and place. After examining a series of urban sites, I chose the Pacific Mills site in Lawrence, Massachusetts. I selected this site because of the potential that is saw in it. The immense buildings, and location along the waterfront is ideal for creating a new urban hub for the city of Lawrence. This would be an important shift in the revitalization of the city because it was a established as a city in the late 1800’s and lacks the urban elements of modern cities.

This thesis is a study of how we can use yesterday’s buildings to influence a better urban community for tomorrow.

The adaptation of an anachronistic urban development will provide the necessary framework to improve a community within a city; thus re-urbanizing and rejuvenating, and Revitalizing the city.

4

02

CHAPTER

PRELIMINARY RESEARCH

Development of an Architectural Style

Research Prompt: How does an architecture capture the essence of a time, place and culture?

“Lack of culture means what it has always meant: ignoble civilization and therefore imminent downfall.”

-Frank Lloyd Wright

Architectural styles have been formed as an expression of time, place, and culture. This is evident when looking at today’s suburbia: the facades of homes are expressive of the time during which they were built, the climate that they are suited for, and the general program within. For example, a low stucco home with large overhangs would have been designed for hot, desert-like climates. Going further into this examination, a home that uses local materials develops a deeper connection with it’s site (E.G. a log cabin being constructed from the trees on its site).

In his article, Design + Culture: A return to Fundamentalism, David Carlson and Brent Richards analyze the role of culture in modern design. They state: “Design has become the embodiment of a larger process of creative ‘culture-mongering’ that has become a means to capture ideation, innovation and enterprise and made to stand for cultural identity.”

(Carlson, Design + Culture). In essence, design has become the pinnacle representative of cultural success. Built forms have become physical representations of a culture’s success (or failure).

Conclusion: A building accrues a soul, or a specific character, as a response to the time in which it was developed, its users, and its vernacular.

Introduction

7

The Primitive Hut. The image to the left represents a home without any design features that have been influenced from any particular time, place or culture. The three images below are based off of this primitive hut, but each represent a different architectural style.

Victorian Style Home Typical Attributes: Steep roof with dominant gable, asymmetrical facade, single-story porch-usually along two exterior walls.

The Victorian Style was derived from the time that Queen Victoria ruled Great Britain (Victorian Era). This style celebrates materials and surfaces as well as industrial evolution and local materials.

Colonial Style Home Typical Attributes: Symmetrical facade, typically square geometries & proportions, axial entrances, decorative crown above the front door, pair of chimneys.

A colonial style refers to the design tendencies used in the early colonization of The United States of America. The first of these homes (early 1700’s) were similar to those of England. As time progressed, the colonial style evolved from Georgian Colonial to colonial revival, to classical colonial, and to Dutch colonial. These styles of homes allow for metaphysical relationships between architecture and occupant via their allusion to history. (Poppeliers, Style).

(Figure 2.01)

Craftsman Style Home Typical Attributes: The Craftsman style of homes began during the Arts and Crafts movement between the 1950’s and 1920’s. This style highlights the nature and craft of materials. This movement was a response to the industrial revolution of the 1800’s; the style was born when architect Augustis Pugin became frustrated by the disconnection between craft and laborer during the industrial revolution. (Losinger, web). This style allowed people to take more pride in their homes, thus creating a cherished relationship between style and culture.

8

Development of Style

The Manipulation of Place

Research Prompt: How does the manipulation of place affect an architecture?

In their article, Orange County, Java: Hybridity, Social Dualism, and an Imagined West, Robert Cowherd and Eric Heikkila analyze the stylistic phenomenon that has occurred in Jakarta, Indonesia. Due to the media, the Jabotabek culture glorified western culture and therefore desired similar homes. The introduction of western style architectures (Orange County style homes) to the Jabotabek culture allowed these people to live a visually similar lifestyle to what they had observed from Hollywood.

The juxtaposition of the western style and Indonesian culture influenced immense changes in the built form of the homes. The facades remained unchanged, but interior architecture was manipulated to suit the Indonesian culture. For example, a second kitchen would added to the home would be used for the typical Indonesian methods of cooking and eating while the first remained to invite the western culture into the home.

Although the imposition of a foreign architecture on a culture had immensely manipulated the built form, it was successful in creating a respectful adaptation of both typologies; developing a metaphysical relationship between a foreign style, and a new time, place, and culture. (Cowherd, Orange County Java)

A great example of this type of relationship is Falcon City of Wonders in Dubai. This themed neighborhood allows people to live among the seven wonders of the world. The homes in this development have identical floor plans that cater to the Aarabic lifestyle, but the skin of the homes are manipulated to provide residents with various style options.

Conclusion: When an architecture is transplanted from its intended time, place, or culture, an interesting shift in its design occurs. The juxtaposition of the two times, places, or cultures creates a new architectural style in and of itself.

Introduction

9

(Figure 2.02)

10

(Figure 2.03)

(Figure 2.04)

(Figure 2.05)

(Figure 2.06)

Manipulation of Place

The Passing of Time/Adaptive Reuse

Research Prompt: How does the passing of time affect a built form?

In her book, Redeveloping Industrial Sites, Carol Berens outlines the rise and fall of industrial buildings in New York City. During the late 19th century, it was common to tear down buildings that were not being used to make room for new developments. This was a time period where many industrial style buildings were left vacant after their occupants moved to the south for cheaper and more accessible labor. Urban renewal brought many high rises to the city but the lack of funds left many parcels vacant. Local artist unknowingly created a new economic approach: adaptive reuse. These artists would take over large, cast-iron industrial buildings and convert them into studios. This created a monumental shift in the economic development of cities. The passing of time would no longer influence a cycle of demolition and new construction; it would influence a more economical approach that celebrated regional architecture and preserved its historical value (Berens, Redeveloping Industrial Sites).

Figure 2.07 shows possible manipulations to a built form with the passing of time. The top images show a home being expanded to fulfill its occupants needs. The bottom images show a factory that has outlived its purpose and is therefore being adapted.

Conclusion: As time passes, new technologies, cultural shifts, and societal norms introduce new design tendencies and interventions to existing styles. While some buildings can easily adapt to the changing times, others require immense efforts to adapt. As a reaction to these shifts, a new program might be introduced to these buildings.

Introduction

11

(Figure 2.07)

12

Passing of Time

An International Solution

Research Prompt: How can the effects of time and place on an architectural style be alleviated?

The International Style (1930’s): “There is, first, a new conception of architecture as volume rather than as mass. Secondly, regularity rather than axial symmetry serves as the chief means of ordering design. These two principles, with a third proscribing arbitrary applied decoration, mark the productions of the international style.”

-Philip Johnson

The International Style was an extremely successful exhibition at the Museum of Modern art in the early 1930’s and the accompanying book became a guideline for modern architecture. The key characteristics of The International Style are: rectilinear forms, light surfaces that have no ornament, open interior spaces, and a visually weightless or light presence in the architectural form. The images to the right are some examples of The International Style.

Walter Gropius Bauhaus Dessau: (Figure 2.08) Mies Van Der Rohe Crown Hall: (Figure 2.09) Le Corbusier Villa Savoye: (Figure 2.10) Walter Gropius Fagus Factory: (Figure 2.11) Mies Van Der Rohe Barcelona Pavilion: (Figure 2.12) Conclusion: The international style provided the framework for a non-vernacular buildings, and the lack of excess building character created a new architectural typology that could be imposed onto any setting.

Introduction

13

(Figure 2.08)

14

(Figure 2.09)

(Figure 2.10)

(Figure 2.11)

(Figure 2.12)

The International Style

03

CHAPTER

CASE STUDIES

Ford Point/ Craneway Pavilion Address: 1414 Harbor Way South Richmond, California, USA. Prior program: Assembly Factory (ford Motors) & Wartime Production Facility New Program: Mixed use- Focus on Residential, and smallscale public/commercial spaces.

Date Built: 1930 Date of Adaptation: 2004-2009

(Figure 3.1)

Case Studies

(Figure 3.2)

17

(Figure 3.3)

(Re)-Model:

The Ford Point / Craneway pavilion appropriated a half-mile long, 500,000 square foot assembly plant to respond to modern demands. This development introduced Restaurants, residences, a visitors center, and 40,000 square feet of public space (Craneway pavilion) to the anachronistic architecture.

(Figure 3.4)

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Ford Point/Craneway Pavilion

Artscape Wychwood Barns Address: 61 Christie Street Toronto, Ontario, Canada.

Prior program: Streetcar repair and housing facility for Toronto Civic Railway New Program: Mixed use- Intended to become a new social & cultural hub.

Date Built: 1913 Date of Adaptation: 2008

(Figure 3.5)

Case Studies

(Figure 3.6)

19

(Figure 3.7)

(Re)-novate:

This adaptive reuse project transformed an abandoned streetcar shed into a modern cultural hub with heavy influences from the arts. Upon its completion, this project has become a hub for arts, culture, food, and urban agriculture. The new design took advantage of the immense formal spatial arrangement to develop large communal gathering spaces (E.G.: farmers market) as well as smaller, intimate spaces (E.G.: artist’s studios).

(Figure 3.8)

20

Artscape Wychwood Barns

Massachusetts Museum of Contemporary Art Address: 87 Marshall Street North Adams, Massachusetts, USA. Prior program: Various Industrial Buildings (26 total).

New Program: Museum Date Built: Late 1700’s-mid 1800’s Date of Adaptation: 1999

(Figure 3.9)

Case Studies

(Figure 3.10)

21

(Figure 3.11)

(Re)-Model:

The Massachusetts museum of fine arts utilized a complex of existing industrial buildings to develop their ideal formal spatial arrangements. Their design stripped the interior elements from the existing buildings to accommodate for large art installations while still respecting the old soul of the prior programs.

(Figure 3.12)

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Mass MOCA

Urban Outfitters Corporate Headquarters Address: 5000 South Broad Street Philadelphia, Pennsylvania, USA. Prior program: The Philadelphia Naval Shipyard New Program: Corporate Headquarters Date Built: 1872 Date of Adaptation: 2006 (Figure 3.13)

(Figure 3.14)

Case Studies

23

(Figure 3.15)

(Re)-Store:

The soul of this complex has been preserved with its adaptation into Urban Outfitters new corporate headquarters. In order to achieve this preservation, the structures of this site have been restored to an ultimate state. The windows have been removed, reglazed, and put back in, and many of the built forms imposed onto these structures have been constructed with local materials (wood/ stone).

(Figure 3.16)

24

Urban Outfitters Headquarters

04

CHAPTER

SITE

Site Selection & Photographs

The site selected for this project is the Pacific Mill Industrial Complex at 300 Canal Street in Lawrence, Massachusetts. This site was chosen because of its location, its history, and its potential. This complex is sited on a manmade island that was formed in the mid 1800’s. The damming of the Merrimack River in 1847 sparked an immense industrial boom in the city of Lawrence because of the ability to harness and control the river’s power. The Pacific Mills complex operated as a textile mill until new technology allowed production to be moved inland. Although the complex is still active as an industrial space, it is underutilized. This site has the potential to act as a threshold between the Merrimack River and the City of Lawrence. The buildings boast 700,000 square feet of developable space with favorable open spaces surrouding them. This is an ideal site for redevelopment because it has the opportunity to revitalize the entire community of Lawrence.

Site Analysis

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IMAGE 3 (Taken from City Hall)

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Site Selection & Photographs

Preliminary Program Analysis An early analysis of program and site revealed a series of parameters to be followed:

Site Analysis

Public Green Space: The empty space between buildings can be utilized as public green spaces. A green corridorswill connect the Campagnone Common and the Merrimack River.

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Primary Programmatic Elements: The largest building should house the largest program; with more leasable square footage as well as an open market. Because of it’s size and location at the center of the site, this building will house the alluring programmatic elements.

Buildings to be Reevaluated: The smaller buildings along the edge of the site either be demolished or retrofitted for back of house programmatic elements. Because of its height, smokestack is the primary visual connection to the site.

Threshold: The area between the largest building and the street will act as a threshold for the commercial spaces. A landscaped deck will extend from Canal St. to the Merrimack River with a parking built into the grade change below the deck.

30

Mixed Use: The buildings that are situated away from the main roadway and river will be used as retail spaces on the ground floors, offices on the second floors, and condominiums between the third and fifth floors.

Preliminary Program Analysis

05

CHAPTER

PROJECT GOALS

Methodology

Project Goals

The parameters for this project have been broken up into 4 categories. Ecology focuses on environmental intaction between the site, its users, and the community. Economy focuses on the economic impact of the project and the built form that will support it. Community focuses on the buildings, spaces, and connections that will benefit the entire community. Furthermore, the programmatic elements that bring the community together. Finally, housing focuses on the residential aspect of the project and the amenities made available to the residents of Pacific Mills.

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Working towards the final design stage, my process developed these four major design elements while focusing on the connections to and among the site. The design process also focused on the physical build form and interventions, spatial arrangements of the public green space, programmatic relationships, user experience. The process started with an analysis of the site to determine the conditions, project goals, and parameters of the site. I then developed a preliminary program anlysis. As I worked the program into the buildings, I developed the connections between them and the circulation around them.

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Process

Methodology and Process

Ecology

Amenitize and Connect Public Green Spaces:

Highlight and Preserve the Water’s Edge:

Project Goals

35

Economy

Connect to the Existing Downtown Retail Core:

Utilize a Central Core for Retail and Circulation:

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Ecological and Economic Goals

Housing

Introduce Mixed Use Program:

Provide Complementaty Programmatic Elements:

Project Goals

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Community

Break the Urban Edge:

Expand Existing Grids Through the Site:

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Community and Residential Goals

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CHAPTER

PROPOSAL

Site

4 3 1

5

4 6

2

1 West Deck 2 Riverwalk 3 Commercial Building Proposal

4 Residence Buildings 5 East Deck 6 East Park

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Program

West Deck Landscape Parking

Atrium Mechanical

Vertical Circulation Ramps

Studio “B” Studio “C”

Residences Studio “A”

Studio “D” Art Galleries

Retail Flexable Office Space & Open Market

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East Deck Landscape

Parking & Loading Dock

Site and Program

Part I: Connections and Circulation

The connections to the site and among the primary programmatic elements of the development play a vital role in the overall comfort and walkability of the site. One of the major goals is to break the edge between the Merrimack river and the urban fabric. This is accomplished via the series of paths and boardwalks that meander throughout the site. The two major axis on the site extend from the existing street grid line to the Merrimack River. The image to the right shows the boardwalk that extends from Lawrence Street over a new pedestrian bridge. The existing bridge that extends from Appleton Street would be converted into a pedestrian only bridge as well. By doing so, a greater emphasis would be put on the pedestrian and walkability over the automobile. From the two major axes, a series of paths connect directly to the first and second floor retail and open market spaces, as well as the third through fifth floor residences, studios, and gallery spaces. The portion of the studio building that is closest to the river (shown to the left) accommodates an open air circulation node to connect the artist’s gallery spaces as well as the public green spaces and the riverwalk. The new landscaped open green spaces on the site will be connected by a continuous path to provide users with direct access to a series of immense green spaces.

Proposal

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Connections and Circulation

Part I: Connections and Circulation The existing streets extend through the site to the Merrimack river

Proposal

Paths extend from these axes to the retail, office, and open market spaces.

45

The artists studios and gallery spaces have individual thresholds on the large building. A portion of this building accomodates an open air vertical circulation node.

A continuous path connects all of the public green spaces on the site.

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Connections and Circulation

Part II: Ecological Design

The previous site conditions did not have any connection between the river, the site, and nature. This design calls for the blending of these three elements while respecting the eclology along the riverbank. This is done via a series of interventions that deconstruct the existing edge along the riverbank and pringing the program to the water. The riverwalk is designed to be constructed on wooden piles rather than imposing a large foreign mass onto the river’s edge. The riverwalk extends the entire length of the island providing a connection to a series of green spaces. This inspires a deeper connection between the user and the landscape which would, in turn, influence more respect for the river and the environment. The runoff from the site will be collected in a cistern in the parking garage and filtered via a water feature that runs along the western edge of the site before entering the waterway. This will help alleviate pullutants in the Merrimack river. The unused green space between the riverwalk and the site will be plated with native species. These gardens will extend into the studio building’s atrium. Finally, the public green spaces on the site are designed to alleviate the impervioius areas of the site.

Proposal

47

48

Designing to Support Ecology

Part III: Economic Improvement

A large portion of the program for this project is devoted to economic improvement of the city. Most of the first and second floors are designed to house large scale retail, small botique shops and restaurants, and offices. The juxtapostion of these programmatic elements alone; as wel as the easy access to the site help to re-urbanize the city by bringin Pacific Mills up to modern urban standards. The retail corridor ,highlighted in blue in the plans to the right, extend the existing retail corridor from Lawrence Street, down to the Merrimack River. The large scale retail (E.G. Whole Foods), is situated behind these stores with direct access to the parking garage. This is done so shoppers would not have to carry their groceries across the site to their vehicles. The back of house warehouse and loading dock, highlighted in purple, prevents the back of house pollution to interfere with the public green spaces and rsidences. On the second floor, the flexable open marketplace, highlighted in green, gives artists and community venders an immense space for business. The office space in the opposite building mediate the area between the busy retail corridor and the residences above.

Proposal

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Designing for a Better Economy

Part IV: Residences

The new residences at Pacific Mills are intended to invite a new series of demographics to the city. The target demographics for these condominiums are young single people and young families. The programmatic relationship between the residences, the green space and the studios is designed to be inviting to artists and their families. This is done to highlight the metaphysical presence of the previous program on the site. In the past, these buildings were used as textile mills; the adaptation into artist’s studios allows these building to remain buildings “for the making.” The mixed use buildings of the site will also attract new residents. The introduction of a variety of programs influences a more urban feel for the community rather than having a series of neighborhoods with shopping, green space, entertainment, and offices seperated.

The imposed built form on the envelope of the residential buildings provides residents with a sense of pride and individuality, despite living in a shared building.

These intervention “bump-outs” extend the program outward 4.5 feet. The bump-outs that are two window bays wide are extended from the semi-public spaces of a 3-4 bedroom conominium. The single window bay bump-out is extended from a studio apartment or bedroom. The composite metal paneling introduces new color and new material to the site while respecting the industrial past of the site.

Proposal

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Designing for Residents

Part V: Community Spaces

The interaction of public and semi public programs among the site provide a series of immense community oriented spaces. The artist’s studios help to build a community because they give artist a space to interact with other artist as they create, and interact with the public while they sell their work in the open market, or display their work in the gallery spaces. The spatial arrangment of the studio spaces is reflective of this interactive community. Each floor of the studio opens to the one below it; this relationship allows the maximum amount of light to enter the space while providing the artist community with a beneficial interactive studio space. The semi-public courtyard space of the residential building is oriented to give residents the opportunity to interact with other residents without the heavy crowd from the retail and office spaces below. The public green spaces and the pathways that connect them provide a series of green spaces for the entire city to utilize

Proposal

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Designing for a New Community

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CHAPTER

CONCLUSION

Conclusion

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The final design was successful in providing the city of Lawrence with a benefical urban adaptation that would be instrumental in re-urbanizing the city. The connections to the site and among the site would break the sharp urban edge that seperates the urban fabric and the river. These connections would also provide users with immense spaces that are worth caring about. The mixed use program would help revitalize the city’s economy by providing a place for new residents to live, and a series of places for the community to work, shop, and relax.

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Proposal Critique

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APPENDICES

WORKS CITED 2.1. Poppeliers, John C., and S. Allen Chambers Jr. What 2.9. Rabun, J. Stanley and Richard Kelso. Building Evaluation Style is It: A Guide to American Architecture. John Wiley & for Adaptive Reuse and Preservation. Hoboken, NJ. John WiSons, 2003. ley & Sons, Inc. 2009.

2.2. Morrison, Hugh. Early American architecture: from the 2.10. Burchell, Robert W., and David Listokin. The adaptive first colonial settlements to the national period. Courier Do- reuse handbook: Procedures to inventory, control, manage, ver Publications, 1952. and reemploy surplus municipal properties. New Brunswick, NJ: Rutgers University, Center for Urban Policy Research, 2.3. Brooks, H. Allen. Frank Lloyd Wright and the Prairie 1981.

School. New York, NY: George Braziller, 1984. Print.

2.11. Le, Corbusier, and Frederick Etchells. Towards a New 2.4. Carlson, David and Brent Richards. “Design + Culture: A Architecture. London: Architectural Press, 1946. Print.

Return to Fundamentalism?” David Report. Issue 13, March 2011. Web. <http://www.davidreport.com> 2.12. Hitchcock, Henry-Russell, and Philip Johnson. The International Style. New York: Norton, 1966. Print.

2.5. Lonsinger, Ken. “Craftsman perspective: History.” April 6, 2010. Web. <http://www.craftsmanperspective.com> 3.1. King, John. “The Ford Assembly Building.” Architectural Record. Febuary 22, 2010. Web. Accessed December 9, 2.6. Cowherd, Robert, and Eric Heikkila. “Orange Coun- 2014. http://archrecord.construction.com/projects/bts/arty, Java: Hybridity, Social Dualism, and an Imagined West.” chives/adaptivereuse/10_The_Ford_Assembly_Building Southern California and the World. Westport, CT: Greenwood Publishing, 2002. 195-216.

3.2. Kane, Peter. “Ford Point.” Adaptive Reuse. Web. Accessed December 9, 2014. http://adaptivereuse.info/portfo2.7. Cantell, Sophie Francesca. “The adaptive reuse of his- lio/ford-point/ toric industrial buildings: regulation barriers, best practices and case studies.” PhD diss., Virginia Polytechnic Institute 3.3. DTAH Architects. “Artscape Wychwood Barns.” DTAH and State University, 2005.

Projects. 2010. Accessed December 10, 2014. http://dtah. com/project/artscapewychwoodbarns.

2.8. Berens, Carol. Redeveloping Industrial Sites. A Guide for Architects, Planners, and Developers. Hoboken, NJ. 3.4. Kohn, Liz and The Toronto Artscape Office. “Artscape.”

John Wiley & Sons, Inc. 2011.

Artscape. January 1, 2010. Accessed December 10, 2014. http://www.torontoartscape.org/.

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3.5. Bruner & Cott Architects. “Mass MOCA.” Brunercott Featured Projects. 2000. Accessed December 10, 2014. http://brunercott.com/featured_projects/fp_mass_moca.

3.6. Kane, Peter. “Mass MOCA.” Adaptive Reuse. Web. Accessed December 9, 2014. Kane, Peter. “Ford Point.” Adaptive Reuse. Web. Accessed December 9, 2014. http://adaptivereuse.info/portfolio/ford-point/ 3.7. Yoo, Alice. My Modern Met (blog). Urban Outfitters Creative Headquarters. December 9, 2010. Web. Accessed December 10, 2014.http://www.mymodernmet.com/profiles/ blogs/urban-outfitters-creative 3.8. Kane, Peter. “Urban Outfitters Corporate Campus.”

Adaptive Reuse. Web. Accessed December 9, 2014. http:// adaptivereuse.info/portfolio/urban-outfitters-corporate-campus.

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Works Cited

IMAGE CREDITS Figure 2.1. Stellman, Evan. Development of Style. AutoCAD Figure 2.10. Unknown. Villa Savoye. Wikipedia, Le Corbusier Villa Savoye. http://upload.wikimedia.org/wikipedia/ drawing edited with Photoshop. en/3/3c/VillaSavoye.jpg. September, 2014.

Figure 2.2. Stellman, Evan. Development of Style. AutoCAD Figure 2.11. Unknown. Fagus Factory. Wikipedia, Walter drawing edited with Photoshop.

Gropius Fagus Factory. http://en.wikipedia.org/wiki/File:FaFigure 2.3. Unknown. FalconCity of Wonders. 2006. Wi- gus_Gropius_Hauptgebaeude_200705_wiki_front.jpg. Sepkimapia, Falconcity of Wonders.http://wikimapia.org/740823/ tember, 2014.

Falcon-City-of-Wonders. 3 November, 2014.

Figure 2.12. Unknown. Barcelona Pavilion. Wikipedia, Mies Figure 2.4. Unknown. FalconCity of Wonders. 2006. Wi- Van Der Rohe Barcelona Pavilion. http://en.wikipedia.org/ kimapia, Falconcity of Wonders.http://wikimapia.org/740823/ wiki/Barcelona_Pavilion#/media/File:The_Barcelona_Pavilion,_Barcelona,_2010.jpg. September, 2014.

Falcon-City-of-Wonders. 3 November, 2014.

Figure 2.5. Unknown. FalconCity of Wonders. 2006. Wi- Figure 3.1. Hustace, Billy. The Ford Assembly Building. kimapia, Falconcity of Wonders.http://wikimapia.org/740823/ 2010. Architectural Record, The Ford Assembly Building. http://archrecord.construction.com/projects/bts/archives/ Falcon-City-of-Wonders. 3 November, 2014. adaptivereuse/10_The_Ford_Assembly_Building. 9 DecemFigure 2.6. Unknown. FalconCity of Wonders. 2006. Wi- ber, 2014. kimapia, Falconcity of Wonders.http://wikimapia.org/740823/ Figure 3.2. Hustace, Billy. The Ford Assembly Building.

Falcon-City-of-Wonders. 3 November, 2014.

2010. Architectural Record, The Ford Assembly Building.

Figure 2.7. Stellman, Evan. Passing of Time. AutoCAD draw- http://archrecord.construction.com/projects/bts/archives/ adaptivereuse/10_The_Ford_Assembly_Building. 9 Deceming edited with Photoshop. ber, 2014.

Figure 2.8. Unknown. Bauhaus Dessau. Wikipedia, Bauhaus. http://en.wikipedia.org/wiki/Bauhaus#/media/File:Bauhaus. Figure 3.3. Vertikoff, Alex. The Ford Assembly Building.

2010. Architectural Record, The Ford Assembly Building.

JPG. September, 2014. http://archrecord.construction.com/projects/bts/archives/ Figure 2.9. Unknown. Crown Hall. Tectonics and Skeleton Skin adaptivereuse/10_The_Ford_Assembly_Building. 9 Decem(Blog), Mies Van Der Rohe Crown Hall. https://tshkbarc1a. ber, 2014. wordpress.com/ludwig-mies-van-der-rohe. September 2014

Appendices

63

Figure 3.4. Vertikoff, Alex. The Ford Assembly Building. 2010.

Architectural Record, The Ford Assembly Building. http:// archrecord.construction.com/projects/bts/archives/adaptivereuse/10_The_Ford_Assembly_Building. Photograph. 9 December, 2014.

Figure 3.11. Bruner & Cott Architects. Mass MOCA. 2000.

Brunercott Featured Projects. http://brunercott.com/featured_projects/fp_mass_moca. Photograph. 10 December 2014

Figure 3.12. Bruner & Cott Architects. Mass MOCA. 2000.

Figure 3.5. DTAH Architects. Wychwood Barns. 2010. DTAH Brunercott Featured Projects. http://brunercott.com/feaProjects, Artscape Wychwood Barns. http://dtah.com/proj- tured_projects/fp_mass_moca. Photograph. 10 December ect/artscapewychwoodbarns. Photograph. 10 December, 2014 2014 Figure 3.14. Yoo, Alice. Urban Outfitters Interior. 2010. My Figure 3.6. DTAH Architects. Wychwood Barns. 2010. DTAH Modern Met, Urban Outfitters Creative Headquarters. http:// Projects, Artscape Wychwood Barns. http://dtah.com/proj- www.mymodernmet.com/profiles/blogs/urban-outfitters-creect/artscapewychwoodbarns. Photograph. 10 December, ative. Photograph. 9 December, 2014.

2014 Figure 3.7. DTAH Architects. Wychwood Barns. 2010.

DTAH Projects, Artscape Wychwood Barns. http://dtah.com/ Figure 3. 15. Yoo, Alice. Urban Outfitters Exterior. 2010. My project/artscapewychwoodbarns. Photograph. 10 Decem- Modern Met, Urban Outfitters Creative Headquarters. http:// ber, 2014 www.mymodernmet.com/profiles/blogs/urban-outfitters-creative. Photograph. 9 December, 2014.

Figure 3.8. DTAH Architects. Wychwood Barns. 2010. DTAH Projects, Artscape Wychwood Barns. http://dtah.com/proj- Figure 3. 16.) Yoo, Alice. Urban Outfitters Exterior. 2010. My ect/artscapewychwoodbarns. Photograph. 10 December, Modern Met, Urban Outfitters Creative Headquarters. http:// 2014 www.mymodernmet.com/profiles/blogs/urban-outfitters-creative. Photograph. 9 December, 2014.

Figure 3.9. Bruner & Cott Architects. Mass MOCA. 2000.

Brunercott Featured Projects. http://brunercott.com/featured_projects/fp_mass_moca. Photograph. 10 December 2014 Figure 3.10. Bruner & Cott Architects. Mass MOCA. 2000.

Brunercott Featured Projects. http://brunercott.com/featured_projects/fp_mass_moca. Photograph. 10 December 2014

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Image Credits