AMENITY ARCHITECTURE systemic - small scale - urban
ERUTCETIHCRA YTINEMA nabru - elacs llams - cimetsys
AMENITY ARCHITECTURE systemic small scale urban Joshua Kiffer
Committee
Master of Architecture 2011 Chair: CoChair:
MARK McGLOTHLIN RUTH RON
The following is a Masters Research Project presented to the !"#$%&'#()*+,*-.+&#/0*123++.*+,*4&23#(%2(5&%*#"*60&(#0.*,5.7..8%"(* of requirements of the degree of Masters of Architecture. University of Florida 2011
The University of Florida College of Design, Construction and Planning School of Architecture 331 Architecture Building PO Box 115702
Contents
abstract
6
project questions
7
research
8
case studies
18
predesign exercise
30
context
36
interventions
42
conclusions & recommendations
66
bibliography
70
Abstract 8
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
Project Questions 9
These questions are of focus throughout the project: “How does the city strengthen its identity while establishing a distinct boundary?” and, “Can architecture play a role in this action?” “Can smallscale contemporary architecture be used to create and/or give an identity to a district, region, or neighborhood?”
Research 10
LOCATION & HISTORY The area now known as Orlando is centrally located within both the state of Florida and within Orange County. 4.(3+5;3*(3%*9&.0"/+*0&%0*7&'(*'(0&(%/*0((&02(#";*'%((.%&'* in the early 1840s, it was not until 1850 when the city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a few local landowners. The late nineteenth century brought about the connection of Orlando to the South Florida Railroad. This 2+""%2(#+"*,+&(#7%/*(3%*.+20.*%2+"+8)@*0(*(3%*(#8%*2+"'#'(#";* +,*0;&#25.(5&%*P6&#80&#.)*2#(&5'Q*0"/*(+5&#'8?**F&+8+(#+"* +,*(3%*0&%0:'*&%'+5&2%'*=0'*2&%/#(%/*(+*(3%*$#'#(+&'*=3+8*
Orlando city limits
Positioning: centrally located Orange County
Gainesville
Orlando
Daytona Beach
Research
Organization: 27 districts
12
often frequented the new railroad. One of those visitors was George Barbour, a travel writer. Barbour saw great potential in Orlando’s early years, stating: “A good hotel here would be sure to attract many visitors and there is a probability that such a one will be erected soon” (City of Orlando, 1984). * 4*7&%*#"*IJJR*#&+"#20..)*<%208%*(3%*20(0.)'(*,+&*(3%* 2#():'*"%B(*<++'(*#"*'%((.%8%"(?**C3#'*7&%*/%'(&+)%/*80")* older wooden structures, providing the reasoning and space ,+&*(3%*2+"'(&52(#+"*+,*"%=*0"/*8+&%*7&%A&%(0&/0"(*<&#2>* <5#./#";'?**C3#'*"%=*.++>*+,*6%&80"%"2%*0((&02(%/*.0"/* '6%25.0(+&'*0"/*=%0.(3)*(+5&#'('*'%%>#";*0*"%=*/%'(#"0(#+"* for their winter residences. * E06#/*;&+=(3*0&+5"/*ISIT*=0'*'60&>%/*<)*#"/5'(&#0.* development, citrus production as well as the exploitation of lumber as a natural resource. Capitalistic tendencies were the main motivation behind this growth, tendencies that .%/*(+*0*60((%&"*+,*/%$%.+68%"(*(30(*U30'*<%%"*&%V%2(%/*#"* the standardized and simple residential architecture built to provide large numbers of houses to meet immediate demands and yield lucrative returns” (City of Orlando, 1984). Development through “speculative subdivision” was the standard for Orlando; this type of rapid development limited (3%*()6#20.*#/%"(#()A80>#";*,%0(5&%'*0*2#()*+,(%"*%'(0<.#'3%'* during its initial growth stages. Suddenly Orlando’s strong agricultural roots, that ordinarily would have served as 0"*#/%"(#()A80>#";*,%0(5&%*+,*(3%*2#()@*=%&%*#"'(%0/*<%#";* +$%&(0>%"*<)*(3%*.52&0(#$%*%B60"'#+"*0''+2#0(%/*=#(3*&%0.* estate and tourism.
LANDSCAPE Through many years of capitalist expansion, the city limits have become a wandering and expanding territory, often times informally incorporating other smaller cities. As a result of the rapid growth and constant annexation of land in Orlando, a simple organizational grid layout of the city was not possible and the city limits wander in a counter intuitive manner. The unorganized expansion of the city has contributed to an unclear distinction of where Orlando is actually located. Currently, the city is divided into 27 districts that attempt to organize the city within its limits.
However, one of Orlando’s most abundant
natural landscapes was used to interrupt the otherwise disorderly development, and instead informed the structure of further development. The city’s dense systems of lakes that operate 0'*0*3#;3.)*#/%"(#70<.%*,%0(5&%*+,*(3%*&%;#+"*
Landscape as infrastructure: Great Park concept of parks, lakes and pleasure drives
13
images from www.cityoforlando.net
were used in conjunction with the design and development of parks, roads, and neighborhoods. Using this relationship between natural and man made elements as a basis for development and inhabitation provided a way to think of nature as infrastructure.
“Orlando’s affection for the lake front dates back (+*(3%*%0&.)*ISTT'@*=3%"*(3%*2#():'*'(&%%(*60((%&"*=0'*7&'(* established. Preserving the lake front as public realm was standard practice at that time, so many of Orlando’s historic neighborhoods are focused on one or more lakes.” (Lewis, n.d., pg.13) In addition to the utilization of the lakes as basic urban infrastructure, civic leaders also ordered for a dense canopy that would be provided by the planting of approximately 400 oak trees in 1885. In the early 1900s, this effort was reinforced by the planting of over 5,000 additional live and water oak trees as part of a systematic <%05(#720(#+"*+,*9&.0"/+:'*&+0/=0)'@*.0>%'3+&%'@*0"/*+6%"* '602%'?**1)'(%80(#2*<%05(#720(#+"*=0'*60&(*+,*(3%*M#()* Beautiful Movement, the dominant trend and motivating force in American urban design from the 1890’s to the 1920’s. The movement was characterized as having a reverence for natural beauty and its close relationship with the urban environment. * G"*ISWX*(3%*M#()*+,*9&.0"/+*2+88#''#+"%/*2#()* 6.0""#";*7&8*Y0&.0"/*Z0&(3+.+8%=*[*4''+2#0(%'*(+*6&%60&%* a plan for the city. Included in the commissioned plan were aspects such as land use, transportation, recreation, and +6%"*'602%*6.0"'?**\0>%'*=%&%*'6%2#720..)*#/%"(#7%/*#"*(3%* 7&8:'*6.0"*0'*%.%8%"('*(30(*'3+5./*<%*+="%/@*/%$%.+6%/*0"/* maintained with the object of adding to and conserving their “notable beauties” (Lewis, n.d., pg.9). * N3#.%*8523*+,*(3%*#"'6#&0(#+"*,+&*(3%*7&8:'*%,,+&('*
Research 14
208%*,&+8*(3%*2#():'*%B#'(#";*<%05(#720(#+"*6.0"'@*#(*=0'* 0.'+*;.%0"%/*,&+8*'%$%&0.*#"V5%"(#0.*05(3+&'@*6.0""%&'*0"/* 2&#(#2'?**1523*0*.#'(*#"2.5/%/*-&%/%&#2>*\0=*9.8'(%/@*M0.$%&(* ]05B@*4"/&%=*H02>'+"*^+="#";@*^0"#%.*Z5&"308@*H+3"* E5'>#"@*0"/*_<%"%`%&*Y+=0&/?**G"'6#&0(#+"*/&0="*,&+8* 9.8'(%/*0"/*]05B@*/%'#;"%&'*+,*O%=*a+&>:'*M%"(&0.*F0&>*0'* =%..*0'*Z+'(+":'*_8%&0./*O%2>.02%@*2+"(&#<5(%/*(+*(3%*2#()* 6.0"*<)*20..#";*,+&*(3%*2&%0(#+"*+,*0*b&%0(*F0&>?**C3#'*2+"2%6(* 2+"2%"(&0(%/*+"*2+""%2(#";*.0&;%*60&>'*0"/*.0>%'*=#(3*0* ')'(%8*+,*6.%0'5&%*/&#$%'?**G"*IScS@*/5%*(+*(3%*6+65.0&#()* 0"/*'522%''*+,*%0&.)*<%05(#720(#+"*%,,+&('@*(3%*b&%0(*F0&>*
2+"2%6(*7"0..)*208%*(+*<%#";*=3%"*(3%*M308<%&* +,*M+88%&2%*'6+"'+&%/*0*'2%"#2*&+0/*&+5(%* (3&+5;3*9&.0"/+?**C3%*'2%"#2*&+5(%*'3+=20'%/*Wc* 8#.%'*+,*<&#2>A60$%/@*(&%%A.#"%/*'(&%%('*(30(*=+$%* (3&+5;3*"58%&+5'*"%#;3<+&3++/'*0"/*%#;3(%%"* .0>%*'#/%*;&%%"'602%'*(30(*=%&%*2+"'#/%&%/*(+* <%*(3%*8+'(*0%'(3%(#20..)*6.%0'#";?*P\%=#'@*"?/?@* 6;?IcQ
Olmsted & Vaux: Boston’s Emerald Necklace
15
AMENITY As discussed earlier, the early developmental '(0;%'*+,*9&.0"/+*'0=*0*'(&+";*#"V5%"2%*#"*"0(5&0.* elements. Parks, trees, and lakes were considered a vital part of the infrastructure needed to promote life in the city. However, their role within the city has since diminished, as evidenced by the following quote from Orlando’s Families, Parks and Recreation Vision Plan (FPR), a planning initiative to bolster park spaces in the city.
“As the city grew and prospered during the post World War II period, some of the principles of the City Beautiful Movement were forgotten in the rush to accommodate new residents. During this period, streets were constructed without sidewalks or street trees; neighborhoods were developed without adequate parks; and #"(%&2+""%2(#$#()*=0'*'02&#72%/*,+&*%B6%/#%"2)?d*(City of Orlando, 2007, pg.4)
While not the deeply integrated components they were before, the current role of natural elements in Orlando has become that of an urban amenity. As the city recognizes these elements as still very valuable and important to the growth of Orlando, they are trying to restore these current urban amenities to the historical importance they once held as necessary 2+86+"%"('*+,*230";%*0"/*/%$%.+68%"(?**M#()*+,72#0.'* began this restoration initiative in the late 1990s, #('*65&6+'%*(+*%"2+5&0;%*0*8+&%*$0&#%/*%B6.+&0(#+"* of the city through the use of such urban amenities including but not limited to parks, trees and lakes.
!"#$%&%'$( 2
a men i ty a desirable or useful feature or facility of a building or place
ur ban a men i ty site or regionspecific goods and services that make some locations particularly attractive for living and working
The result was a program labeled “City Beautiful – The Legacy Continues,” which has since added approximately 250 acres of community and neighborhood parkland, as well as extensive upgrades to 35 additional city parks. The program is still in action and has a central goal of continuing the traditions that began with Orlando’s original City Beautiful Movement. This new approach, however, intends to simultaneously articulate the FMR’s role in supporting the economic, educational, physical, and social wellbeing of city residents. (City of Orlando, 2007, pg.5) A study titled “Amenities Drive Urban Growth” details the use of amenities as a way of distinguishing and /%$%.+6#";*0*2#()*+&*"%#;3<+&3++/@*/%7"#";*0*pure amenity as “a nonproduced public good, such as weather quality, that has no explicit price” (Clark, et.al., 2002, pg.497). C3%*6.0"'*/&0="*56*<)*9&.0"/+*2#()*+,72#0.'*#"2.5/%*80")*
Research 16
)*+',"-$./&0%+!.,1-2"(3 1
such social and cultural amenities, as well as largescale architectural growth. Orlando’s Green Network Report PbOEQ*/%7"%'*'#8#.0&*08%"#(#%'*0'*5&<0"*'602%'*20..%/*U(3#&/* places.” 1**1+2#+.+;#'(*E0)*9./%"<5&;*7&'(*2+#"%/*(3#'*(%&8* 0"/*.0<%.'*(3#&/*6.02%'*0'*U(3%*80")*65<.#2*6.02%'*0"/*'602%'* where people can gather, set aside the worries of home P7&'(*6.02%'Q*0"/*=+&>*+&*'23++.*P'%2+"/*6.02%'Qd*(City of Orlando, n.d., pg.18). These third places are important to the /%$%.+68%"(*+,*25.(5&%*0"/*5&<0"#'8@*'%$%&0.*2+5"(&#%'*0"/* cities of Europe have inherited the use of such places.
UC3#&/*6.02%'*0&%*#"2.5/%/*#"*0")*/#'25''#+"*+,*e50.#()*+,*6.02%*<%205'%*(3%)* are the places where people want to gather. Linking these types of places to +(3%&*#86+&(0"(*%.%8%"('*+,*(3%*65<.#2*&%0.8*#'*%''%"(#0.*#"*+&/%&*(+*2&%0(%*0* (&5.)*2+86&%3%"'#$%*65<.#2*&%0.8*6.0"?d*(City of Orlando, n.d., pg.19)
This MRP aims to explore a smallerscale of 0&23#(%2(5&0.*#"(%&$%"(#+"'*A*0*'20.%*(30(*20"*,5.7..*(3%* 2#():'*'80..%&*08%"#()A<0'%/*"%%/'?*G"*&%2+;"#`#";*'80..%&* 0&23#(%2(5&%*0'*0*"%=*066&+023*(+*5&<0"*08%"#(#%'@*#(* can serve to unite the two separate groups that currently 2+86+'%*9&.0"/+:'*2+885"#()*A*6%&80"%"(*2#(#`%"'*0"/* (&0"'#%"(*(+5&#'('?*G(*#'*(3+5;3(*(30(*#,*(3%'%*(=+*5"#('*20"* unite socially and geographically, a richer and more cohesive cultural city identity will emerge. CY_*E4CG9O4\_* C3%*2#()*+,72#0.':*6.0"*(+*%"2+5&0;%*(3%*5'%*+,*5&<0"* amenities involved the creation of events, programs, and /%$%.+68%"(*<+0&/'?*2 Most of these plans do not directly
Pubs of England Sidewalk cafés of Paris Beer gardens of Germany
identify architecture as a focus, but rather the establishment of events for social interaction. However, one of the development boards that does indeed address architecture is a group called the Community Planning Studio (CPS). The CPS was tasked with identifying issues related to future development and planning in neighborhoods throughout Orlando. The MF1*(3%"*#/%"(#7%/*0*"58<%&*+,*0&23#(%2(5&0.* objectives 3*#"*+&/%&*(+*0//&%''*(3%*#/%"(#7%/* development issues as they relate to various areas in the city. In total, the CPS has outlined strategic vision plans for six major areas of Orlando. * C3&%%*+,*(3%*&%'5.(#";*7$%*0&23#(%2(5&0.* objectives of the plan directly relate to topics within this project, including Urban Form, Architectural Details, and Pedestrian Friendliness. It can be argued that these cityplanning
17
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-+20%&"2&*+-1 '68"2&%4"(
2
3
Downtown Development Board Metro Orlando Economic Development Commission Community Planning Studio Downtown Orlando Entrepreneur Zone Orlando Film Festival Orlando Farmers Market Orlando Fringe Festival Buy Local Orlando
Encourage an elclectic mix of archtectural styles Create a humanscale to the architecture Reflect the rhythm and scale of the city fabric
objectives, along with others, can be met through the implementation and placement of several contemporary architectural interventions. C3%*7&'(*+<f%2(#$%@*&%,%&&#";*(+*Urban Form, suggests the incorporation of:
to the residential, business, and commercial surroundings. The last objective topic, Pedestrian Friendliness, lists another area for improvement, stating:
“Appropriate transitions between the residential neighborhood and activities along Edgewater Drive to protect the residential character of the neighborhood, reduce monotony of commercial development, and provide opportunities for compatible development.”
Potential development projects could employ the use smallscale interventions to address this suggested transition in scale, use, and density. Transitions between the low density historic neighborhoods and highdensity developments could also be addressed in a similar manner. A humanscale can be created by simply allowing the intervention architecture to be accessed as an element that is secondary
“Create a system of arcades in the center core, and/or a system of awnings inside and outside the core, to provide shade and protection from the elements and encourage walking.”
This statement exhibits the potential consideration of elements typical to a city or neighborhood. This new outlook would allow these elements to become opportunities where interventions can be deployed, and thus use the otherwise mundane as opportunities to enliven the surrounding area. Other interventions throughout the city can refer to current or future objectives in development plans, pertaining to 0*'6%2#72*6.02%*0"/*<%2+8#";*0*6+(%"(#0.*8%(3+/+.+;#20.* framework for the expansion of infrastructure.
Research 18
9+-!%&%'$-1.:*$2&%'$(. ':.&0". 5'$*5"$& THE MONUMENT AS PRECEDENT Historically, monuments have taken on similar functions within a city or neighborhood, linking places and/ or events through an object or structure. 4 Identifying one '6%2#72*%"/*&%'5.(*(+*(3%*02(*+,*2+"'(&52(#";*0*8+"58%"(*#'* +,(%"*/#,725.(?*C3%*2+8<#"0(#+"*+,*%$%"(@*3#'(+&)@*0"/*2+"(%B(* often produce a distinct and varied result. Architecture Professor and Philosopher Bart Verschaffel states,
C3%* 8+"58%"(0.* #'@* 7&'(* +,* 0..@* 0* g,+&8:?* * H5'(* 0'* (3%0(&%@* &#(50.@* +&* ,%0'(@* monumentality is a form that contains and categorizes events and social life. By containing social life and differentiating between modes of social interaction, these forms simultaneously assign a proper place to events, actions and social roles. However, each “form” is also...sedimentation of past events turned into “form” (Verschaffel, 1999, pg.333).
It is not the intention of this MRP to create monuments for the city of Orlando. Rather, the interest and intent lies in studying how monuments are created and how they take on additional or secondary functions. Both of which affect a space and its corresponding inhabitants. Developing architectural interventions in a manner similar to that of monuments could solidify their ability to serve as places or spaces of potential social interaction. These interventions can become a place for not only historical &%V%2(#+"@*<5(*0.'+*0*6.02%*,+&*(3%*0''%8<.)*+,*5"/%$%.+6%/* future events. Verschaffel aptly states, “The monument is a product and sign of power. But that does not imply that a monument cannot function differently. It does not imply that the monument could not be used in other ways
4 Commemorate people past events important values or truths lends dignity to quotidian Object of power dominance durable long lasting * A#86+'%'*+,72#0.*$0.5%'
;"2'$!-+<.:*$2&%'$(. ':.&0". 5'$*5"$& 5 Diverts attention from banalities of the everyday Forces bodies to make detours, thus inscribes the past into present Tu r n w o r l d i n t o a p l a c e o f rememberance Impose thoughts and memories Make it evident that the present has a past
19
(Verschaffel, 1999, pg.335).” This alternative function that Verschaffel suggests can perhaps take a new direction and steer away from the heavier historical meaning often associated with monuments. 5 The direction and destination becomes one of societal interaction, where the monument or intervention begins to present the context rather than itself ultimately allowing (3%*2+"(%B(*(+*%B6&%''*=30(*#'*'#;"#720"(*+&*$#(0.* about the precise placement of the intervention.
“All these fountains, streets and facades, parks, inscriptions and statues taken together, just create a stage where ordinary people play out their own lives.” Bart Verschaffel
Case Studies 20
Research question: Can smallscale contemporary architecture be used to create and/or give an identity to a district, region, or neighborhood? Several projects from across the world have attempted this feat and have succeeded at a variety of scales. The three case studies examined for this project not only exist at different scales in relation to one another, but also in relation (+*(3%8'%.$%'*0"/*(3%#&*'6%2#72*2+"(%B('?*C3%'%*20'%*'(5/#%'* include:
The National Tourist Routes – Norway
Stripscape – Phoenix, Arizona
Citymine (d) – Brussels, London, Barcelona National Tourist Routes Norway Saunders Architecture Jensen & Skodvin Arkitektkontor
21
images from AIR architecture
Stripscape Phoenix, Arizona Darren Petrucci
Citymine (d) London, Brussels Ball
Citymine (d) London, Brussels & Barcelona Bubble images from citymined.org
Case Studies 22
THE NATIONAL TOURIST ROUTES The Government’s Architectural Policy of Norway addresses the issue of architecture and design nationwide; this policy applies to both publically and privatelydeveloped 0&23#(%2(5&%?**C3%*F+.#2)*/%7"%'*0&23#(%2(5&%*0'@*U4..* our manmade surroundings. It embraces buildings and #",&0'(&52(5&%@*+5(/++&*'602%'*0"/*.0"/'206%?**G(*#'*0<+5(* #"/#$#/50.*<5#./#";'*0"/*<5#./#";'*#"*#"(%&02(#+"@*0<+5(* (3%*(+(0.#()*+,*(+="'@*6+65.0(#+"*2%"(%&'*0"/*.0"/'206%'?d* PO+&=%;#0"*D#"#'(&#%'@*WTTS@*6;?*LQ**b#$%"*(3#'*$%&)*.0&;%* '2+6%*+,*(3%*6+.#2)@*(3%*2+5"(&)*30'*/#&%2(.)*#"2.5/%/*0* "58<%&*+,*65<.#2*'%2(+&*05(3+&#(#%'@*+"%*#"*60&(#25.0&*<%#";* the Norwegian Public Roads Administration. The roads 0/8#"#'(&0(#+"*'%%'*(3%#&*6&+/52(*0'*<%#";*U'(&%(23%'*+,*&+0/'* where the positive interplay between the road and the unique .0"/'206%*#'*=30(*;#$%'*#"/#$#/50.'*;++/*%B6%&#%"2%'d*PO+&'>* ,+&8@*6;?SQ?*E+0/'*0&%*=3%&%*(3%*(&5%*#/%"(#()*+,*O+&=0)*#'* <%.#%$%/*(+*<%*,+5"/*A*=3#.%*(&0$%.#";*0.+";*#('*2+0'(@*(3&+5;3* the Fjords and into the small towns.1 Their vision aims to expand the importance and experience of getting from one destination to the next. * G"*ISSR*(3%*O+&=%;#0"*;+$%&"8%"(*0"/*60&.#08%"(* #"#(#0(%/*6.0"'*,+&*0*6&+f%2(*>"+="*0'*C3%*O0(#+"0.*C+5&#'(* Routes. The goal of the Routes project is widespread and purposed to enhance the experience of nature and the 0(8+'63%&%*#"*%023*.+20(#+"?*C3%*6&+f%2(*;+0.'*'(0(%@*U95&* ambition is to leave traces of our own time and to offer (+5&#'('*;++/*%B6%&#%"2%'*0(*(3%*'08%*(#8%*0'*=%*7"/*
images from turistveg.no
Overview of Norway: 18 individual routes
“Each National Tourist Route has its own identity but is nevertheless part of a comprehensive mosaic consisting of 18 stretches of road. Mountains, fjords and coastal landscapes represent strong elements along these stretches of road.” (Norsk form, pg.13)
1 Features along the roads: fjords mountain passes small towns
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new ways of solving the problems of developing necessary infrastructure” (Norsk form, pg.8). The routes project consists of a network of roads that span the entire west coast of Norway, operating at the scale of the entire country. A narrowingin of purpose and scale takes place at key points along the route through the use of architectural interventions. Norway’s widespread population clusters and the intricacies of each local landscape determined exact placement of the interventions. Architects were also able to draw inspiration from local history and traditions. This focus on a larger system is intended “to make Norway more attractive for tourists traveling through Norway by road, as well as to strengthen Norwegian industry and boost settlement patterns, particularly in outlying areas” (Norsk form, pg.11). * N#(3#"*%023*'#(%@*'6%2#72*#/%0'*0"/*(0'>'*0&%* developed while still incorporating functional roadside amenities. Some examples of these practical amenities include car parks, pulloff points, information points, overnight parking, sites for eating a meal and lighting a 20867&%@*(&0'3*<#"'@*65<.#2*(+#.%('@*.++>+5(*6+#"('@*0"/* emergency shelters. The routes project establishes these practical amenities as provocative and unique architectural interventions. Each intervention explores a way of cultivating a potential that has always existed, but is rarely experienced, “What was initially purely pragmatic has been cultivated into works of architecture that supply their own narrative. The amenities give the location a name and a character” (Norsk form, pg.20).
Case Studies 24 Amenity structure: toilet facilities closed and intraverted
Stegastein, Aurlandsfjellet Amenities Served: Lookout point – Toilet facilities Aurlandsfjellet consists of two amenitydriven structures that are represented through distinctly different architectural interventions. The toilet facilities place the user on the edge of a steep cliff, establishing the goal of each amenity at this stop to showcase the surrounding landscape. The unique form and materiality of each structure helps establish a difference in function, while uniting them as part of a larger system of contemporary architecture. The goal of presenting the landscape is fully realized at the second structure as the user experiences the dramatic lookout point. Initially, the focus is on the lookout point itself. However, as the user begins to venture out onto the structure, it becomes simply the “means to an end” and the user no longer notices the structure but instead the landscape. Aurlandsfjellet architects Todd Saunders and Tommie Wilhelmsen point out, “Even though we have chosen an expressive form, the concept is a form of minimalism, in an attempt to conserve and complement the existing nature.”
Site diagram: vehicular & pedestrian circulation
“What was initially purely pragmatic has been cultivated into works of architecture that sup ply their own narrative. The amenities give the location a name and a character”
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Amenity structure: lookout point minimalistic form compliments nature
information stand
Case Studies 26
Liasanden, Sognefjellet Amenity Served: Rest area with toilet facilities Similar to the entire Tourist Route project, this rest area at Sognefjellet is comprised of several layers that constitute a larger whole. Designers wanted to let the landscape completely dictate the design of this particular rest stop. The act of occupying the space between the trees +"A'#(%*&%e5#&%/*'%$%&0.*'6%2#72*&%02(#+"'*(+*(3%*.0"/'206%?** Each newly developed component of the project is meant to interact with the surroundings, and its temporary inhabitants, in a discrete manner. The gravel driving path and trunk protection elements are designed to expand and reshape continually as the trees grow. Several additional layers of functional elements contribute to the overall experience of the rest stop. Benches, chairs, and picnic tables all designed to contain the user in a similar manner populate the open spaces not intended for use by cars. This seemingly random disbursement across the site allows for a secondary scale of exploration through the site. A nearby stream is fully 022%''#<.%*(+*,++(*(&0,72*0"/*<%2+8%'*0"*+<f%2(*(3%*&%'(*'(+6* takes advantage of by placing a series of benches near it. Materiality of the benches, chairs, and picnic tables also aligns with the various functions they serve. For example, seats are always made of large pieces of wood, while seemingly tenuous pieces of metal act as the structural elements that 3+./*56*(3%*=++/?**F&+f%2(*0&23#(%2('*,&+8*(3%*7&8*H%"'%"*[* Skodvin Arkitektkontor note just how crucial a role the site played in this project by stating, “The site is an indispensable condition for establishing the geometry of this plan in order ,+&*(3%*#/%0*(+*%8%&;%*#"(+*0*'6%2#72*2+"7;5&0(#+"*+&*.0)+5(?*
gravel driving path & trunk protection
Bench & table 2+"7;5&0(#+"'h 80(%&#0.*'#8#.0&#(#%'
27
wooded landscape & layers of program
vehicle circulation & parking
N#(3+5(*0*'#(%@*(3#'*2+"2%6(*30'*"+*2+"7;5&0(#+"* it is only a method that needs to be applied” PO+&'>*,+&8@*6;?WQ?*** * N3#.%*(3%*'20.%*+,*(3#'*DEF*#'*8523*'80..%&* (30"*(30(*+,*(3%*E+5(%'*6&+f%2(@*(3%*2+"'#/%&0(#+"* +,*%023*;#$%"*%B086.%:'*0<#.#()*(+*"0&&+=A#"*+"*0* 60&(#25.0&*2+"(%B(*0"/*6&+$#/%*0*/#&%2(*0"/*'6%2#72* &%'6+"'%*=#..*#"V5%"2%*(3%*#"(%&$%"(#+"'*+,*(3#'* DEF?*
amenities included: benches, tables, restrooms
Case Studies 28
STRIPSCAPE – Phoenix, Arizona (pdf as source) Amenity Served: Street lighting, pedestrian shelter, art display, signage, bus stop Darren Petrucci, architect as well as the Director of the School of Architecture + Landscape Architecture at Arizona State University, has worked with the concept of urban improvement through amenities in the city of Phoenix, Arizona. Petrucci’s project titled “Stripscape” in Phoenix is a complete redesign of the pedestrian thoroughfares along a onemile stretch of road. Petrucci chose to refer to the improvements in infrastructure as pedestrian amenities, he states, “Stripscape attempts to graft a new type of infrastructure onto this generic landscape in an attempt to develop a connective tissue that can facilitate the rich complexity of urban life” (Petrucci, n.d., pg.41). These added amenities were considered a necessity because all streetside identifying features were stripped during an effort to increase road width. This project uses the common elements present within the city (e.g., signage, street lighting, temporary pedestrian shelter and art display) and attempts to blend them into a cohesive unit, which is then used to give an identity to the area.1 Each of these elements makes an appearance as small and subtle monuments, each one informing, protecting, and locating the user all while establishing a prescribed itinerary. This itinerary is not
imported from elsewhere but emergent from place, and fueled by the businesses and people of the context. Business signage was directly incorporated into each structure, directly imbedding the local character into the intervention as a whole. The monumentality of each structure does not come from power or history, but from its ability act as a small stage where ordinary people play out their own daily lives. Although the approach to this MRP involves a scope broader than a single road, Petrucci’s project can provide a framework for deployment of architectural glimpses throughout Orlando that consider and integrate their contextual surroundings.
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images from AIR architecture
one mile strech of pedestrian thoroughfares
2 signage street lighting temporary pedestrian shelter art display
Case Studies 30
CITY MINE(d) – Brussels, London, Barcelona City Mine(d) describes their organization as an “International network of individuals and collectives involved with city and local action. It brings together microinitiatives, creates urban interventions and makes public space” (Citymine (d), n.d.). Compared to the other case studies, City Mine(d) is a less architectural and more artbased program that deals with the overall organization of a city and its individual constituents. The goal is to provide more attainable, processbased solutions to issues of citizenship, democracy, and the city. Interventions are used within the urban environment and are the ideas of the city’s everyday inhabitant. Their work can be further described as “urban art interventions as a positive way to empower diverse groups and individuals in the city” (Citymine (d), n.d.). M#()*D#"%P/Q*/%7"%'*0"*5&<0"*#"(%&$%"(#+"*0'h ^%7"#(#+"* I* A* 4"* %63%8%&0.* =+&>* +,* 0&(* =+&>* #"* 65<.#2* '602%* (30(* brings together disparate users of that space and in doing so empowers the disenfranchised among them.
^%7"#(#+"*W*i*4*(%86+&0&)*=+&>*+,*0&(*#"*0*'e50&%@*'(&%%(@*60&>*+&* terrain vague as an opportunity to bring people together and to introduce creativity and new perspectives into otherwise polarized urban discussions.
establish presence of young people
groups moving & gathering in public spaces
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all images from www.citymined.org
unexpected presence is used to draw attention to activity, person, or place
Young Black Women’s Group of London: reclaimed local park
Ball – Brussels
Bubble – Brussels, London, Barcelona
* 4*"#"%A,++(*/#08%(%&*#"V0(0<.%*<0..*=0'* 5'%/*(+*%'(0<.#'3*(3%*6&%'%"2%*+,*)+5";*6%+6.%* 0'*=%..*0'*(3%*'602%*(3%)*+2256)*=#(3#"*(3%*2#()?** -&%%.)*8+$#";*,&+8*6.02%*(+*6.02%@*(3%*23#./&%"* 0"/*(3%*<0..*0&%*,&%%*(+*&+08*(3%*2#()*0"/*#('* +6%"*'602%'?**Y+=%$%&@*(3%*Z0..*#'*"+(*f5'(*5'%/* 0'*0*6.0),5.*/%$#2%@*U#('*5'%*#"*(3%*65<.#2*&%0.8* #'*0.'+*0*=0)*(+*&0#'%*0=0&%"%''*0<+5(*(3%*&+.%* +,*65<.#2*'602%*#"*(3%*2#()*0"/*#('*/%$%.+68%"(?d* (<0..@*WTTTQ**C3#'*6&+f%2(*5"/+5<(%/.)*30'* 6+.#(#20.*5"/%&(+"%'@*<5(*%'(0<.#'3%'*#('*6.02%* #"*0&23#(%2(5&%*0'*=%..?**G('*#"'(0..0(#+"*0"/* '5<'%e5%"(*5'%*2&%0(%'*;&+56'*+,*6%+6.%*(30(*7"/* 0"/*8+$%*(3&+5;3*+6%"*65<.#2*'602%@*605'#";* 0"/*;0(3%&#";*0.+";*(3%*=0)?**4*=0)*+,*%B6.+&#";* (3%*.0)+5(*+,*0*2#()*#'*2&%0(%/@*6+(%"(#0..)*.#">#";* 0&%0'*+,*$0&#%/*5'%'?
Similar to the Ball, the Bubble project is a very mobile 0"/*5'%&A/%7"%/*=0)*(+*#"(%&02(*=#(3*65<.#2*'602%?**C3%* Bubble is a large 50’ x 20’ translucent bag, its unexpected 6&%'%"2%*#'*5'%/*(+*/&0=*0((%"(#+"*(+*0"*02(#$#()@*6%&'+"@*+&* 6.02%*(30(*=+5./*"+&80..)*&%80#"*5""+(#2%/?**U4.+";*=#(3*(3%* !"#/%"(#7%/*G"V0(%/*9<f%2(@*60''%&'A<)*'%%*0*;&%%"*'602%* (3%)*=%&%":(*0=0&%*+,*<%,+&%j*,+&*(3%*8%/#0*#(*20"*'%&$%*0'* 0*.%"'*(+*,+25'*0((%"(#+"*+"*0*.+20.*+&*2+885"#()*02(#$#()?* C3%*<5<<.%*#'*0.'+*0"*0''%(*,+&*(3+'%*=#(3*.#((.%*8%0"'*#"* (3%*'(&5;;.%*,+&*'602%?d*Pbubble, 2002Q**4"*%B086.%*+,*(3%* Z5<<.%:'*%,,%2(*+"*0*2#()*#'*'%%"*#"*(3%*'(+&)*+,*0*;&+56*+,* ;#&.'*,&+8*(3%*a+5";*Z.02>*N+8%":'*b&+56*+,*\+"/+"?*C3%'%* ;#&.'*5'%/*(3%*Z5<<.%*(+*&%2.0#8*0*60&>*#"*O+&(3*\+"/+"?**C3%* %$%"(*3%.6%/*0((&02(*0((%"(#+"*,&+8*(3%*"%0&<)*G"(%&"0(#+"0.* ^0"2%*M%"(%&@*;0#"#";*+66+&(5"#(#%'*,+&*(3%*;&+56*+,*)+5";* =+8%"*(30(*(3%)*80)*30$%*"+(*+(3%&=#'%*0((&02(%/?
Predesign exercise 32
Site plan: new circulation path
Venetian Workshop Creating a contemporary piece of architecture within the historic city of Venice requires a delicate navigation of several factors. The most important factor to consider in this challenge becomes how one can contextually link a modern 6&+f%2(*(+*#('*3#'(+&#20.*'5&&+5"/#";'*0"/*#/%"(#70<.%*,%0(5&%'?** ]%"#2%*30'*80")*'523*#/%"(#70<.%*,%0(5&%'@*<5(*(=+*+,*(3%* most prominent are their seemingly omnipresent gondolas and the many “Campos” that serve as public parks. Campos are areas where several pedestrian paths meet and become a public square for interaction. These Campos give Venice a livelihood that would be hard to experience without the dense public thoroughfares that lead to them. The Venetian shipbuilding industry dates back to the beginning of the city’s existence. The type and scale +,*<+0(*6&+/52%/*#"*]%"#2%*30'*;&%0(.)*%$+.$%/@*3+=%$%&@* the city’s daily operations are still intrinsically linked to the 2+"'(&52(#+"@*80#"(%"0"2%@*&%60#&@*0"/*+6%&0(#+"*+,*(3+'%* small manoeuvrable wooden boats. The resulting project attempts to meld this lifestyle ,%0(5&%*=#(3*(30(*+,*(3%*2#():'*0<5"/0"(*65<.#2*60&>'@*(3%* project devotes public space to the act of repairing the city’s many small wooden boats. Integration of public circulation through the site’s center allows for an unconventional public $#%=*+,*(3#'*f+<*0"/*#('*6&+2%''%'@*02(#";*0'*0*.#$%*%B3#<#(*+,* the history and workings of Venetian shipbuilding. Overall function and construction technique conceptually bind the
Looking east: view of construction systems and rhythm created
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Section: construction exploration
35
Perspective: view from new circulation route
workshop, site, and city. Additionally, the use of varying structural systems begins to mimic the layering of structure and skin present within the actual boats. Similar to the boats, a primary structural system sets the major rhythm while also providing support for a secondary permeable skin. Although existing oceans away from Orlando, this project allowed for an exploration of how a contemporary piece of architecture can provide an amenitybased use for the public realm. Another major difference to this MRP is the Venetian projects solitary existence apart from a larger system of interventions. However, this isolation allowed (3%*/%'#;"*6&+2%''*(+*2+"2%"(&0(%*+"*+"%*'6%2#72*'#(%?**C3%* ability to concentrate on detailed portions of a project and its context allows the design to give meaning to the intervention and anchor it to the chosen site.
37
Perspective: view from existing campo
Context 38
ORGANIZING THE CITY Given the aforementioned counterintuitive organization of Orlando’s city limits, it was determined that a new organizational structure must be applied before (3%*#/%"(#720(#+"*+,*#"(%&$%"(#+"*'#(%'*20"*<%;#"?**C3#'* determination dictated the need to diagram potential solutions to organizational issues in order to give order to the 25&&%"(*2#()*.0)+5(? The initial approach to the Orlando project was similar to that of Norway’s National Tourist Route, involving the placement of interventions throughout the entire city, .+20(#";*(3%8*#"*6+65.0(#+"*2.5'(%&'?**C3#'*6&+$%/*(+*<%*0"* ineffective strategy for Orlando; long distances between each intervention made it hard to conceive of them as a cohesive 5"#(?**C3%*C+5&#'(*E+5(%*'522%%/%/*=#(3*(3#'*(%23"#e5%* because interventions were located along one stretch of road 0"/*=%&%*/%.#<%&0(%*'(+66#";*6+#"('*0.+";*#(?**G"*9&.0"/+@* 3+=%$%&@*(3%*;+0.*#'*(+*5"2+$%&*2%&(0#"*0&%0'@*&%e5#&#";* 0*6%&'+"*(+*%B6.+&%*(3%*.+20.*(%&&#(+&)?**4.'+@*;#$%"*(3%* presence of many intersecting roads at varying scales and densities, the ability of one road to simply escort a person (+*%023*#"(%&$%"(#+"*=0'*"+(*6+''#<.%*+&*/%'#&%/?*G(*=0'* determined that smaller clusters of interventions related to '6%2#72*0&%0'*+,*(3%*2#()*20&&#%/*8+&%*6+(%"(#0.*#"*#/%"(#,)#";* with the area of their deployment and thus eliminated a 2%"(&0.*/%6%"/%"2%*+"*&+0/=0)'? In considering this new direction, an additional diagramming layer was needed in organizing Orlando’s city limits, for both visual comprehension and site selection 65&6+'%'?*C3#'*"%=*.0)%&*0#8%/*(+*#/%"(#,)*0&%0'*+,*3#;3*
population clusters near perimeter of city
Downtown node: sits in traditional city limits
population densities that could potentially house the planned interventions. This additional diagramming layer revealed that a majority of the city’s population clusters formed near the perimeter of Orlando, while only one was located within the core. It is important to note that (3%*'6%2#72*/%8+;&063#2'*+,*(3+'%*6+65.0(#+"'* were not factors of consideration, as one of the main intentions of the project is to unite all of Orlando’s inhabitants, both transient and permanent.
39
5 Organizational systems: lakes, roads & parks
PROJECT ZONES Using current population statistics, six different zones of highpopulation density =%&%*#/%"(#7%/?*C3%*`+"%'*=%&%*0.'+*23+'%"* based on their inclusion in a structured growth #"#(#0(#$%*0'*/%7"%/*<)*(3%*2#()*6.0""%&'?**C3%* term “structured growth” refers to the growth 80"0;%8%"(*6.0"'*+,*(3%*2#()?**C3%'%*'#B*0&%0'* were later narrowed down to one that would %$%"(50..)*'%&$%*(+*3+5'%*(3%*#"(%&$%"(#+"'?*C3%* selected zone is located within the original city limits and also holds the city’s Central Business ^#'(&#2(?**\+20(#";*(3#'*7"0.*23+'%"*`+"%*=#(3#"* the original city limits places the interventions in (3%*0&%0*=3%&%*<%05(#720(#+"*(%23"#e5%'*=%&%*
7&'(*%86.+)%/*#"*ISWX*A*(3%*(%23"#e5%'*56+"*=3#23*(3%*2#()* =0'*/%'#;"%/*(+*;&+=*,&+8?** * C3#'*23+'%"*`+"%*30'*5"/%&;+"%*0*'#;"#720"(*'3#,(* #"*'20.%*#"*(3%*60'(*/%20/%@*#"$+.$#";*(3%*#"2+&6+&0(#+"*+,*0* .0&;%*"58<%&*+,*3#;3A&#'%*&%'#/%"(#0.*(+=%&'?**Z%205'%*+,*(3#'* .0&;%A'20.%*;&+=(3@*(3%*6&+f%2(:'*'80..A'20.%*#"(%&$%"(#+"'* =#..*'(&#$%*(+*8#(#;0(%*(3%*.+''*+,*3580"*'20.%*0&23#(%2(5&%* =#(3#"*(3%*/+="(+="*/#'(&#2(?** * Y0$#";*+&;0"#`%/*0"/*/%7"%/*0*6&+f%2(*`+"%*+,* 9&.0"/+*(+*=+&>*=#(3#"@*(3%*"%B(*+<f%2(#$%*=0'*(+*#/%"(#,)* (3%*80f+&*+&;0"#`0(#+"0.*')'(%8'*6&%'%"(?**4'*'(0(%/*%0&.#%&@* 9&.0"/+:'*%0&.)*/%$%.+68%"(*3#";%/*56+"*(3%*5'%*+,*(3%* .0>%'@*0'*(3%)*=%&%*(3%*8+'(*#/%"(#70<.%*,%0(5&%*=#(3#"*(3%* 2#()*0"/*`+"%?**4'*'523@*(3%*&+0/@*3#;3=0)@*0"/*&0#.*')'(%8'*
Context 40
1
in this chosen area were located in a manner that showcased the lakes and also serviced the nearby neighborhoods. Additionally, early city planners mandated that green space around lakes, within the downtown region, be allocated for public use. To this day, the lake responsible for the iconic image of downtown Orlando, Lake Eola, is still a large park space dedicated to public use. The fact that this public space still exists represents the continued commitment to preserving public space in the area. SITE SELECTION In order to carefully select the location and number of intervention sites in a manner that would accurately represent the entire zone, it was necessary to conduct a deeper analysis of the chosen project zone. This further analysis aimed to identify residual spaces of residential "%#;3<+&3++/'@*2+88%&2#0.*0"/*+,72%*/#'(&#2('@*0'*=%..*0'* unused green spaces. These residual spaces have typically <%%"*#/%"(#7%/*'#86.)*0'*(3%*2#():'*U.%,(+$%&'d*i*+,(%"*.+'(*#"* the larger scale and function of surrounding developments and never considered for their potential to serve a functional 65&6+'%?**G(*#'*=#(3#"*(3%'%*#/%"(#7%/*&%'#/50.*'602%'*(30(*(3%* interventions will be used to give new meaning to each space i*0'*=%..*0'*(+*2+..%2(#$%.)*;#$%*9&.0"/+*0*')'(%8#2*"%(=+&>* of publicly accessible architecture. * Z%)+"/*(3%*#"#(#0.*2&#(%&#0*+,*<%#";*2.0''#7%/*0'*0* residual area, intervention sites were examined based on a variety of different criteria, including:
>+'?%5%&<.&'.(<(&"5.':. ,-+@(A.1-@"(.B. 0%(&'+%2.!%(&+%2&( Selecting sites near these elements was desired because many of the ancillary functions of a 2#()*=%&%*0.&%0/)*6&%'%"(*"%0&<)?**1#(%A'6%2#72* interventions could not only draw on these functions for inspiration, but also rely on them for their ability to bring people to a site. Placement within historic districts could also serve to reveal previously hidden parts of the city.
C$4'14"5"$&.D%&0.2%&<E(. %!"$&%#"!.!"4"1',5"$&-1. ,1-$(
2
9&.0"/+*2#()*+,72#0.'*30$%*/%7"%/*2%&(0#"*`+"%'* =#(3#"*(3%*/+="(+="*&%;#+"*0'*`+"%'*,+&*2+"(#"5%/* +&*6.0""%/*&%"%=0.@*6.0"'*(30(*30$%*/%(0#.%/*65<.#2* '602%*0'*+"%*+,*'%$%&0.*0&%0'*,+&*#86&+$%8%"(?
3
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scale surrounding functions & land use scale and modes of circula tion in & around site boundary conditions
Site disbursement: '#B*7"0.*'#(%'
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3
6
To ensure that the sites accurately depicted the selection criteria collectively, six sites were chosen: three based on their proximity to the systemic elements of the city (parks, lakes, historic districts) and three lie within areas #/%"(#7%/*<)*(3%*2#()*,+&*6.0""%/*&%"%=0.?**4..*'#B*+,*(3%*'#(%'* %8<+/#%/*230&02(%&#'(#2'*.#'(%/*#"*(3%*(3#&/*0"/*7"0.*2&#(%&#+"?** C3#'*(&0"'#(#+"0.*230&02(%&*=0'*0"*%0'#.)*#/%"(#70<.%*(&0#(*(30(* <%;0"*(+*.#">*(3%*'#B*'%.%2(%/*'#(%'?** Three of the six selected sites will be developed into ,5&(3%&*/%(0#.?*C3%*/%'#;"*=#(3#"*(3%'%*'#(%'*#"(%"/'*(+*&%$%0.* how the interventions can individually create an identity for a small area, as well as establish a larger connection within (3%*/+="(+="*/#'(&#2(?**C3%*2+""%2(#+"*,&+8*+"%*#"(%&$%"(#+"* (+*(3%*+(3%&*=#..*<%*%'(0<.#'3%/*(3&+5;3*'20.%*0"/*5'%?**_023* =#..*,5"2(#+"*#"*&%'6+"'%*(+*(3%#&*'6%2#72*'5&&+5"/#";'@*=3#.%* 6&+$#/#";*0"*0&%0*,+&*(3%*;%"%&0.*65<.#2*(+*;0(3%&?**C3%* interventions are thought of as smallscale contemporary architecture purposed to provide the city’s inhabitants with 0*8+&%*#"(#80(%*'602%*,+&*#"(%&02(#+"?**C3%*'80..A'20.%* approach also aims to stimulate the direct interaction of all (3%*6%+6.%*6&%'%"(*=#(3#"*9&.0"/+?*C3#'*6.0""%/*#"(%&02(#+"* intends to bridge the gap between the city’s transient and permanent inhabitants, which may eventually lead to a more 3+.#'(#2*#80;%*+,*9&.0"/+?*
0 0.10 0.25 0.50 Mile
Approximate Scale: 1" = 0.20 Mile
Context 42
F'5,'(%&%'$.':. -11.(%?.(%&"(
six sites were chosen: three based on their proximity to the systemic elements of the city (parks, lakes, historic districts) and three lie within 0&%0'*#/%"(#7%/*<)*(3%*2#()*,+&*6.0""%/*&%"%=0.
site
lakes wetlands
sites 2, 3 & 5 were selected to be developed in further detail
routes
buildings
zoning
Edgewater
Big Tree Park
1
2
Lake Eola
Church Street
3
4
Greenwood Wetlands 5
Train Station 6
43
Interventions 44
;%&".GH.I.J+""$D''!.K+6-$.L"&1-$!(= (%&".2'5,'(%&%'$
Directly south of Anderson Street and Highway 417, a major artery of Orlando Sits at the perimeter of a neigh borhood with singlefamily resi dences Occupies the northern edge of a small lake
Site composition: assemblage elements
Various types of zoning near site
Program Greenwood Urban Wetlands is portion of land with "+*/#&%2(*,5"2(#+"*+&*+22560"2)*2.0''#720(#+"?**G(*#'*25&&%"(.)* zoned as a park, but features very few of the amenities that 0&%*+,(%"*0''+2#0(%/*=#(3*0*65<.#2*60&>?**C3%*60&>*#'*.02>#";* an anchoring element that can create a connection to both (3%*0/f02%"(*"%#;3<+&3++/*0"/*(3%*'5&&+5"/#";*&+0/=0)'?** Parking is currently available providing access to the public 0'*=%..*0'*(3%*&%'#/%"('*+,*(3%*<+&/%&#";*"%#;3<+&3++/?
M'*+.7-11"+%"(= 4-+%-&%'$.':.1%70&
45
reflected filtered early morning north
Site plan: gallery placement
Design Scheme 1 The concept for this proposal concentrated on the site’s ability to be seen from a number of vantage points. Views of the site were available from the roads to the north, the neighborhoods to the west and south, as well as the cemetery to the east. Concentrating on this idea of observation and display, a series of four small internal galleries or pavilions were developed. Each small structure would be oriented towards a different direction to not only capture a distinctive light quality, but also to correspond back to its immediate surroundings. The advantage of having several structures also helped to highlight the overall site, leading the user through the site while also forcing a pause in several places. By purposing the structures as both galleries and pavilions, their functions can be manipulated for various events and user needs.
Interventions 46
Final Design * C3%*7"0.*/%'#;"*2+"2%"(&0(%/*+"*80#"(0#"#";*/#&%2(* 022%''*(+*0"/*,&+8*(3%*"%#;3<+&3++/*0'*=%..*0'*(3%*&+0/'* (+*(3%*"+&(3?**C+*80>%*(3#'*/#&%2(*2+""%2(#+"*6+''#<.%@* (3%*#"(%&$%"(#+"*30/*(+*<%*6.02%/*+"*(3%*"+&(3%&"*%/;%* +,*(3%*.0>%?**C3%*b&%%"*O%(=+&>*E%6+&(*65<.#'3%/*<)*(3%* M#()*+,*9&.0"/+*#/%"(#7%'*(3%*.0>%,&+"(*0'*0"*%.%8%"(*(30(* 20"*U'(&%";(3%"*"%#;3<+&3++/*2+3%'#+"*<)*2&%0(#";*0* 6.02%*,+&*"%#;3<+&'*(+*8%%(*0"/*;%(*(+*>"+=*%023*+(3%&* #"*0*2+"$%"#%"(@*"%5(&0.*%"$#&+"8%"(k(3%*.0>%,&+"(*#'*0"* #88%/#0(%.)*&%2+;"#`0<.%*&%,%&%"2%*6+#"(*,+&*<+(3*&%'#/%"('* 0"/*$#'#(+&'?d*PM#()*+,*9&.0"/+@*"?/?@*6;?IKQ**-+..+=#";*(3%* #/%0*6&%'%"(%/*#"*(3#'*'(0(%8%"(@*(3%*7"0.*/%'#;"*=+5./* 2+"2%"(&0(%*0..*'+2#0.*#"(%&02(#+"*'602%'*#"*+"%*0&%0*+"*(3%* '#(%?**Z)*/+#";*'+@*(3%*.0>%,&+"(*#'*;#$%"*0"*+<f%2(*(30(*=#..* 3%.6*0''#;"*0"*#/%"(#()*(+*(3%*2+"2%6(*+,*0*&%,%&%"2%*6+#"(?** C3#'*/%'#;"%/*#"(%&$%"(#+"*=+5./*30$%*'602%'*,+&*#"(%&"0.#`%/* 0'*=%..*0'*%B(%&"0.#`%/*#"(%&02(#+"?*
* C3%*,+&8*=0'*7&'(*0,,%2(%/*<)*(3%* '%60&0(#+"*+,*(=+*,5"2(#+"'*A*(3%*#"(%&"0.#`%/* 60&(*<%#";*0*2+"/#(#+"%/*'602%*,+&*8%%(#";'*0"/* %$%"('@*=3#.%*(3%*%B(%&"0.#`%/*6+&(#+"*02('*0'* 0"*+6%"A0#&*60$#.#+"*,+&*;0(3%&#";?**N#(3*%023* '602%*,5"2(#+"#";*#"*2+"(&0'(*(+*+"%*0"+(3%&@*(3%* &%e5#&%8%"('*=%&%*5"#e5%.)*/#,,%&%"(?**C3%*(=+* '(&52(5&%'*0&%*$#'50..)*2+"(&0'(#";*A*+"%*066%0&'* '%.,A2+"(0#"%/*=3#.%*(3%*+(3%&*#'*2+86.%(%.)* (&0"'60&%"(?**M+""%2(#";*(3%'%*(=+*'602%'*=#(3* 0*'+5(3*,02#";*'30/#";*/%$#2%*"+(*+".)*,5.7..%/* 0"*%''%"(#0.*,5"2(#+"@*<5(*0.'+*6&+$#/%/*0*$#'50.* 0&80(5&%*,+&*(3%*6&+f%2(?**C3%*066&+023*0B#'*0.'+* /#&%2(.)*#8602(%/*(3%*/%'#;"j*(3%*0B#'*=0'*5'%/* (+*25(*#"(+*<+(3*(3%*<5#./#";*0"/*'30/#";*/%$#2%@* $#'50..)*+6%"#";*(3%*'(&52(5&%*56*(+*(3%*0$0#.0<.%* +"'#(%*60&>#";?**
Form & structure: interaction between forms sun shading device deck
47
Design sequence: locate structure on lake shore split structure add shading device alter form based on approach axis
Plan: dock connecting the two structures
Interventions 48
49
Interventions 50
51
Interventions 52
;%&".GN.I.O-@".)'1-= (%&".2'5,'(%&%'$
Lies on the southeast corner of Lake Eola Car and pedestrian pathways already present Occupies large unshaded area In the middle of large mixeduse corridor
Site composition: assemblage of elements
Program The longtime iconic image of downtown Orlando, Lake Eola is the site of community gatherings, the largest of which being the Farmer’s Market. This market has been functioning at its present location, on the southeast corner of Lake Eola, for over 20 years. Currently, the market does not have any physical connection to the site; it simply lives near the lake temporarily each week on Sunday morning. The addition of a useable feature to the fringe of Lake Eola could begin to help the market claim a territory and identity even during non operational hours.
S
Shading structure: open and closed variations
53
Anchor system: users can move chairs along grid, creating dynamic gathering points
Design Scheme 1 As an extension or breakout space for the Farmer’s Market, the original idea was to occupy a portion of the land directly adjacent to the market. This land, still part of the public park connected to Lake Eola, was a sunsoaked and often unused area. The original concept intended to bring a shading structure into a portion of the site, thus providing an enticing gathering point that can also serve as respite for farmer’s market shoppers. In addition to the structure, a grid at ground level would anchor a system of moveable chairs. Occupants could move their chairs along the grid lines, allowing for the spatial layout to change depending on the intensity of use and desired level of social interactions.
5'6" 2'6"
Interventions
Final Design In comparison, scheme 2 was designed to create a similar but more structured and intimate interaction space. By using the dimensions of a 2person restaurant booth, a 7"#(%*'602%*,+&*#"(%&02(#+"*=0'*2+"7;5&%/?**C+*/%(%&8#"%* the placement and arraignment of these “pods”, the Farmers D0&>%(*=0'*+"2%*0;0#"*&%,%&%"2%/?**C%"('*5'%/*,+&*(3%* market are a 10’ x 10’ module; this module was then used (+*2&%0(%*0*;&#/*02&+''*(3%*'#(%?**C3%*;&#/*=+5./*"+(*+".)* serve as an organizational technique but would contain the functional ability to provide power and anchoring points for the tents. Spreading the farmers market across the site, allowed for the clustering of tents and people, creating a new spatial layout of the area. A grid that gave the market the ability to create new more dynamic layouts that could be rearranged to achieve a desired result or vary depending on the vendors coming to market from week to week. * C3%*U6+/'d*=+5./*0.'+*&%.)*+"*(3%*;&#/*,+&*6.02%8%"(@* doing this would create spaces of a similar dimension to (30(*+,*(3%*80&>%(?**C+*,5&(3%&*;5#/%*(3%*6.02%8%"(*+,*(3%'%* pods, the shading radius of onsite trees was determined. Precisely locating the existing shade patterns would allow (3%*6+/'*(+*0((&02(*5'%&'*%$%"*+"*(3%*3+((%'(*/0)'?**C+*8#8#2* groups created during a typical farmers market, eight pods were arranged into two groups. Each group contained four pods, the orientation and placement of which focused the users’ attention onto an elevated deck. Each deck could then become a space for a variety of formal and informal
2'6"
F+/*2+"7;5&0(#+"h <0'#2*/#8%"'#+"'*5'%/* (+*2&%0(%*8+/5.%
1'6"
54
1'6" 6'0"
potential materiality
uses when the market is not operational, such uses could include community meetings, small performance events, catered parties, etc.
55
Design sequence: extrapolation of grid tree shading radii occupational area expanding to shade
Interventions 56
Plan: two pod groupings occupying grid
57
Two pod groupings: orientation of pods is focused on the deck activities
Interventions 58
Interventions 60
;%&".GP.I.Q%7.9+"".>-+@= (%&".2'5,'(%&%'$
Less than give minute walk to nearby lake Direct access from neighborhood streets Two blocks from large commer cial and office district Embedded within neighborhood fabric
Program Currently a large Live Oak sits on the site, the same type of tree that was part of the City Beautiful Movement of Orlando. The 500yearold Live Oak is the dominant feature of a small plot of undeveloped land in a historic Lake Highland neighborhood. The act of reconnecting and presenting the tree to neighborhood residents and visitors =0'*2+"'#/%&%/*$#(0.*,+&*(3%*7"0.*/%'#;"*6&+6+'0.?
61
Design sequence: undamaged oak onsite occupation of damaged space vertically oriented, minimal footprint Layer properties: canopy rest or pause limbs circulation trunk/roots grouping
Final Design The main design consideration for this intervention was the presence of the large live oak onsite. The decision to select this site for the tree’s presence was largely due to the opportunity for a direct reference to the goals of the historic City Beautiful Movement. The tree has sustained a considerable amount of damage after enduring many years of storms and hurricanes. This damage is most evident in the visibly severe atrophy to a sizeable portion of the trunk and corresponding canopy. The
/080;%*.%,(*(3%*'#(%*,%%.#";*5"7"#'3%/*0"/*%B6+'%/@*0"/* (35'@*U2+86.%(#";d*(3%*(&%%*<%208%*(3%*2+"2%6(50.*066&+023* ,+&*(3#'*#"(%&$%"(#+"?** * G"*+&/%&*(+*2+86.%(%*(3%*(&%%@*8#"#80.*;&+5"/* #"(&5'#+"*0"/*0$+#/0"2%*+,*/#&%2(*0((0238%"(*<%208%* 80"/0(+&)*6&+f%2(*;5#/%.#"%'?*C+*0$+#/*2+"(02(*=#(3*(3%* ;&+5"/*#"*0"*#"(&5'#$%*80""%&@*(3%*+&#%"(0(#+"*+,*(3%* #"(%&$%"(#+"*=0'*(5&"%/*$%&(#20..)?**N+&>#";*=#(3*0*$%&(#20.* +&#%"(0(#+"*0..+=%/*,+&*0*'%2(#+"0.*2+860&#'+"*+,*(3%* (&%%*0"/*(3%*2+&&%'6+"/#";*.%$%.'*+,*(3%*#"(%&$%"(#+"?**4* /%2+"'(&52(#+"*+,*(3%*.0)%&'*0"/*230&02(%&#'(#2'*+,*(3%*(&%%*
Ground level: grouping truck/roots
Interventions 62
in turn inspired the organization of the intervention. Each level of the intervention corresponds with a layer of the tree, beginning with the trunk and ending with the canopy. The material palette of this intervention is fairly simple consisting of only metal and a translucent plastic so as to not detract from the dynamic texture provided by the tree. The use of translucent plastic would celebrate the tree’s presence by allowing shadows cast upon it to be seen from both sides. Benches, bike racks and gathering areas were incorporated into the ground level, enhancing its use as an urban amenity. Tree view: for the tree climbers
Third level: seating within the canopy
First level: circulation point limbs
Second level: rest/pause #1 canopy
Third level: rest/pause #2 canopy
63
Social layering: layers create interaction layers
Interventions 64
Interventions 66
Conclusions and Recommendations 68
1
This MRP aimed to explore the use of smallscale 0&23#(%2(5&0.*#"(%&$%"(#+"'*0'*0*8%0"'*(+*,5.7..*9&.0"/+:'* smaller amenitybased needs. In recognizing smaller architecture as a new approach to urban amenities, the pre /%'#;"*&%'%0&23*6&+2%''*0..+=%/*,+&*#/%"(#720(#+"*+,*(3%*2#():'* needs in order to determine a set of design objectives for each intervention. 1 * 4.(3+5;3*+".)*+"%*+,*(3%*'#B*#/%"(#7%/*`+"%'*+,* 9&.0"/+*=0'*/%$%.+6%/*,+&*(3#'*DEF@*(3%*6&%A/%'#;"*&%'%0&23* provided a platform for this design approach to be applied to 0")*+"%*+,*(3%*+(3%&*7$%*#/%"(#7%/*`+"%'?*C3&+5;3*(3%*5'%*+,* architectural interventions, each zone is given the potential to establish its own unique identity, while simultaneously being part of a larger scheme. Recommendations for further %B6.+&0(#+"'*0"/*0/06(0(#+"'*+,*(3#'*6&+f%2(:'*,&08%=+&>* follow. The examination and incorporation of typical cultural "+&8'*+&*02(#$#(#%'*=#(3#"*9&.0"/+*20"*6&+$#/%*0"*0//#(#+"0.* layer of depth and purpose to each designed intervention. It would be valuable to consider those activities that are perhaps considered commonplace or dismissed, as (3%)*'%./+8*/#&%2(.)*#"V5%"2%*+&*#"(%&02(*=#(3*(3%*65<.#2* ;&%%"*'602%'*#"*(3%*2#()?*9"2%*#/%"(#7%/@*(3+'%*(+6#2'*20"* become a new programmatic direction for a future series of interventions. * 9"%*'523*(+6#2*=+&(3*#"$%'(#;0(#";*2+5./*<%*(3%* idea of food and how it is accessed in the city. It has been postulated that how food is accessed can affect and reshape
R68"2&%4"(.&0-&.D"+".2'$(%!"+"!.%$.&0". !"(%7$.!"4"1',5"$&.-$!. "?"2*&%'$.%$21*!".&0".:'11'D%$7=
Unite the two separate groups that currently compose Orlando’s community Permanent citizens and transient tourists. It was thought that if these two units can be united socially and geographically, a richer and more cohesive cultural city identity would emerge.
Thoughtfully occupy the spaces of Orlando that have little purpose or identity In considering the historic settlement patterns and 30630`0&/* +&;0"#`0(#+"* +,* (3%* 2#()@* (3#'* 6&+f%2(* #/%"(#7%/* sites in which to place the architectural interventions so as to further the city’s physical and identity development.
Connect to the city on both micro and macro scales Cues taken from both the interventions’ immediate context along with citywide historical patterns allowed this architectural strategy to exist on a variety of scales. _023*'6%2#72*'#(%*&%e5#&%/*0*20.25.0(%/*&%'6+"'%*#"*(3%* projects’ adaptations in form and function.
69
neighborhoods, organizational patterns, and a number of other elements present within a city. Those food access points can include farmers markets, grocery stores, restaurants, street side vendors, etc. Each of these access 6+#"('*0.'+*+="'*0*'6%2#72*'60(#0.*#/%"(#()*A*0..* of which vary greatly in scale, character, and location. Additionally, types of food, restaurants, 0"/*80&>%('*0&%*0..*#/%"(#()A2&%0(#";*,%0(5&%'* of cities. The buying, eating, and cooking of ,++/*30'*0*.0&;%A'20.%*#8602(*+"*(3%*2#()*0'*0* =3+.%@*0'*=%..*0'*0*'80..A'20.%*#"V5%"2%*+"*3+=* a particular space is organized. These activities often have the tendency to become hidden within interior spaces, seldom existing within the city’s public realm. Rethinking the way in which these activities are offered to, and encountered by, the 65<.#2*20"*2&%0(%*"%=*#/%"(#(#%'*0"/*&%A%'(0<.#'3* 2+""%2(#+"'*(+*'6%2#72*0&%0'? The rationale for this potential programmatic exploration is grounded in 9&.0"/+:'*.0&;%'(*#"/5'(&)?*C3%*$%&)*7<%&*+,* Orlando’s identity – the industry on which it thrives – is hospitality and food service. Using the planned architectural interventions, this identity that is so often enlarged, institutionalized, and impersonal can be carefully and creatively woven into the chosen sites throughout Orlando. The
industry that serves as the core of Orlando’s activities can be celebrated through architectural interventions, as they become intimate and intentional portraits of the city. Citizens and visitors may experience a new version of not only the city, but also the industry, as it exists outside of its perimeter realm and into the core of Orlando. Orlando has the potential to be represented through the use of venues dedicated to the buying, eating and cooking of food. However, the traditional ideas of how these activities operate will need to be altered. The most common 0"/*%0'#.)*#/%"(#70<.%*$%"5%*,+&*0.(%&0(#+"*<%2+8%'*=3%&%* people eat restaurants. Eating venues offer a place in between work and home, often giving a sense of intimacy. Severing the traditional connection to buildings and their interiors can help to enhance this intimacy. Encouraging movement into the public realm in the spirit of European piazzas will help establish a stronger link to the city. Public parks and open spaces can become the new scene for buying, eating, and cooking food.
Conclusions and Recommendations 70
“As places of consumption, restaurants have to catch and hold the attention of customers. And as places that offer a way to make use of the time ‘in between’ other activities and spaces, they take on the dual role of facilitating easy movement while also creating enough interest to temporarily 0.(%&*6%/%'(&#0"*V+=*0"/*/+8#"0"(*'60(#0.*60((%&"?**N+&>#";* #"*0*80""%&*'#8#.0&*(+*7.(%&'*+&*'%8#A6%&8%0<.%*8%8<&0"%'@* controlling and regulating movement across the larger terrain of the dominant space and the larger cityscape, restaurants help draw the eye to an image or place offering a new perspective, and with it the possibility of reinterpreting the meaning of the whole.” Ab0#.*10(.%&
71
Bibliography 72
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Lewis, P.S. City of Orlando, (n.d.). Orlando’s “beautiful” heritage Re trieved from www.cityoforlando.net Moskow, K., & Linn, R. (2010). Small scale: Creative solutions for better city living. New York: Princeton Architectural Press. Mulligan, Gordon. (2009, January 4). Urban amenities. Retrieved from http://www.scitopics.com/Urban_Amenities.html Oldenburg, Ray. The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons and Other Hangouts at the Heart of a Community. New York: Marlow & Company, 1989. Petrucci, D. (n.d.). Stripscape: Pedestrian Amenities along 7th Ave nue. Retrieved November 15, 2010, from http://places.designobserver. com/media/pdf/Stripscape:__P_385.pdf Richardson, P., & Dietrich, L. (2001). XS: Big ideas, small buildings. New York, N.Y: Universe. Siegal, J. (2002). Mobile: the art of portable architecture. New York: Princeton Architectural Press. Tschumi, B., Tschumi, B., & Folie, C. (1987). Le parc de la villette / Ber nard Tschumi, Cinegramme Folie. Paris: Champ vallon. Verschaffel, B. (1999). The monumental: on the meaning of a form. The Journal of Architecture, 4, 333336. Berre, N., Norsk form., & Nasjonale turistveger prosjekt. (2006). Om veg: Arkitektur og design langs 18 nasjonale turistvegar = Detour. Oslo: Norsk form. Norwegian Ministries, Norwegian Architecture Policy. (2009). architec ture.now Oslo, Norway: Otto Stenersen Boktrykkeri AS.