The Avenue- Thesis Presentation for Bachelor of Interior Architecture

Interior Architecture Program Department of Architecture University of Oregon, Eugene Submitted for completion of a Bachelor’s Degree in Interior Architecture, June 2016 KARI J. OSTROOT B. IArch Candidate June 2016 Comprehensive Preparation & Planning Alison Snyder Winter Comprehensive Design Studio Alison Snyder Spring Comprehensive Design Studio Alison Snyder

e U.S. is one of the few unique nations founded almost entirely on the basis multinational immigration. In our 250 year history, despite the fact we declared all men equal and allowed freedom of expression, conflict and discrimination between cultural groups has been a consistent problem with the majority alienating and lowering the social status of the minority. In the past several decades’ demographics in the U.S. began to substantially shi and diversity has rapidly increased with many new cultures now calling the U.S. home. With this diversity explosion it is no longer be socially or economically viable to continue on our road of ignorance and discrimination of different cultural groups. Culture is a vital component of the sense of belonging that resonates will all humans and despite variance aspects of culture like language, food, art, music, and the celebrations of them are seen in every corner of the world. Differences arose through localization and separation of groups that existed for thousands of years. Modern globalization that has led to this confluence of cultures we are currently experiencing is continuing at exponential rates and if action is not taken the ignorance of the past/present will become a destructive force for our nation in the future. e Avenue is a multicultural center in St. Paul, MN that aims to help break down barriers that currently exist between cultural groups in our communities. It focuses on sharing and celebrating the many cultures that now represent the Twin Cities, while simultaneously

promoting education and awareness of both multiculturalism and diversity in our communities. It is a twoway street between the decreasing majority (Minnesota’s large Northern European heritage) and the increasing number of new cultural groups in which communication and education between both will play vital roles.

An international food market and exhibition/ event hall allow for daily sharing of both cultural differences and similarities through which communication and education will occur. Conference spaces, classrooms, and resource center will host more direct forms of education and communication, e Avenue will create a space where the majority can open their eyes to the cultures of their new neighbors as well as a place for minority cultures to safely express and share the beauty of their cultures. From small everyday activities to vital community action e Avenue will play a pivotal role in transitioning the cities into the U.S.’s multicultural future.

e word culture has various ways of being broken down and defined, but there is no denying that is it a purely human generated concept. Whenever there is human interaction there is some for form culture. Because of this culture is generally tied to location, and therefore oen defined by nation, region or ethnic group. As a result of exponentially continuing development and globalization cultures once divided by many miles are now crashing head on. Immigration has a great effect on how people perceive and identify with culture as the need for relocation overcame the desire to stay where you feel to belong.

In the U.S. this is seen most vividly because of its history of immigration. From the Irish and Italian to the Chinese and Japanese and now with Latino and Middle Eastern immigrants it seems that groups end up being discriminated against because they don’t fit in with the majority. ese groups oen formed enclave communities within their cities. But when the majority and minority can no longer be defined this division won’t be as feasible. How to appease the need to maintain cultural belonging along with the need to become an economic and social whole will be a prominent issue for the U.S. in the next several decades. e Avenue, will be a step in solving this conflict by promoting cultural expression in a shared space where education and community organizations come together to work towards a brighter future.

As of 2013 41.3 million immigrants lived in the

U.S., the highest number yet. Most of these immigrants are of minority cultures ranging from Latin America, African and Asia. Currently 1 in 4 children in the U.S. has a parent who is an immigrant, doubling since 1990 (migrationpolicy.org). As this immigration continues and their families grow increased cultural diversity will begin to show in schools and workplaces. Statistics estimate that by 2044 Caucasians will be the minority population in the U.S. (Figure 1). Since 1980 the minority population has already double from 50 million to over 100 million (Diversity Explosion- William H. Frey). In the essay “e Changing Face of the Heartland” from the Brooking Institute looks into the issues surrounding this demographic change. Looking specifically at the Twin Cities the essay shows how immigration is transforming the two cities. According to Minneapolis Mayor R.T Rybak, “our diversity is more diverse,” highlighting the wide array of countries and cultures that these recent immigrants hail from as well as being a hub for refugees for the past several decades. In the Twin Cities the minority population in area is expected to grow twice as fast as the majority by 2030. e issues presented in this essay are socioeconomic, how to move forward with a drastically different workforce when the employment and education gaps are still high, but building stronger multicultural communities face similar problems.

It is clear that the divisions built up between our diverse cultures could become substantially more detrimental to our economic and social security. e question from the author William Frey, a well-known demographer, is now what steps must we take to prevent this downturn? e Avenue looks at into how communication is a vital first step in halting discrimination as it is bred through ignorance. Frey said, “Fear of a racially diverse nation seems to be greatest in the parts of the country that have yet to experience this change.” e more interaction between cultural groups the more acceptance there generally is. A NPR Poll conducted in 2004 found that only 30 percent of U.S. non-immigrants believe immigration to be good for the country. One poll found that in comparing what people think the culture of the U.S. should be showed immigrants more much more accepting of cultural diversity than non-immigrants, while another found that non-immigrants with higher contact to immigrants viewed them more positively (Figures 2-3). ese polls show both the alarming realities and promising trends of the effect of immigration and our views on culture in the U.S. Located at 370 W. University Avenue St. Paul, MN, e Avenue is a center for multiculturalism that aims at bridging the gap between different cultures through various cultural activities and educational opportunities. It is both a place of celebration and education, where people will share, discuss, perform, exhibit

and consume the many cultures that now call the Twin Cities home. e Avenue will be the Twin Cities’ new hub of multiculturalism, a place to go to experience something or feel like a home away from home. As a traditionally homogenous state and metro area, the changes occurring in its demographics have put residents in a unique position. Rather than allowing the divide that exists between what’s ‘Minnesotan’ and its newer residents continue to grow, e Avenue hopes to be a place that both appreciates differences as well looks for solutions to grow together for a better future for all. It will act as both a community and cultural center for both the Frogtown neighborhood and the Twin Cities at large, as it aims to meld to those two societally driven building types into a place that is for gathering, celebrating, learning, promoting and more. Instead of supporting a singular community group or culture, the focus of this center will be on the intersection of many cultures and the experience of multiculturalism. e definition of an avenue goes two ways. It is either physical (a main road or thoroughfare) or conceptual (a way or approach or means of attainment). e name was chosen for both these reasons. An increasingly diverse U.S. is the undeniable future and the action that occurs in the next coming decades will be crucial to the social and economic future of the country. I believe

noun communities that embrace multiculturalism can become the most vibrant and active areas of our cities. e Avenue will be a crucial piece in the Twin Cities’ journey to attain thriving diverse communities. e way of approach is one that evokes thought, education and conversation through experiencing a wide variety of cultural activities like art, food, performance, media, language, and more. Attainment can be seen not in pure assimilation but in growth from both sides that adapts and appreciates the ability to expand on one’s world view. e Avenue will be a public community based building hosted by a non-profit that works closely with other international and immigrant focused group sin the Twin Cities. For example, e International Institute of Minnesota has been in operation since 1919, when most immigrants to Minnesota were of Scandinavian and German origin. Its goal is to ‘provide assistance for New Americans from the time of entry into Minnesota through full community integrations’ (iimn.org). It does great work in providing the physical and legal necessities to new immigrants with refugee resettlement, citizenship classes, and language and employment programs. Despite these actions, I believe the Institute (and the Twin Cities in general) lacks in the community integration part of its mission. In order for new Americans to feel integrated into our community, existing members need to become involved in the process. e Avenue will be

additional resource for new residents of the Twin Cities as well as being a destination for the entire community. e Avenue looks towards the future of the Twin Cities where the difference between assimilation and integration is determined. By working with the whole, change will come from both directions and communities can thrive in multiculturalism.

e Diversity Explosion •

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I will investigate how fast changing demographics or is the U.S. is putting the social and economic fate of the U.S. at a brink with change in workforce and communities.

I will look at the specific rapid demographics changes in the Twin Cities from fairly homogenous to uniquely diverse metro area in the past couple decades I will look into the affects to the Twin Cities as its presence as a haven for certain refugee/immigrant groups such as Hmong, Somali, and several other small groups

User Groups •

Sustainability •

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Semiotics & Symbols: •

I will investigate the past and present ‘definition of Minnesotan’ and how the state and metro area has a much broader definition than perceived.

I will look specifically at the significant North African and Southeast Asian populations and how their traditions differ from Minnesota’s majority, of Northern European descent.

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Community/Culture • I will investigate the connection that exists between strong communities and culture and how culture drives identity.

• I will investigate how people view culture in the U.S. and how assimilation and idea of a ‘melting pot’ affects connectivity to culture and community.

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e Avenue will use a symbolic approach to sustain ability to help users understand the broad spectrum of the word. I will look at how green design, adaptive reuse, and revitalization of a historic corridor all are investment in the future of the Twin Cities in similarity to the Avenue as an investment in its social future.

I will use environmental sustainability as a symbol for socially sustainability. A better future as the underlying goal in both.

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I will look at symbols that transcend culture and language to create an universal space for all I will look at University Avenue as a historical connector and its current revitalization as a symbol for the center.

I will look at the concept of merging that harmonizes/melds existing with new, east with west, man made and natural.

Building Goals:

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Contrast: I will look at how the existing prominent north and west façade can contrast from the new materials chosen, especially how the strong concrete structure can come to life as an active space.

How materiality can embody traditional designs and patterns to give feeling of comfort yet feel modern and slightly ambiguous.

e program of e Avenue shares and expresses culture in its beautiful diversity. Its is a confluence of major elements present in culture such as food, art, education, and language. ese spaces intersect into a center core that truly celebrates cultures importance in our lives.

Merging/contrasting paths come together in this central atrium that doubles as a performance space and embodies the idea of a central square. From this central square users access the other parts of the program and culture, which are a street food market, art/exhibition hall and on the upper level, educational spaces of classrooms and a multicultural focused library. e lower level of the building hosts the more the active spaces. e food market acts as the biggest, most frequented draw to the community as a whole. Featuring street food from many of the unique communities that live in the Twin Cities, it will not only be a space for leisure but education. Of all parts of cultures food is one of the most widely appreciated and I see its placement in the Avenue as an instigator to those who may not otherwise visit a cultural center. On the other side of the central core is an exhibition hall that features art exhibits of various kinds that focus on the multiculturalism. It can also be used to host formal events. Organizational spaces that occupy the east and west edges of the ground floor are offices, a kitchen, storage, bathrooms and egress circulation.

e second level focuses on more proactive education in contrast to the lower levels more social orientation, in which direct action is taken to expand users understanding different cultures around them. e largest space is the resource library. Featuring media from all over the world and in many languages, it is a place where one can find a magazine or book from their home country or where one can study another language or do research for upcoming travel. It also acts as a place to access technology for those who might not have ability to at home. From books, magazines, newspapers to movies and music all the material in the library has either and international or multicultural focus with unique items that couldn’t be found in other libraries in the Twin Cities.

On the other side of the atrium classrooms offer a variety classes that focus on topics surrounding e Avenue’s program goals. On the organizational ends are meeting rooms (which can be rented out by any multitude of community groups) bathrooms and egress stairs. Small lounge areas hover above the lower level entry spaces with views down and outside. e programs entirety is around 29,000 sq. . A combination of spaces that are both defined and flexible as well as small and large will allow for the center to grow as the community does, because beyond all the goal of the Avenue is to create a better future for all in community that values every member and their culture equally.

Occupancy: 5-25 each Sq. Footage: 1,200 (includes lobbies and area surrounding front desk) Spatial adjacencies:

North entrance located on University Avenue and light rail stop. South lobby located adjacent to parking lot and official ADA entrance. From the two lobbies users meet in the middle where the front desk is located. From there users access the central square atrium. e north lobby has access to a meeting room and south lobby has direct access to fire stairs. e two lobbies are enclosed with glass from rest of building for weather protection.

Main activities:

e lobbies act as purely circulation spaces (and weather barriers) Once inside users head to the area surrounding the front desk. At the desk one can obtain information about the Avenue and its purpose, sign up for programs, classes and more.

Design Mood/Intention:

e entry spaces introduce users to the Avenue. e first hint of the program is in the glass wall in the lobby spaces that peak into the market and exhibition space. From there users are directed towards the front desk through FF&E choice. e mood of the front desk space is vibrant and international feeling. e whole space creates the feeling of movement, in which the goal is to direct users into the central square atrium.

Daylight/electric:

Both lobbies have large storefront windows and glass doors bringing in light from the north and south. Groupings of hanging pendants from double height ceiling bring in ambient light and a decorative feature. Once past the designated lobbies the space has wall mounted lights that filter light from above the drop ceiling, illuminating the walls. Above the front desk area is a custom feature light with large wood beams the hang below the drop ceiling and have long LED lights in between them. Above the desk are three Calabash pendants as focal lights.

Furniture/fixture/ equipment:

e lobby areas will not have any furniture as they act as circulation spaces. e front desk area contains built in seating attached to the back of the stairs. On the wall adjacent is an event board. e front desk is custom built with storage, computer and office chairs. Behind the desk rises the custom wood feature with lighting.

Finish/Materials:

Both entrances are glass storefront style. Floors will be refinished terrazzo from the existing building. In contrast will the terrazzo and concrete structure walls will transition from glass into a wood panel system from Plyboo which directs users into the central square area front desk. On the back side of the stairs is a wall decal that is a map of the world in a bright orange watercolor style reminding users of the global focus.

Occupancy: 5-75 Sq. Footage: 2,420 Spatial adjacencies:

Furniture/fixture/ equipment:

Access from outside comes from the two lobby spaces on north and south ends. On the interior nearly every space is accessed directly from this central atrium. On the lower level users can access the market and event/exhibition spaces along with bathrooms and the front desk. From a centered social staircase and upper story lounge spaces users access the resource library and classrooms and additional meeting spaces.

e main furniture in the square is built in. e stage is a built up area that doubles as casual seating when not being used for performances. It will have several Prism ottomans on it to add to the seating. In addition the social staircase provides ample seating for both performances and informal gathering. Around backside of the staircase is additional built in benches

Main activities:

Walls of the central square are composed of a custom laser cut screen wall that is partially operable. e screen wall fades into a Plyboo veneered wall that wraps around from the entry spaces. e floor is terrazzo and stage built-in is made from local oak. ese materials contrast the existing concrete

e central atrium acts as the hub and gathering space of the building. e front desk wraps behind a grand social stair where users can gather information about the building and its programs/events. From there users move into the main area of the ‘square’. Built-in seating up the stairs and movable chairs/tables around the edges of the area allow for informal conversation and gathering.

Design Mood/Intention:

is space is meant to be the hub of the building, the most active and exciting space. e materiality creates visual interest and lets users get a peak of the other parts of the program. It is open and flexible for performances to occur but also has considerable built-in seating that can be used at any time. e mood of the space is vibrant yet comforting, so users feel at home and interested in pausing and engaging in conversation.

Daylight/electric:

A large skylight in between I-beams bring in daylight from above that has a decorative multi-pendant light attached to it. Ceiling mounted Neo-Ray pendants are placed throughout and provide the overall ambient light.

Additional daylight will filter in from north and south entry area’s large storefront windows.

Finish/Materials:

Occupancy: 25-150 Sq. Footage: 4,530 Spatial adjacencies:

e market hall occupies the south addition on building with direct access to the parking lot and primary ada entrance and outdoor deck. From the lobby space users access the market aer moving into the central square. e market can also be accessed from several garage door style doors on the south end of the market that opens onto an outdoor patio with seating.

Main activities:

e street food market houses small stalls/pods that sell international street food. Stalls are flexible and movable.

In addition to purchasing and selling of food and variety of dining set ups for both individual and group dining.

Each vendor of the stall has its own space and access to the kitchen and storage for preparation of food. Cooking occurs in personal stove tops in each stall.

Design Mood/Intention:

e mood of the market is light and active. e market is where the most people will come to the Avenue and most frequently. e stalls have outdoor feeling with a combination of rustic and modern with dark bamboo contrasting modern geometric colors. e main dining spaces is centered in the market and is below a string light fixture to be reminiscent of real street markets.

Daylight/electric:

e new addition that houses the market hall is made up of a curtain wall system, so the south and west sides of the market are entirely glazed. e east side has a second level curtain wall as well. During daylight hours sun will be the main source of light. Electric light will come from a focal ‘string’ light fixture centered above the demonstration and dining areas. Additional ambient light will be in Neo-Ray ceiling hung pendants and in can lighting attached to the underside of the market canopies.

Furniture/fixture/ equipment:

Custom market stalls will have flexible arrangements will stove top griddles for cooking, under the counter refrigerators for beverages, and cabinetry that houses storage and counter tops where transactions and display occur. e corner stalls have bar counter on exterior side in which customers can quickly enjoy their meal. A variety of tables and chairs will be available for dining options. ey will be bar height, counter height, table and benches. A demonstration counter is a double sided island counter with a stove, storage under counter, and bar stools to watch.

Material/ Finishes:

ree sides of the market walls consist of an addition on the south side. In aim to contrast the addition from the rest of the building (limestone and yellow brick) the materials of the walls and structure will be dark wood and steel. e roof is modern abstraction of vernacular roofs seen in southeast asia and supported by wood columns. e clearstory windows and columns give off the feeling of floating roof. Exterior finish dark wood slats. Interior floor finish is white hexagon tiles with sections of custom tile inspired from individual cultures. Stalls are light wood material like bamboo.

Occupancy: 50-200 Sq. Footage: 1,850 sq. .

Spatial adjacencies:

Furniture/fixture/ equipment:

Accessed through the central square through large doors in a focal wall that wraps around square connecting the market and exhibition spaces into the middle. e space borders the two sections of the market and has access to basement via freight elevator and stairs along with access to fire stairs on its south end.

Furniture arrangements will be flexible depending on the event or exhibition. Rotating exhibition will either bring in their own setup or use white display boards to hang art. For events both round tables and rectangular tables with stacking chairs will be available.

Main activities:

Finish/Materials:

Rotating exhibits (most likely monthly) or varying types of art with a multicultural or cultural focus will occupy the space during the days. e space can also be rented out for a variety of smaller events (under 150 people) such as conferences, weddings, holiday celebrations.

Design Mood/Intention:

e space will feel more formal than the rest of the program. e existing north windows will give the feeling of an authentic hall. e south wall is from the central square and the screen wall will create interesting plays of light in the space. e combination of the existing concrete beams and columns with the reclaimed wood will bring an urban sophistication into the space while the screen pattern and bamboo wall will remind users of the global focus.

Daylight/electric:

Daylight will come from 8 tall existing windows on the north side. Track lighting will be for the exhibitions with rotating heading to focus on changing exhibits. Sleek round hanging pendants for Louis Poulsen with bring a modern feel into the space for events.

Floor material will be a sustainable bamboo. Existing walls will have their plaster refinished and be a smooth white for art placement. e west wall is the focal wall from the central sqaure and on the upper mezzanine level of exhibition hall seating will be built into it giving users a quiet space views into both spaces.

Occupancy: 5-35 Sq. Footage: 2,740 sq. .

Spatial adjacencies:

Accessed from focal staircase in the atrium. Adjacencies are bathrooms and meeting and lounge spaces.

Daylight/electric:

Two large but narrow skylight lights cut through the middle of the library bringing daylight in from above.

On the southwest corner a partial glass wall looks into the double height lobby space and outside bringing in a little light. For electric light recessed can light is set above the bookshelves and hanging pendants are above the lounge seating areas.

Main activities:

e space houses a large variety of media from books, movies, magazines, computers and more. All of the media is focused on international culture and multiculturalism. People can come to find books from their home/ language countries or to research another culture. Functioning like a small library its has a desk to check out media, computers and printers, browse media along shelves or relax into a lounge chair to read.

Design Mood/Intention:

e feeling of the finish is comforting yet makes users feel stimulated and interested in what the library has to offer

Furniture/fixture/ equipment:

Furniture includes computer desk stations with language programs, bookshelves and other media shelving, lounge seating, desks, printers, checkout and information desk.

Equipment will include computers and media hookups to give access to all kinds of technology. Lounge seating is from the Prism collection and feature the bold colors of the program.

Material Finishes:

Floor finish will be carpet. Shelving and another furniture such as desks and tables will be light colored wood with pops of color (3 form material). North wall and entrance is an existing brick wall in which the custom screen wall is inserted. rough the screen pattern library users get glimpses into the central square area. e south wall is existing as well but will be plastered over. Bookshelves take over most of the wall but in the reading area a large mural of the Twin Cities skylines covers the wall.

Occupancy: 15-35 Sq. Footage: 2,065 (950-1115) sq. .

Spatial adjacencies:

e two large classrooms are on the second level on the north side of the building. Accessed from the central staircase and circulation wrapping around the atrium. e are adjacent to meeting rooms, bathrooms and egress stairs. e resource library is across the atrium.

Main activities:

Various classes occur in the space from language, art to travel. e spaces can also be rented out to various cultural and community groups for a multitude of purposes.

Design mood:

Daylight/electric:

Dyalight comes from the tall existing north windows of the art deco facade. ese windows will be restored to their former glory. Each classroom will have 3-4 windows bringing in muted light from the north. Electric lighting will be LED ceiling based lighting in between exposed beam to help rooms feel larger.

Furniture/fixture/ equipment:

Flexible arrangements of desks, tables and chairs. Storage and shelving for pertaining equipment per room.

AV hookups and white boards for presentations and lessons.

Non-institutional feeling to create comfortable and encouraging environment

Material Finishes:

Occupancy: 5-20 Sq. Footage: 1,700 (240-670)

Daylight/electric:

Spatial adjacencies:

e meeting room on the ground floor is located adjacent to the north lobby. On the second floor the meeting rooms are on the west and east end of the open atrium space.

Main activities:

e spaces can be either used informally or rented out for community or cultural based meeting. Informal activities can be playing games, watching a movie/ video from resource library or place for a more private conversation.

Design Mood/Intention:

e mood of the spaces will be clean and put together yet an informal vibe that keeps excitement alive rather than a dull office

Existing north walls will be refinished with white plaster (remove existing tile). e rest of the walls will feature the bamboo veneer wrapping into the screen wall. Floor material is a gray carpet tile.

All spaces will have daylight from large existing windows on the west and east sides of the building. Electric lighting will be in the form of hanging pendants and sconces.

Furniture/fixture/ equipment:

Flexible arrangements of desks, tables and chairs. Main arrangement will be a large conference style table with seating around it. When requested arrangements of tables and chairs can be rotated out. AV hookups and projector will be available. Hanging art and pictures will be featured in the spaces

Finish/Materials:

e rooms have the same carpet as the classrooms and walls will be both existing plastered and new gypsum. e ground floor level has as drop ceiling and the second level spaces feature exposed ceilings.

As a building that hopes to define the future of the Twin Cities, the selection of building and location had to be of cultural significance. Both the Minnesota Milk Company Building and its location along University reflect the semiotics of local culture and history. University Avenue was constructed in the 1880’s as a connector between the two downtowns of Minneapolis and St. Paul, who were still fairly separated cities then. It hosted the first street car for the cities and both the University of Minnesota and the State Capitol. Businesses, neighborhoods and industrial areas grew around and helped blur the two cities together into the Twin Cities. But when interstate 94 was constructed in the 1960’s, following the path of the street a few blocks south, University Avenue fell into decline as cars took the faster route.

As of June 2014 a new light rail line between the two downtowns began to operate (2nd line in the metro). e line follows the path of University Avenue from downtown Minneapolis to St. Paul and has a stop right in front of the Avenue. Revitalization of the industrial areas surrounding the street are currently underway and the neighborhood of the project is at a crucial intersection of its past current and future conditions.

Located just west of downtown St. Paul in the omas-Dale ‘Frogtown’ neighborhood, it is one the city’s most diverse areas and home to the largest Hmong population in the metro, along with many Vietnamese, ai, Somali, Ethiopian and more. 32% of the neighbor-

hood’s population is born outside U.S. and 80% nonwhite. Its location 6 blocks from the State Capitol and location along the light rail line makes it easily accessible to a wide range of Twin Cities residents from both St. Paul, Minneapolis and the suburbs (when 2 new light rail lines in the works are completed). e Minnesota Milk Company building is an old creamery, one of many in that used to be scattered around the city. Urban milk processing was an important industry for St. Paul and Minnesota. At the turn of the 20th century Minnesota was one the premier dairy states in addition to having rapidly growing cities. e creamery is important to era of industrialization and the state’s tie to farming and dairy production. e building was originally built in 1913 and added on to its current façade in 1932. It was added to the national historic register in 2013, applicable because of ‘its association with events that have made significant contribution to the broad patterns of our history’. e building continued to be a milk processing plant until 2006 when Old Home Food moved its plant to the suburbs and has been empty since.

General Info • • • • • • •

Location Type: Urban, Traditional Neighborhood Zone Given Name: Minnesota Milk Company/ Old Home Foods Building Current Use: Vacant since 2006, currently undergoing development with rest of block.

High Road: National Historic Registers due to cultural significance to the city Built 1912 and expanded in 1915, 1926 and 1932.

Original Architect: Charles Berger. Expansions: Peter Linhoff. 1932 Façade: Charles Hausler National Historic Register- 2014

Building Structure Info •

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Structural Type: 1932 part of plant is a reinforced concrete structure sheathed in granite and limestone. Flat roof sheathed in tar and gravel. o Block A: Brick and concrete basement o Block B/1915 Expansion: constructed of concrete and brick and internal support from 8” round oak posts. o Block C (no longer existing): at grade. Open floor plan with concrete walls and ceiling beams supported by thin iron posts o Additional buildings on block now torn down were 1986 Prefab Warehouse, 1970’s conveyer shed and 1990’s mil receiving station Remainder of block is covered with asphalt, surface parking and some vegetation on the edges.

Building/ Site Square Footage • • • • • • • • •

Block dimensions- 310 . east-west along University Ave and Aurora Avenue to the south. 252 f.t northsouth along Western Avenue and Virginia street.

Building Foot Print: 11,206 sq. .

Block A Footprint: 132’ by 40’ two stories with basement. Gross Available Sq. Footage: 14,820 Block B Footprint : 132’ by 28’ two stories no basement. Gross Available Sq. Footage: 6,760 Block C: 74’ 4” by 30’ = 4,460. Gross Available Sq. Footage = 4,088 Total Building Gross Sq. Footage: 25,668 Per Floor Sq. Footage: 10,633 (plus basement) Net Program Sq. Footage: 26,140-29,580 (plus 1,500 for outdoor space) Floor to Floor Height: first story 14’ 6” and second floor 11’

e Multicultural Center of the Twin Cities is a public building in St. Paul, MN that hosts a variety of cultural based activities in which users both celebrate and educate themselves on the growing diversity of the Twin Cities. Developed as a result of the current ‘diversity explosion’ in the U.S., which will, due to rapidly changing demographics , expect the dissipation of the current majority in our country within the next 25 years. e Avenue looks to counter current conflict and ignorance between cultural groups that negatively impacts the social and economic wellbeing of our communities and seeks to help building a strong multicultural community in the Twin Cities.

Situated in a historic former dairy factory along University Avenue (important connector of Minneapolis and St. Paul), e Avenue is a merger of past and present culture of Minnesota. e concept of collision and merging resonates through the building and program.

Different important parts of culture come together in the Avenue with a food market, art exhibition, library, classrooms/meeting rooms which are joined together by a atrium that as as ‘central square’, an epitomic space for cultural gathering all over the world, that acts as as gathering space for informal conversation to large performances and celebrations. Focusing on the root concept of culture and how its is a human wide experienced need, it is a place that all members of the Twin Cities community can relate to. e Avenue will create a space where the majority can open their eyes to the cultures of their new neighbors as well as a place for minority cultures to safely express and share the beauty of their cultures. From small everyday activities to vital community action e Avenue will playa pivotal role in transitioning the cities into the U.S.’s multicultural future

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e materiality of the Avenue was vital in the concept of connecting and Merging. e existing building was a heavy concrete structure so I looked to balance that with both organics and bold colors. e materials themselves were modern takes on traditional materials throughout the world with a focus on sustainability as a way of showing the Avenue’s intention in investing in the future of its’ community. e floor materials on the circulation space are both local and reclaimed while the vertical applied materials work with the center globally focused program, echoing traditional materials but with a modern twist. e material selection was picked to be slightly ambiguous, as in not directed at a specific culture, but reminiscent of both local and foreign cultures to bring familiarity to the diverse range of users of e Avenue. I focused on angled geometry as a way to direct users into the center to highlight the concept of collision/merging. e symbol of the Avenue shows different colored geometric shapes coming together to a center point (the central square of the Avenue). ose colors represent the different cultural parts of the program, and their boldness brings out the idea of traditional dyes and colors. e materiality of the circulation spaces are continued into other parts of the program in vertical application. e floor material of these spaces (classrooms, library, market, exhibition hall) were specified for their functionality mostly and not to overpower the wall based materials.

Furniture selection was fairly sparse as many of the Avenue’s spaces featured built in and custom work (market stalls, front desk, screen wall). Classrooms, meeting rooms, and offices all feature flexible table and chair setups, along with simple desks and conference tables seen a typical offices. e lounges and library feature lounge seating from Hightower that uses similar geometric shapes seen throughout building. As a collection it is flexible in arrangements and colors. e market features bright colored chairs (or various heights) that feature the Avenue’s bold colors alone with bench seating of multicolored wood that contrast the colors and white tile. Other furniture/fixtures where common kitchen equipment, plumbing fixtures, etc.

Lighting of the Avenue focused on several unique fixtures in important locations coupled with basic ceiling mounted LED to bring in more ambient light. Most lighting comes from Lightyears (DK) designers that combine sleek fixtures with metallic colors that bring that feel slightly historic. e focal fixture in the market is aimed to bring the feeling of an outdoor (street) market with its several strings of lights and hanging bulbs.

Overall, the FF&E of the Avenue combined working with the programs concept along with sustainability and functionality into a modern feeling yet comfortable and familiar to its diverse users.

Manufacturer: Hightower Model: HT12 300 & HT12250 triple Size/Dimensions: W82 x D34 x H30.5 Finish: Hightower ecoso leather in dark red Room/Space location: 2nd floor lounges & library Aesthetic Intention: Features bold colors found in color scheme and strong angles used throughout the building.

Function: e sofa combinations allow for flexible seating arrangements in the lounge and library spaces.

Manufacturer: Hightower (Strand & Hvass) Model: Size/Dimensions: W20 x D20 X H32 Finish: polyamide or lacquered bentwood shell Room/Space location: Market, Classrooms & performance settings Aesthetic Intention: Simple plastic form is clean and modern. Can come in a variety of colors to fit color scheme Function: Stackable & flexible chairs that can be moved as need, along with ability to store in basement. Both chair & bar height in market to offer variety in seating options

Manufacturer: Hightower Model: LN200 & LN050 Size/Dimensions: Table- L72 x W36 x H29 Bench- L65 x W16 x H18 Finish: Ash Veneer with metal accents Room/Space location: Market Aesthetic Intention: minimal in design with the essence of the design coming out in the material Function: Provides dining options for larger groups, more flexibility without designated chairs.

Sustainability: SCS Indoor Advantage Gold Certified Lifecycle: Up to 76% recyclable, Up to 24% recycled content

Manufacturer: Steelcase Coalesse Model: LN200 & LN050 Size/Dimensions: Table- L72 x W36 x H29 Bench- L65 x W16 x H18 Finish: Ash Veneer with metal accents Room/Space location: Market Aesthetic Intention: minimal in design with the essence of the design coming out in the material Function: flexible heights for both table and bar height dining in market Sustainability: Recycled Steel, No VOC powdercoat finish.

Manufacturer: Lightyears (DK) & Hightower (U.S. manufacturer) Model: OR200 (medium) Size/Dimensions: W13.5 x H14.75 Finish: polished cooper & rosewood top, woven textile cord Room/Space location: North & South Lobbies Aesthetic Intention: Modern & sophisticated take on an organic form. Brings in another layer of color into lobby spaces Function: clean down light pendant for ambient lighting Compliance: ETL approved Sustainability:

Manufacturer: Lightyears (DK) & Hightower (U.S. manufacturer) Designer- Komplot Model: SH200G Size/Dimensions: H 8.25 x Diameter 8.75 Finish: Aluminum w/ Reflective Gold Chrome Finish, Black Cable Room/Space location: Front Desk Aesthetic Intention: Inspired by organic squash form but modernized with reflective gold chrome finish.

Contrasts and pops against the wood and concrete surrounding it.

Function: Down light pendant to highlight front desk Compliance: ETL approved, Class-IP20 Sustainability:

Manufacturer: Plyboo Model: Reveal Panel Style C5 Greige Size/Dimensions: W48 x H96 x D3/4 Finish: 100% Bamboo, Natural pre-vfinished or unfinished Room/Space location: Along vertical wall in entry and atrium spaces Aesthetic Intention: the light wood finish contrasts against the heavy concrete structure of the building and the textured movement of the panels brings in an organic feeling.

Function: e layout of the panels and its horizontal movement directs users from the entry spaces into the atrium. It is visible in all main spaces of the program to connect users into the central square Sustainability: No VOC’s with chronic REL’s. FSC Certified 100%

Manufacturer: Plyboo Model: Linear Line Panel Style LL7& Noir Size/Dimensions: W48 x H96 x D3/4 Finish: 100% Bamboo, Noir Stain & Pre finished Room/Space location: Located on vertical cladding of market stalls.

Aesthetic Intention: Textured feeling reminiscent of traditional raw materials. e rich brown contrast the white tile and bright patterns present in market Function: e triple sofa placed in the lounge areas allows users to seat both looking down into lobbies as well as into circulation area. It is modular and flexible to allow for changing gathering.

Sustainability: No VOC’s with chronic REL’s. FSC Certified 100%

Manufacturer: Wood from the Hood Model: Custom reclaimed hardwood from urban neighborhoods in the Twin Cities Finish: Stained Oak Room/Space location: Custom light feature above front desk area.

Function: Used to designated the area around the front desk and create a gathering space to become acquainted with the building before moving into the central square Sustainability: 100% reclaimed wood.

Manufacturer: Fireclay Model: 8� Hexagon Recycled Clay Tile Size/Dimensions: W7 7/8 x H7 7/8 x D5/16 Finish: Daisy Matte White Room/Space location: Market Hall oors Aesthetic Intention: clean and modern look at many patterned tiles seen around the world.

Function: easy to clean and sanitary for market location.

Sustainability: over 70% post-consumer recycled porcelain/glass and pre-consumer granite

Manufacturer: Alkemi Model: Copper Amber 910 Size/Dimensions: D1/2 x varied size Finish: Matte Room/Space location: Market stall counter tops Aesthetic Intention: contrasts the rough feeling of the vertical cladding of stalls. e speckled gold stands out while not seeming to flashy.

Function: surface application for market stall counters to place items to sell and eat at bar top.

Sustainability: Certified by the Scientific Certification System. Minium 84% to 97% recycled content pre-consumer

Manufacturer: Mohawk Group Model: Metaphoric Tile 12BY36 Size/Dimensions: D.067” x W12” x 36” Finish: Solid Ground Metallic-955 Room/Space location: Classrooms, Meeting rooms, and library.

Aesthetic Intention: neutral tone doesn’t take away from the material applications on the wall (bamboo & custom screen wall) but still adds interest to the spaces with the angled tile arrangement and speckled color Function: to provide a simple and comfortable floor material for learning environments.

Sustainability: 47% Pre-consumer recycled, ReCover Program, 100% recyclable, .05 mg/m3 or less TVOC range. LEED credit for recycled material, low-emitting materials. Design Innovation Credit

My systems approach for HVAC and sprinkler systems focused on a 3 part system. e circulation spaces divided the rest of the program into 3 sections from which it made sense to work with. I didn’t want to have tons of exposed pipes and air supplies all over the central square and entry area as well. I created mechanical spaces on the north end of kitchen and next to elevator on east end of building that come down from the roof. e HVAC then follows on the exterior side of walls encompassing the central square. It spreads out into the market and exhibition hall and on the second level brings air into the double height square. e mechanical spaces also house the water mains from which the sprinkler system comes out of. On the west side of the building another rooop mechanical unit brings supply to the offices, bathrooms, and meeting spaces located there and then into the entry spaces from the side.

I decided on this solution because of the many large existing concrete beams couple with ceiling heights.

Fitting mechanical underneath beams in many spaces would make drop ceiling heights far to low than desired.

With the zones I was able to reduce the amount of horizontal piping needed and put the rest in strategic places.

For plumbing, I kept it contained to two areas. e main bathrooms are stacked generally on top of each other on the west side of the building. Drinking fountains are located in the hallway spaces next to entrances of bathrooms on both levels. e spaces in this area all have drop ceilings in which pipes and HVAC are concealed. On the east side there is a single bathroom next to the kitchen, which shares plumbing with the sinks and dishwashers.

I had no idea of existing plumbing or air supply locations (there was probably a considerable amount as it was a dairy factory), so I worked with my design layout to create logical locations for the systems. I also took advantage of the large parapet and flat roof to put the main systems up on the roof.

World of Food is an international food marketplace in an area of Amsterdam that is one of the most multi-cultural communities in the world. It is in an old parking garage of heavy concrete. I chose this as a precedent as for both its program and its adaptive reuse of a concrete structure. Its program features food that represents the area’s diverse community, a place that both celebrates and edu-cates people about diversity.

In addition, I found the way it cut through the floors of the garage but le the large exposed beams to bring in more light and create a more open feeling inspiring. e structure itself is not the most attractive but through creative methods it brings the space to life, and my projects interior has similar features.

By using an old garage structure the project works to revitalize the area but still keep to its raw roots as an international community. It’s almost crude sawing off of the upper floors speaks to this, and the exposure of its heavy concrete structure speaks of strength and resilience. Utilizing the angled ramp floors the entire place flows harmoniously without division. On a tight budget it took a building type generally not praised for its design and turned it into something that brings the commu-nity together. Its main entrance is open to a square, where people can just flow into the market and wind around with the flat parts as terraces and seating areas.

is precedent is a 3 story historic warehouse that has been renovated to be PCH International’s San Francisco flagship office and laboratory. It hope to gain LEED Gold certification. I chose this as a prec-edent because of its adaptive reuse of an old factory of concrete structure and its design that contains a combination of offices, meeting spaces and open lounge areas, all aspects that are also a part of my program for the Avenue. e company is a product/ custom design company that works with other companies to cre-ate and distribute products all over the world in a responsible and sustainable way. As its innovation hub the building seeks to display its brand and be open about the work going on in the building. Its spaces have clear site lines

throughout and many spaces for employees and visitors to pause and communicate. Its materiality is simple and also speak to the openness of its design. It has a flexible presentation hall that is one of the first spaces people experience when visiting. e main level also has several different types of meeting spaces, all of which embody openness and community through lack of total separation, as well as garage doors that flow out to an informal patio. While there is some hierarchy of function within the levels, two oversized glass enclosed staircases bring the three levels together. e design team used openness of a common factory column and beam grid to show the importance of collaboration and human interaction to create innovative ideas and products.

Located in an old municipal market the firms Airaudo, Caballero, Giménez Rita, Llonch, the new Rafaela Cultural Center in Santé Fe, Argentina brings history back the city to be a cultural center that gets constant daily use. Programs include a library, art exhibitions, educational facility, public events and more. It will focus on daily informal encounters as a part of its fabric and connection to the city. A new urban plaza will be created alongside it as well. I chose this as a precedent for its relation in program. Its spaces are both exhibition and education based and heavily focused on creating an active community, much like my project. I will location at how its uses circulation and relationships of different parts of

program to each other. It is also an adaptive reuse project that also uses and historically important cultural space. e space features a long open hall that was once the market. In it a concrete core was placed that houses the main program elements on the mezzanine and below. is new insertion is what brings the center to life and into modernity. e entrance is on axis, but then this concrete block blocks it as soon as you enter.

Hmong: 40,000 Somali: 32,000 Latino/Hispanic: 140,000 Vietnamese: 22,000 Chinese: 28,000 Indian:: 29,000 Karen: 2,000 Ethiopian (Oromo): 40,000 African Immigrant Total: 110,000

Asian/PaciďŹ c Islander: 37: African/African American: 31% Latino/Hispanic: 8% Speak a language other than English: 50% Foreign Born: 32%

MJ, Front Desk at Mills International Center 1. When working with diverse groups of people, what steps/methods to you find work best to bridge the gap of cultural differences?

When working at front desk I find it important to treat everyone the same. Lots of international students come in who are timid and shy about language barriers, so reading body language is important. Providing resources is the most important, and many just want a place to hang out with others in similar situations.

2. What do you find to be the best way to start conversation? Planned events or informal gatherings?

I find informal gatherings the best way to start conversation. Students are hanging out, doing homework in casual environments and slowly become comfortable in where they are. We have planned events that are pretty informal in a way so that helps to.

3. What do you think are the biggest barriers? I am looking at a couple different relationships like minority immigrants vs. white Americans and also between different immigrant groups.

Language is very important, but also in the types of communication. e U.S. seems to engage in much more direct form of communication than some cultures, so understanding that from both sides is important. For example appointment times can vary in what a certain time, say 11am means in different cultures.

4. When you have events for different cultural groups who are the main attendees? Are they mostly of the same cultural or represent the wider community?

When the event is culture specific, it tends to generally be those of the same culture. It is a way from them to feel connected to home. But we have events like I-night and week that features many different cultures and that is a very popular event among all types of students. International students come and as a result broaden their horizons on many cultures 5. What do you think draws people to the Mills center? Is there different reasoning for international (or those whose family recently immigrated) students vs. ‘American’ students? a. What are your most popular events?

We offer a great place to hangout. We have magazines in many languages, cookbooks, travel guides, dvds of a variety of cultures and languages. Students can just come in and relax and maybe read a magazine in their language or someone can use the resources to learn another language or about another culture. Our most popular events are Language hour, where people come and we have about 12 different languages. People can practice learning a new language or just come to speak in their native language. We also have an event called ‘e Meet’. It is an event that features dinners from various cultures each time and is informal gathering where people eat, talk and just gathering for good company.

6. What spaces (rooms or areas) do you think are most important in creating a successful multicultural center?

What are the most frequent type of activities that occur (small gatherings vs. large events)?

I personally love the informal nature of the center. We have a variety of zones; tables and chairs to study, sofas and lounge chairs around bookshelves. We have a projector that pulls down for movies, and the space can be rearranged to fit large groups of people as well.

Scenario 1: Mohamad, 42.

Custodian at Target Mohamad and his family came to Minnesota this year as some of the first Syrian refugees in the state.

He has been assisted by the IIMN in his resettlement.

He was a teacher back home before civil war disrupted his family lives. e past several years have been incredibly rough on his family and what he desires most is a since of normalcy and for his children to continue their education. He and his wife need to learn English so they signed up for classes a cultural center called the Avenue as recommended by IIMN. On top of his classes he also began to frequent the small library and technology area.

It had books in Arabic and variety of languages as well as professional language learning programs on the computer. He liked that the library was frequented by a variety of people not just immigrants. He would either practice English at a computer station or settle down in a book in one of the many informal lounge spaces. Aer a long study session he would sometime visit the market hall where a couple Middle Eastern stands allowed him to

have a taste of home. He had noticed the various posts about events that occur in the central square atrium and had seen sometimes people setting up as he passed through the lobby back to the light rail. One night he decided to bring his family to a Vietnamese dance performance, as a couple of his neighbors in their apartment building came from Vietnam and his daughters loved to dance. At the performance he took to opportunity to talk to his daughters about cultural differences and about how in the U.S. people are all very different but they should still be accepting, because everyone is human. His daughters danced their way home and he began to feel more at home despite being surrounded by so many varied groups of people. He hopes once his English is good enough he can begin to teach language classes to future arriving Syrians. e Avenue became a place where he gained confidence and began to feel as he belonged aer so many years of uncertainty.

Scenario 2: Katie, 21.

Intern at e Avenue and Student Katie is an international Studies and Spanish major at the University of Minnesota and an intern for the Avenue. She loves the convenience of being able to take the light rail from the university straight to the Avenue. She originally began college with a communications major and Spanish minor because she wasn’t quite sure want she wanted to do yet and it was convenient.

Aer studying abroad in Argentina she changed her major. Her internship at the Avenue involved working with language teachers in their classroom and help organize the events held there. She generally works in the evenings and is frequently in the central square and appreciates it flexibility and how it can hold many different types and sizes of events. She also work behind the front desk, where she answers question. In addition to her inter

nship she has begun to come to the library to study for her Spanish classes as she likes the coziness and feels inspired in its diversity of material and users. She and a friend also participated in a class in demonstration area in the street food market to learn of the make authentic falafel. Before the internship she had no idea about the diversity that existed in the Twin Cities but now has met users of the Avenue that come from every continent. Together with her experience in Argentina her perspective of immigrants has completely changed and takes pride when her efforts put a smile on a new immigrants face and shows them that they deserve to feel just as much a part of the community as she does. She in fact believe the Avenue strengthened her sense of community.

Scenario 3: Chioma Onwukwe, 54.

Real estate agent Chioma has been in the Twin Cities since the 1990’s and is participates in the Umunne Cultural Association. e association doesn’t have their own community center so it uses them meeting and class space at the Avenue. Nigerians have fairly well established themselves in the Twin Cities as many are working professionals. Chioma and other members of the association hope to maintain ties to their home culture by teaching their children language and dance and hosting cultural celebrations. A couple times a year they use the event hall & performance space and every Friday they sell traditional Nigerian food in one of the rotating stalls in the market. He and his association have weekly meetings, but he probably is at e Avenue 2-3 times a week. In addition to working for his community association, he volunteers on a panel with other African cultural groups on creating

conversation starters and events on changing American’s perspective of Africa and Africans. Next month a poetry slam of the experience of young Africans in Minnesota will be held in the central square. Chioma also developed a guilty pleasure for tamales at the Avenue, something he would never of tries had he not struck up conversation in the kitchen one Friday. Now it’s a frequent occurrence to grab a tamale and chat with the stall owner. e Avenue has been a great resource for him and the Umunne Cultural Association but has also opened him up to how diverse the U.S. is and he has made relationships when many of the other users of the building. He constantly is stopping in the central square to chat with both the front desk and others he runs into as well as looks forward to the changing art exhibit it has.

Friday May 20th, 2018 Market: Open 11am to 7pm

Demonstration Area: Learn how to make Falafel

Event & Exhibition Hall: • •

Current Exhibition: Somali Fashion from past fashion show Event: 8pm. Movie & Presentation on NorwegianMN history (Norwegian history week at Avenue because of May 17th (Norway's Constitution Day).

Traditional Norwegian snacks served.

Resource Library: 9am to 6pm

Classes: • • • • • • •

12pm: Language: Somali-English Beginner 3pm: Art: African basket weaving 5:30pm: Language: Intermediate English 4pm: Language: Spanish for Beginners 4pm: Computer Lab: Manoeuvring online job platforms 5pm-7pm: Computer lab: Open language help with tutors 5pm: Travel: How to be culturally sensitive while traveling

Meeting Rooms: • • • •

11am: University Avenue small business meeting 3pm: Frogtown Neighborhood Association & ASHARE weekly meeting 5pm: Practice & meeting for Hmong Celebration 6:30pm: Umunne Cultural Association meeting

Zoning A. What are the main zones for project types? *What are your site’s “base zones?” T2 Traditional Neighborhood: St. Paul, MN e T2 traditional neighborhood district is designed for use in existing or potential pedestrian and transit nodes. Its intent is to foster and support compact, pedestrian-oriented commercial and residential development that, in turn, can support and increase transit usage. It encourages, but does not require, a variety of uses and housing types, with careful attention to the amount and placement of parking and transitions to adjacent residential neighborhoods.

B. What are the permitted uses in a zone or zones?

Permitted Uses in T2 Zone: One-Multi family dwelling, mixed residential and commercial uses, college/university/schools, fraternal organization, museum, noncommercial recreation,business office, bank, professional office, post office, medical clinic. Service businesses, general retail, grocery, bakers, hotel, restaurant, health club, theater, assembly hall.

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Occupancy & Occupant Load

e Avenue Occupancy Groups: A-2 and A-3, and B. •

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C. What are the Design regulations/restrictions?

Ex. heights, setbacks, façade design, landscape requirements, historic preservation issues?

St. Paul T2 Zone Restrictions

Height Max: 35 feet Yard Setback: 0-10 feet Historic Preservation

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303.1 Assembly Group A: “Assembly Group A occupancy includes, among others, the use of a building or structure, or a portion thereof, for the gathering of persons for purposes such as civic, social, or religious functions; recreation, food or drink consumption or awaiting transportation.”

303.1.2 Small assembly spaces. e following rooms and spaces shall not be classified as Assembly occupancies: 1. A room or space used for assembly purposes with an occupant load of less than 50 persons and accessory to another occupancy shall be classified as a Group B occupancy or as part of that occupancy.

2. A room or space used for assembly purposes that is less than 750 square feet (70 m2) in area and accessory to another occupancy shall be classified as a Group B occupancy or as part of that occupancy.

303.3 Assembly Group A-2. Assembly uses intended for food and/or drink consumption including, but not limited to: Banquet halls, Casinos (gaming areas), Nightclubs, Restaurants, cafeterias and similar dining facilities (including associated commercial kitchens), Taverns and bars

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A-3: Assembly uses intended for worship, recreation, or amusement and other assembly uses not classified elsewhere in Group A including, but not limited to: Dance halls (not including food or drink consumption), Lecture halls, etc.

304.1 Business Group B: “Business Group B occupancy includes, among others, the use of a building or structure, or a portion thereof, for office, professional or service-type transactions, including storage of records and accounts. Business occupancies shall include, but not be limited to, the following: Educational occupancies for students above the 12th grade, training and skill development not within a school or academic program, etc

B. Occupant loads for each occupancy group • • •

Occupant Load = floor area (SF)/ load factor (Table 1004.1.1 Maximum floor area allowances per occupant - codes guide for interiors) Load factor is the predetermined amount of area (square footage) required for each occupant based on the occupancy classification and specific use of the space.

C. What makes up a mezzanine?

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An intermediate level or levels between the floor and ceiling of any story with an aggregate floor area of

not more than one-third of the area of the room or space in which the level or levels are located. Mezzanines have sufficient elevation that space for human occupancy can be provided on the floor below.

D. What is head height for a mezzanine or any ceiling minimum as in under stairs, etc.?

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e clear height above and below the mezzanine floor construction shall be not less than 7 feet.

Egress and Fire Rating (always based on Occupancy and Construction) A. What is maximum travel distance to an exit for occupancy if the space is sprinkled and if it is unsprinkled?

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Max. Travel Distance to an exit: (1016.1) Occupancy A: Sprinkled: 250’, Unsprinkled: 200’ Occupancy B: Sprinkled: 300’, Unsprinkled: 200’

Sprinkler Code for Group A: •

An automatic sprinkler system shall be provided throughout buildings and portions thereof used as Group A occupancies as provided in this section. For Group A-1, A-2, A-3 and A-4 occupancies, the automatic sprinkler system shall be provided throughout the floor area where the Group A-1, A-2, A-3 or A-4 occupancy is located, and in all floors from the

Group A occupancy to, and including, the nearest level of exit discharge serving the Group A occupancy. For Group A-5 occupancies, the automatic sprinkler system shall be provided in the spaces indicated in Section 903.2.1.5.

• An automatic sprinkler system shall be provided for Group A-1 occupancies where one of the following • • • • •

conditions exists:

1. e fire area exceeds 12,000 square feet (1115 m2); 2. e fire area has an occupant load of 300 or more; 3. e fire area is located on a floor other than a level of exit discharge serving such occupancies; or 4. e fire area contains a multi-theater complex.

An automatic sprinkler system shall be provided for

Group A-2 occupancies where one of the following conditions exists: • e fire area exceeds 5,000 square feet (464.5 m2); • e fire area has an occupant load of 100 or more; or • e fire area is located on a floor other than a level of exit discharge serving such occupancies.

B. What is a dead end corridor? What are the length limits?

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A dead end corridor is a portion of a corridor in which the travel distance to an exit is in one direction only.

Where more than one exit or exit access doorway is required, the exit access shall be arranged such that there are no dead ends in corridors more than 20 feet (6096 mm) in length. Some exceptions, Group B where the building is equipped throughout with an automatic sprinkler system in accordance with Section 903.3.1.1, the length of the dead-end corridors shall not exceed 50 feet (15 240 mm).

what occupancy load? *Do you have these conditions in your program?

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F. What is the minimum clear width requirement for an egress door/s? Does it change for different occupancies?

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D. What is the minimum number of exits required in a building? How is this determined?

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At least one per story, with exceptions. Two must be provided if occupancy load exceeds 49 occupants (A&B). Min. Number of Exits Required: (1015.1.1) For my occupancy 3 exits from any story must be provided because I have an occupant load of over 501 (but less than 1,000).

E. When does a room need more than one exit, for

2 egress stairs will be required for my project Max. Travel Distance to an exit: (1016.1) Occupancy A: Sprinkled: 250’, Unsprinkled: 200’ Occupancy B: Sprinkled: 300’Unsprinkled: 200’ half-diagonal rule: distance between two exits must be at least one-half of the longest diagonal distance within the building or the building area the exits are serving

H. What is a minimum stairway width? How is this calculated for specific occupancies?

For group A & B occupancy minimum egress corridor with is 44 inches.

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e minimum width of each door opening shall be sufficient for the occupant load thereof and shall provide a clear width of 32 inches (813 mm).

I-3 can have minimum of 28 inches, but for rest it is the same.

G. What is the minimum distance allowed between two exits on upper floors (this will determine lower floors), on street level/first floor?

C. What is a minimum egress corridor width?

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Two must be provided if occupancy load exceeds 49 occupants for group A & B. On the second story for Group B two must be provided if maximum occupants exceed 29. (1004.2.1) Conditions for Group A & B are present and two exists from spaces will be provided for market, exhibition/event hall, and larger conference rooms/meeting rooms

e width of stairways shall be determined as specified in Section 1005.1, but such width shall not be less than 44 inches (1118 mm). See Section 1007.3 for accessible means of egress stairways.

1. Stairways serving an occupant load of less than 50 shall have a width of not less than 36 inches (914 mm). e capacity, in inches (mm), of means of egress stairways shall be calculated by multiplying the occupant load served by such stairway by a means of egress capacity factor of 0.3 inch (7.6 mm) per occupant. Where stairways serve more than one story, only the occupant load of each story considered individually shall be used in calculating the required capacity of the stairways serving that story.

I. What is a “place of refuge?” Are “places of refuge” required for all projects?

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Areas of refuge are required as part of an accessible exit. ese areas are meant to provide a place for people with disabilities to wait for further assistance in existing building. Code require that they be separated by a smoke barriers, which provide a minimum fire resistance rating of 1 hour. Sometimes areas of refuge can be located within other parts of means of egress.

Areas of refuge are not required at stairways in buildings equipped throughout by an automatic sprinkler system, at stairways serving open parking garages, for smoke protected seating areas complying with Section 1028.6.2 or in Group R-2 occupancies e capacity, in inches (mm), of means of egress stairways shall be calculated by multiplying the occupant load served by such stairway by a means of egress capacity factor of 0.3 inch (7.6 mm) per occupant. Where stairways serve more than one story, only the occupant load of each story considered individually shall be used in calculating the required capacity of the stairways serving that story.

J. What is a fire compartment? How do you know if you need to divide your building into fire compartments? *Do you need to?

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Public Buildings with different uses should be divided by compartment walls and compartment floors.

However compartmentation need not be provided if the overall building attains the highest of the performance levels described in the guidance to Standards 2.1, 2.3 and 2.6. e intention is to allow design flexibility without reducing the risk to life safety. is is done by removing the need for compartmentation in a building or parts of a building where the overall building follows the more demanding guidance. For example, a compartment wall between a production area in a factory and part of the building used for storage need not be provided where an assessment

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of the overall building has been carried out for both uses and: e limits for compartmentation have not been exceeded (see clause 2.1.1) e most demanding fire resistance duration of the element of structure has been followed (see clause 2.3.1), and e most severe minimum distance to the relevant boundary has been followed (see guidance to Standard 2.6).

K. When is an egress stair to be completely enclosed for fire and egress? When can a stair be open at the first level but not above?

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1022.1 Enclosures required. Interior exit stairways and interior exit ramps shall be enclosed with fire barriers constructed in accordance with Section 707 or horizontal assemblies constructed in accordance with Section 712, or both.

In all occupancies, other than Group H and I occupancies, a stairway is not required to be enclosed when the stairway serves an occupant load of less than 10 and the stairway complies with either Item 1.1 or 1.2. In all cases, the maximum number of connecting open stories shall not exceed two. e stairway is open to not more than one story above its level of exit discharge; or 1.2. e stairway is open to not more than one story below its level of exit discharge.

In other than Group I-2 and I-3 occupancies, exit access stairways that serve, or atmospherically communicate between, only two stories are not required to be enclosed.

Exit access stairways within an atrium complying with the provisions of Section 404 are not required to be enclosed.

My project is only two stories with basement, so stairways that open only one direction (first to second, basement to first) are not required to be enclosed

L. What is the typical time span fire rating for: exposed steel columns or beams, for: an enclosed stair, for: a fire demising wall (these can be made from sheet rock or from masonry)?

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Enclosed Stair: 2 hours where connecting four stories or more and not less than 1 hour where connecting less than four stories Exposed steel columns or beams: Occupancy Groups A and B have a Fire-Resistance Rating of 3 Hours.

(705.4) My project is under Assembly A&B, therefor needs a fire resistance rating of 2 hours Fireproofing major beams, columns or trusses: (714.2.1) Columns, Girders, Trusses, beams, lintels,

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or other structural members that are required to have a fire resistance rating shall be individually protected on all sides for the full length with materials having the required fire-resistance rating.

Columns: e entire column, including its connections to beams or girders, shall be protected. Fire resistance shall be continuous from the top of the foundation or floor/ceiling assembly below through the ceiling space to the top of the column.

When do you not need to fireproof major beams, columns or trusses?

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When they are non combustible material like steel, iron, concrete and masonry

Stairs/Ramps/Elevators

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6 inches in elevation change

O. Stairs, what is the maximum Rise and maximum Run allowed (public/commercial, not residential code)?

C. What is the ADA Ramp Rise to Run ratio?

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Stair riser heights shall be 7 inches maximum and 4 inches minimum. Rectangular tread depths shall be 11 inches minimum. Winder treads shall have minimum tread depth of 11 inches and a minimum tread depth of 10 inches within the clear width of the stair NOSING: e radius of curvature at the leading edge of the tread shall be not greater than 9/16 inch (14.3 mm). Beveling of nosings shall not exceed 9/16 inch (14.3 mm). Risers shall be solid and vertical or sloped under the tread above from the underside of the nosing above at an angle not more than 30 degrees (0.52 rad) from the vertical. e leading edge (nosings) of treads shall project not more than 11/4 inches (32 mm) beyond the tread below and all projections of the leading edges shall be of uniform size, including the leading edge of the floor at the top of a flight.

WIDTH: 44 inches

A. What is the Handrail height for stairs? What are the proper minimum lengths of the extensions at top & bottom of the stairs or at the top or bottom of a ramp?

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Height. Handrails height, measured above stair tread nosings, or finish surface of ramp slop shall be uniform, not less than 34 inches and not more than 38 inches.

B. When is guardrail required regarding elevation changes, ie. stair wells, etc.

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Max. slope of a ramp in new construction shall be 1:12’. Min. Ramp Width: 36” and Max Rise: 30”

D. When are stair landings required? On ramps and stairs, how do you size the landings?

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ere shall be a floor or landing at the top of the each stairway. e width of landings shall not be less than the width of the stairways they serve. Every landing shall have a minimum dimension measured in the direction of travel equal to the width of the stairway.

Such dimension need not exceed 48 inches (1219 mm) where the stairway has a straight run. Doors opening onto a landing shall not reduce the landing to less than one-half the required width. When fully open, the door shall not project more than 7 inches (178 mm) into a landing. When wheelchair spaces are required on the stairway landing in accordance with section 1107.6.1, the wheelchair space shall not be located in the required width if the landing and doors shall not swing over the wheelchair spaces.

E. What is head height clearance and max. requirement for stairs?

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e minimum ceiling height is typically 90 inches (2286 mm). It is measured vertically from the landing and the front edge of the tread of the stair to the ceiling directly above. Some projections below that height are allowed. ese may include structural elements, light fixtures, exit signs, or similar ceilingmounted items. A minimum headroom of 80 inches (2032 mm) is required.

F. What kinds of elevator types are there?

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Conventional Hydraulic Passenger Elevator An in-ground jack lis a platform that is guided by rails. e hole is usually drilled before the building is erected. Inside drilling can be arranged for special situations. Mechanically, this is the most balanced hydraulic elevator configuration since the liing point is centered on the load of the elevator car.

Holeless Hydraulic Passenger Elevator A cantilevered platform is lied by a jack that runs between the guide rails. is configuration cannot have rear entrances.

Holeless Dual Cylinder Passenger Elevator Two cylinders situated beside the rails li a platform guided on the rails. is configuration can have front and rear entrances. e maximum travel is 4500 mm.

Oil noise is greater than an in-ground Roped Hydraulic Passenger Elevator A cantilevered platform is lied by ropes that pass over a sheave fastened to the top of a hydraulic jack. is configuration cannot have rear entrances.

Geared Traction Passenger Elevator A conventional overhead geared machine with the car attached to cables that are counter-weighted over the drive sheave. e motor size and power consumption is significantly lower than hydraulic elevators, but the elevator and building costs are higher.

Enclosed Vertical Wheelchair Lis (Accessibility Li)

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A budget-priced li that meets all applicable codes.

It is available is several different cab configurations and cab colours.

Conventional Hydraulic Freight Elevator An in-ground hydraulic jack lis a platform that is guided by rails. ese durable units stand up well to rough loading conditions including forklis and tow motors. Most freight elevator sizes are custom designed to suit the loads being lied.

Freight Platform Li (FPL) (Material Li) A more economical way to move freight (5000 mm maximum). ese lis can only penetrate one floor and may carry only one operator. e swing door systems are typically not as durable as in freight elevators.

G. If you have an elevator, are they used in time of a fire emergency?

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No, they are not used in times of emergency

H. Are elevator enclosures depended upon for major structure bearing?, is this allowed?

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ey are not depended upon for major structure bearing

Plumbing Accessibility K. What does clear floor space mean?

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Clear floor space: e minimum unobstructed floor or ground space required to accommodate a single stationary wheelchair and its occupants. is clear floor space is the space that should be available for functional use that excludes other defined spaces. (eg. Plumbing, fixtures, anterooms, vestibules, toilet rooms, closets, lockers, wardrobes, fixed-based cabinets and wall hung counters)

L. What is the required clear floor space needed for door swings?

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4.13.5 Clear Width. Doorways shall have a minimum clear opening of 32 in (815 mm) with the door open 90 degrees, measured between the face of the door and the opposite stop (see Fig. 24(a), (b), (c), and (d)).

M. What are the Front approaches-Pull side & Push side dimensions?

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Pull: 18” min, with 24” preferred by 60” Push: 12” by 48”

N. What are the Hinge side approaches-Pull side & Push side?

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Pull: 48” by 24”. 54” min if door has closer Push: 42” by 24”. 48” min if door has closer

Q. What is the clear floor space for a lavatory

Clear Space: ere needs to be a clear floor space of at least 30 inches by 48 inches.

Height: e height of the lavatory from the finished floor to the rim/counter top can be no higher than 34 inches.

Toilets •

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Clear Space: Where the approach to the water closet is only a forward approach, the clear floor space shall be at least 48 inches (1220 mm) wide and 66 inches (1675 mm) deep.

Where the approach to the water closet is only either a le- or right-handed approach, the clear floor space shall be at least 48 inches (1220 mm) wide and 56 inches (1420 mm) deep Height: e water closet height needs to be a minimum of 17 inches and a maximum of 19 inches Distance from wall: e lateral distance from the centerline of the water closet to the nearest obstruction needs to be 18 inches on one side and no less than 42 inches on the other side

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Pull: 36” minium if y= 60”, or 42” by 54” Push:43” by 54” if door has latch and closer

O. What are the Latch side approaches- Pull side & Push side?

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(height)? And from the wall? Do the same for toilets and urinals using center line dimensions.

Lavatory

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Clear Space: A clear floor space measuring 30 inches by 48 inches (762 mm by 1219 mm) shall be provided in front of urinals to allow a forward approach. e clear floor space shall adjoin or overlap an accessible route. Urinal shields that do not extend beyond the front of the urinal rim may be provided with 29inch (737 mm) clearance between them.

Height: Urinals shall be stall type or wall hung with the rim at a maximum of 17 inches (432 mm) above the floor. Flush controls shall be mounted not more than 44 inches (1118mm) above the floor, and shall comply with Section 1109.3.

Immigration Research: Bradley, Jennifer. “e Changing Face of the Heartland.” Www.brookings.edu. the Brookings Institute, 17 Mar. 2015.

Web. 25 Oct. 2015. http://www.brookings.edu/research/essays/2015/changingfaceoheheartland Frey, William H. “In the U.S., Diversity Is the New Majority.” Latimes.com. Los Angeles Times, 06 Mar. 2015. Web. 22 Oct. 2015.

“Immigration: Summary of Findings.” (2004): 1-8. NPR.org. NPR/Kaiser/Kennedy School Poll, 07 Oct. 2004. Web. 25 Oct. 2015 http://www.npr.org/news/specials/polls/2004/immigration/summary.pdf Frey, William H. “Diversity Explosion” Zong, Jie, and Jeanne Batalova. “Frequently Requested Statistics on Immigrants and Immigration in the United States.”Migrationpolicy.org. Migration Policy Institute, 25 Feb. 2015. Web. 15 Nov. 2015.

Building Research: Duchsche, Kevin Re, and Janet Moore. “A Year aer Opening of Green Line, Development on University Avenue Is Still Looking to Pick up Speed.” Star Tribune. Star Tribune, 06 June 2015. Web. 15 Nov. 2015.

Zahn, omas R. National Register of Historic Places Registration Form: Minnesota Milk Company Building. St. Paul: NPS, 2013. PDF. http://www.mnhs.org/shpo/nrhp/docs_pdfs/0066_minnesotamilkcompany.pdf Other Website used for base research http://www.mncompass.org/immigration/overview (for demographics graphs) http://www.iimn.org/ http://www.mncompass.org/profiles/neighborhoods/st-paul/frogtown-thomas-dale http://www.twincities.com/localnews/ci_28430270/african-immigrant-communities-making-st-paul-feel-little

Code Research: Harmon, Sharon Koomen, and Katherine E. Kennon. e Code Guide Book for Interiors. 4th Edition. Hoboken: John Wiley & Sons, 2008. Print Codes: International Building Code 2015 Minnesota Building Code 2015 Minnesota Conversation Code for Existing Buildings 2015

First quarter review was really the first presentation of ideas and had three different schemes presented. At this point one my main struggles was the location of the main program elements like the market hall and event space. I was trying hard to make all the elements fit into the existing structure of the building the featured large dividing walls. I desired a large double height space for performance events but that limited the buildings square footage. e different schemes played with location of program elements trying to have several very different options. Scheme 2 featured a small third floor addition attached to existing tower but reviewers thought that would be difficult to create spaces important enough to draw users all the way up, and ADA was an issue. It was from this review that I realized I needed to be more bold and I could push the boundaries of the building more to fit my program and that having stark contrast of existing and new could actually fit well with my concept.

My reviewers noted I had several strong ideas in each plan and if I could find a way to combine somehow. ey also recommended diving more into the character of the building and what feeling I want to portray rather than being slightly generic.

Scanned by CamScanner

e final review for winter term was the last with two schemes.

It was a lot of weighing the pro’s and con’s of each scheme. Both reviewers and I thought each had well designed points but had weak points as well. e schemes Central Square’ and ‘Promenade tried to push location of program elements but both features a back addition and two entrances, resolution for ADA and shortage of space. Towards the end it was agreed that ‘Central Square’ fit more with my desire to create community gathering spaces. Next steps I was told to delve into were materiality and how it relates to my user groups, furthering details of my market stalls, and locations of certain organizational elements like bathrooms.

Overall, reviewers though my presentation was well put together and cohesive in mood.

ird quarter review focused on what would be the final scheme of the project. Narrowed to one after winter term the first five weeks of spring term was spent refining the layout and working on details of building like hvac, lighting, materiality. Aer winter review, I settled on the ‘central square’ parti. However, I adapted the parti with further analysis of what my concept behind the building really is. My main focus is on the ideas of collision and merging that results in community growth. Collision of past vs. present, east vs. west, different parts and types of culture.. e central square as a result became the place where these contrasts came together and through celebration and education no longer fought against each other but came together.

My reviewers though my concept and reasoning behind the building was clear and were interested by it. ey noted that my plan seemed little rigid especially in the entry lobbies and transition into central atrium. After that we discussed further delving into materiality and lighting, focusing on little details that would really make the building come alive.

My final Review, overall went fairly well. ings to I could change or didn’t seem to work so well were generally things I agreed with or had struggled the most with. My reviews said my graphics and understand of making drawings was very good and clearly thought out. ey also thought my concept and research was cohesive and viable.

Most of the questions were on the feeling and functionality of some of the spaces. One reviewer thought a library wasn’t necessary and outdated and suggested using that space to connect the square with the market more. Suggested were made to blow out the existing south wall more and we discussed how far to push ‘interior’ architecture. My reviewers also thought I could of pushed branding and color placement more. ey like my choice of vertical applied materials but suggested changes for the floor material.

As my reviewers were all architects I think they saw more of the big picture possibilities in the building and had to be reminded what the goals of our studio was. Other than that and a couple little things, I was overall very pleased with the turnout of e Avenue.