Urban Design & Interior Spaces

URBAN DESIGN & INTERIOR SPACES:

TRANSLATING DESIGN PRINCIPLES TO FOSTER COMMUNITY

Katherine E. Buxton Master of Arts Interior Design august 2014

Harrington College of Design 200 W. Madison Chicago, Illinois 60606

Acknowledgements

Thank you to my Committee Chair, Lou Raia, who helped me expand my initial interest in neighborhood revitalization, taking a small idea to design an urban inn turned into a framework that can be applied across a variety of urban settings. Thank you for helping me make this thesis mean so much more, especially in today’s growing world, where urban development and its relationship to interior design has become vital to humanity. Also, to the members of my committee, Ben Klopp, Richard Avery and Tim Scovic, thank you for pushing me to expand my topic and helping me find more effective ways to communicate my idea.

Personally, my family deserves a big thank you for all of their support.

To my dad, who pushed me to further my education and take on the challenge of a secondary degree. Your support and belief in my abilities made it possible for me to complete this program. To my mom, who always told me it was okay to take a break and quietly listened every time I told her I was going to drop out. Thanks for not letting me quit. Erin, Sara, Jack and Bucko, my sibs, thank you for the love and support through it all. Countless dinners, coffees, frozen yogurts, pampering and time spent together eased the stress (probably more than what was apparent). Without you all, I would have been lost.

Last but not least, thank you to Steven who travelled to Chicago as often as he could to support me throughout the program. Your role as a sound board for all the good and bad that came through this process was probably not easy. Thank you for all of the encouragement and always keeping it positive.

TABLE OF CONTENTS 6

DEFINITIONS

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ABSTRACT

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BACKGROUND

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INTRODUCTION

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THESIS STATEMENT

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THEORETICAL FRAMEWORK

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CASE STUDY

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SYNTHESIS

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DESIGN COMPONENT

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CONCLUSION

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BIBLIOGRAPHY

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appendix

definitions

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urban design : the process of giving form, shape, and

character to groups of buildings, to whole neighborhoods, and the city. It is a framework that orders the elements into a network of streets, squares, and blocks.

community :

a group of people who live in the same area, such as a city, town, or neighborhood and have a sense of fellowship or togetherness.

sustainable:

pertaining to a system that maintains its own viability by using techniques that allow for continual reuse.

neighborhood:

with

reference

to

a

its

district or character

locality, often or inhabitants.

revitilization: to restore vitality or animation to a

neighborhood.

abstract

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Urban development across America has historically displayed rapid patterns of growth or decline, as a direct result of time progression and circumstance. With the world population increasing at a rapid rate, urban planning and sustainable development groups have implemented plans to keep cities not only livable, but also viable in terms of a connected community. As the exterior envelope of cities, neighborhoods and communities plays a vital role in keeping urban communities viable, the interior spaces within the buildings that populate these areas is also important. The current research examines existing urban design principles and translates them to interior design in order to create a new set of design principles that can be used across a variety of interior applications in urban communities. The design test takes this new set of synthesized design principles and applies them to the interior design of an existing building located in the Pendleton Arts District in Cincinnati, Ohio. The neighborhood is in the historically landmarked district of Over the Rhine, which began an extreme revitalization just after the new millennium. Once a crime ridden, dangerous place, the neighborhood is becoming safer and seeing a vast amount of investment. The design test created a center that fosters connection within the community with the goal of contributing to the overall revitalization of the neighborhood.

researcher background

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As a psychology major during my undergraduate studies, I researched people’s behavior within an interior as it relates to recycling for my thesis.

Testing different persuasive methods and placement of receptacles, I was interested in finding out what makes people engage in the behavior of recycling. Throughout my studies as an MAID student at Harrington College of Design, I have often gone back to ideas of self-sustaining systems. Right before I moved to Chicago to study interior design, I was living in a neighborhood that began an extreme transformation process.

Over the Rhine in Cincinnati, which had previously been crime ridden, dangerous and widely abandoned was undergoing rapid revitalization.

As a resident and witness to the process, I became interested in the formula for success of developing sustainable urban communities through re-use and respect of the existing built environment.

INTRODUCTION Beginning in the early 1900s, American cities began to rapidly grow as a direct result of time progression and circumstance.

In some cases, urban growth continued to increase but in many cities, periods of rapid decline ensued. Over the past century, urban planning and sustainable development groups have implemented plans to keep cities not only livable, but also viable in terms of a connected community. Although these plans are ideal and sound in their intent, not all are successfully carried out, as there are many factors that are necessary to be in place.

Among the many organizations that have initiated endeavors to create viable, prosperous neighborhoods, the United States for Green Building Council (USGBC) and Leadership in Energy and Environmental Design (LEED) developed a comprehensive strategy specifically for neighborhood development (LEED-ND). LEEDND created a partnership with the Congress for New Urbanism (CNU), a non-profit, which helps organize and promote walkable, mixed-use neighborhood development, sustainable communities and healthier living conditions. LEED-ND and the CNU began to pave the way for cities to begin to build or re-develop sustainable and thriving communities through basic urban design principles.

A group of thought leaders believed that the LEED-ND principles and standards were not quite enough for urban neighborhoods to build resilient communities. The Living Building Challenge (LBC) went a step further by introducing conceptual ideas, such as beauty and spirit, and education and innovation.

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Expanding the underlying basic principles of LEED-ND, the LBC implements ideas to make urban neighborhoods aesthetically and spiritually pleasing for human connection to the environment, in order for a neighborhood to flourish.

Although American cities have been developing city plans throughout history, Cincinnati was the first city in the United States to have a comprehensive city plan adopted by city council in 1925, leading the way for cities to strategically plan growth and development. After many years of outdated comprehensive city plans that were never fulfilled and unfortunate urban decline, in 2009 Cincinnati joined with the Partnership for Sustainable Communities. This group was created by the United States Department of Housing and Urban Development (HUD), Department of Transportation (DOT) and the Environmental Protection Agency (EPA).1 Between the city of Cincinnati and the HUD-DOT-EPA team, they developed another master plan that was adopted by the city in 2012.2 Before the plan was adopted, the city teamed with corporate leaders to create Cincinnati City Development Corporation (3CDC) to jumpstart economic growth. Focusing on Over the Rhine, a small neighborhood in Cincinnati, 3CDC fully embraced Cincinnati’s Master Plan and began a rapid transformation in an area that was poverty stricken and had exceedingly high crime rates. As a result of their diligent efforts, there has been much success and the neighborhood has seen “an increase in home ownership, the opening of new businesses to serve residents and attract visitors, the creation of construction and other job opportunities, and a significant drop in crime”.3 Master City Planning, LEED-ND, CNU and the Living Building Challenge all have common urban design principles they follow to achieve success in creating sustainable and viable neighborhoods.

At many levels, these principles either unintentionally, or by way of planned partnership, converge and a successful outcome ensues. However, an investigation of how these principles not only influence the exterior envelope of neighborhoods, but how they can be translated across disciplines into interior design, is crucial for paving the way for sustainable neighborhood development.

1 Plan Cincinnati, 10.

2 Plan Cincinnati, 10.

3 “Over the Rhine”, www.3cdc.org

thesis statement

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In the past ten years, there has been a growing interest in developing sustainable urban communities. A series of guidelines have been developed by urban planning organizations in order to successfully achieve this. Urban design principles can be translated to inform an interior design that fosters community and serves both public and private interests together. As a result, interior design intimately connects people and contributes to the revitalization of urban areas.

theoretical framework History of Urban Development in the United States In order to understand the process of establishment and in some cases, degradation, of a neighborhood, it is imperative to examine urban development across history in the United States. Beginning with the First World War until now, America has been home to many sustainable communities, and unfortunately, over time, many neighborhoods have degraded into slums. There are many factors that contribute to a community’s ability to thrive and build a sustainable place, and a brief historical overview reveals the major components.

In the early 20th century, World War I had a massive impact on industry in the United States. Known as “The Great Migration�, more than six million African Americans fled to northern cities in search of factory work. Competing for factory jobs were millions of widowed women and children who were also looking for employment.4 Furthermore, from 1900 to 1920, nine million people immigrated to the United States from overseas and cities became immensely overcrowded. Immigrants and migrants alike began to settle into neighborhoods close to their family and friends from their country of origin, ethnic group or race, creating robust cultural and traditional based communities.5 Although there were situations of overcrowding and grave segregation, the development of these culturally rich areas was important to the overall development of many American cities.

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The roaring twenties brought strong growth and economic prosperity, with America becoming a consumer society. People across America were becoming a part of an urban “mass culture” joined together in city centers and social lives converged by way of music, dancing, goods and a common language. A decrease in immigration slightly balanced the overcrowded cities and new inventions such as penicillin and refrigeration contributed to healthier, cleaner living conditions.6 Investment in the built environment was at an all time high, producing higher quality of living, more efficient office environments, and overall increasing the quality of interior environments across American cities.7 The rise of large corporations in America during this time resulted in the rise of skyscrapers in urban centers and regimented office interiors.

Furthermore, the railroads that had been laid in the 19th century were being widely used for the transport of people and goods, and major cities became hubs for transportation, driving more money into the economy and further strengthening urban centers.

The advancements during this time significantly stimulated urban development throughout the United States and interior spaces benefitted from the investment in the built environment; more spaces were built with a higher quality of interior finishes, and a crucial improvement of hygiene facilities plumbing moved indoors.

4 “Great Migration” http://www.history. com/topics/greatmigration 5 “Great Migration” 6 “The Roaring Twenties”, http:// www.history.com/ topics/roaringtwenties 7 “The Roaring Shortly after mass consumption swept America, The Great Depression Twenties” marked the 1930’s with a decline in industry and the economy crashed. 8 “The Great Depression” http:// Cities deteriorated and conditions for living and working became www.pbs.org/ unsanitary and unsafe due to lack of money for upkeep. More than wgbh/americanexfifteen million Americans became unemployed during this time, and perience/features/ general-article/ several office buildings and factories were shut down and became dustbowl-great8 abandoned, detrimentally effecting communities and urban centers. depression/

World War II sparked industry to pick back up in the 1940’s as need for equipment and supplies were in high demand. Population in urban centers began to increase as jobs were becoming available and the economy began to grow once again.9 At the same time, the Veterans Administration passed the GI bill allowing more people to purchase property in the suburbs without down payment, moving millions of people away form the city.10 The plan backfired on urban areas, causing a major decline in some city centers, creating what we know as “slums”. As a direct response, housing acts by Congress in the late 1940s and early 1950s attempted to clean up the slums and redevelop selected areas, coining the terms “urban redevelopment” and “urban renewal”.11 As The Housing Act of 1954 was put into place, popularizing the idea of urban renewal, developers became more enticed to purchase, rehabilitate and conserve residential buildings in urban centers. The idea of rehabilitation and conservation of the built environment during this time period was against popular thought.

Federal involvement in housing development

rapidly expanded and the financing of new construction, as well as measures to preserve existing structures, contributed significantly to the development of stronger communities.

Although federal interest had poured resources into redeveloping urban centers, the Federal Highway Act in 1956 counteracted progression in some areas as highways began to be re-routed directly through vibrant neighborhoods. The emphasis of the bill was to route interstate highways to large-scale urban centers, with little consideration given to the areas that these would bypass.12 As there were many benefits for major US cities, the decline in several smaller urban communities that were by passed was substantial and vast amounts of interior spaces were left vacated.

A defining moment in American history, The 1964 Civil Rights Act, gave African Americans and women equal rights, beginning the end to segregation and allowing more people an opportunity to have a voice in their communities and the living environment.13

Around the same time, the National Environmental Policy Act (NEPA) required citizen involvement for providing input for funded actions that would aid environmental conditions in their communities.14 Not only did this action require community members’ participation, it gave people an opportunity to make changes to their communities on a personal level. Additionally, the introduction of zoning laws also aided people to have a vote in the appearance of their neighborhood.15 Philanthropists during this time, such as the Ford Foundation and Senator Robert F. Kennedy, took an interest in local nonprofit organizations.

They attempted to apply business and management skills to the social mission of inspiring low-income residents and their neighborhoods, creating groups known as “Community Development Corporations” (CDCs).16 These advancements in policymaking started to generate an appreciation for communities as a whole and gave people more active roles further strengthening community as they shared a common concern for their living conditions.

As a result, interior spaces began to take shape based on personal connection.

As the early 1970’s saw an increase in the demolition of old buildings, Congress institutionalized the National Housing Services (NHS) network to promote reinvestment in older neighborhoods by local financial institutions in cooperation with the community, residents and local governments. Their mission focused on “revitalizing older urban neighborhoods by mobilizing public, private, and community resources at the 17 neighborhood level”. Comparing this concern to modern day conditions in urban centers, the challenge remains figuring out how to maximize the use of existing structures so as to provide stability and sustainable solutions for urban communities across the globe.

The development of the various organizations, such as The Congress for New Urbanism and The Living Building Institute, to accept the challenge is currently pervasive and older urban neighborhoods have begun to see a stimulus in their communities.

9 “The Great Migration” http://www. history.com/topics/ great- migration 10 “HUD Historical Background” http:// www.hud.gov/ offices/adm/about/ admguide/history. cfm#1940 11 “HUD Historical Background” 12 Richard F Weingroff, “Federal Highway Act of 1956: Creating the Interstate System” 13 “HUD Historical Background” 14 Michael Dobbins, “Urban Design and People” 15 Michael Dobbins, “Urban Design and People” 16 Michael Dobbins, “Urban Design and People” 17 Michael Dobbins, “Urban Design and People”

For approximately twenty years, beginning in the 1980s, industry and corporations began moving out to the suburbs once again, as they had after World War II; and some cities did not stand up to this shift in economics.18 It was more affordable outside of the city and closer to where many families already lived. Many urban buildings were left vacated and abandoned, creating vast amounts of unused interior space. Examining Cincinnati specifically, the city rapidly declined and made way for high crime and poverty-infected streets.

The neighborhood of Over the Rhine was significantly distressed with a fifty eight percent poverty rate, an unemployment rate of just over twenty five percent, and a median household income of less than $10,000. This spilled over to destabilize surrounding communities, which included the central business district of Cincinnati.19 The response to the deteriorating state of neighborhoods in Cincinnati, and many other urban areas, was not seemingly as rapid as it had been in the past. Manufacturers quickly followed business and retail centers out into the suburbs, situating themselves closer to research facilities, universities and along highway corridors for ease of access.20 As urban centers were not seeing as much development as suburban areas, the space in between began to infill, and the spread from the city center to distant suburban areas began to see an increase in development.

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In time, a handful of cities began to experience a regrowth after the new millennium, and Cincinnati was one of them. Small businesses moved into neighborhoods within city limits that were still considered dangerous, like Over the Rhine, but spaces were very affordable.

Many local efforts, including the major player, Cincinnati Center City Development Corporation (3CDC), were also at work trying to clean up areas, make room for businesses to grow, and create affordable living spaces for people within the city. In just a few short years, Over the Rhine became a model neighborhood in the United States for renewal and revitalization, renovating and restoring hundreds of historic buildings into homes, condominiums, and commercial spaces, which allowed for new job opportunities and a thriving arts community.

The past century of urban development across the Unites States has fluctuated dramatically between progress and degeneration.

However, the commonalities that contribute to an overall thriving community are the joint efforts among residents, policy makers, and societal organizations.

Ultimately, urban community development is all based on the built environment and its social support systems.

Therefore, the design of how a community is physically formed, based on the layout of the neighborhood, plays a vital role in the ability of a community to be viably sustained.

18 Michael Dobbins, “Urban Design and People” 19 “Over the Rhine” http://www.3cdc.org/ where-we-work/overthe-rhine/ 20 Roger Auch, Janis Taylor, William Acevedo, Urban Groth in American Cities

Urban Planning Organizations Throughout the United States, there are a number of urban planning organizations that exist, all with the similar goal of outlining guidelines in order to certify neighborhoods or communities as sustainable. Particular groups are more successful and prominent than others and have specifically made a significant impact on concentrated urban centers in need of dramatic revitalization.

An overview of three esteemed organizations within this category can aid in determining comprehensive guidelines necessary for successful, sustainable neighborhoods.

Congress For New Urbanism (CNU) CNU supports the restoration of existing urban centers and towns within coherent metropolitan regions, the reconfiguration of sprawling suburbs into communities of real neighborhoods and diverse districts, the conservation of natural environments, and the 21 preservation of the world’s built legacy. Their guiding principles fall under the categories: metropolis, city and town; neighborhood, district and corridor; and block, street and building. Each of these classifications entails guidelines for promoting the creation of livable streets arranged in compact, walkable neighborhoods, a range of housing choices to serve diverse people, destinations that are reachable by walking, biking, or transit and affirming human-scaled public spaces where buildings enliven the streets and space. CNU aids neighborhoods develop strategic plans that are customized and multi-disciplinary depending on the specific needs of a community.

Not only do they have guidelines that are all encompassing, but as existing communities have diverse needs, they work with members to create tools for real change.

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Leadership in Energy and Environmental Design – Neighborhood Development (LEEDND)

The Living Building Institute and the Living Building Challenge (LBC)

CNU partnered with the United States Green Building Council (USGBC) and the National Resource Defense Council to lay out a cohesive and powerful environmental strategy in order to bring sustainable design to the scale of neighborhoods and communities, known as 22 LEED for neighborhood development. LEED-ND emphasizes the creation of compact, walkable, vibrant, mixed-use neighborhoods with good connections to nearby communities. In addition to neighborhood morphology, pedestrian scale, and mix of uses, the rating system also emphasizes the location of the neighborhood and the performance of the infrastructure and buildings within it. This organization became the first of its kind to take sustainability beyond the buildings, and into a holistic concern about the environment in which the buildings are situated. LEED-ND specifically examines categories containing smart location and linkage, neighborhood pattern and design, green infrastructure and buildings, and 23 innovation and design process. The underlying goal of each of these categories is to create a neighborhood with a high quality of life and healthy community members. Alongside green buildings that reduce energy, waste and water use, and protection of natural resources, it is then possible to improve the quality of life for all inhabitants.

The Living Building Challenge is considerably more idealistic and radical than many organizations trying to reach a goal of sustainable communities. Their attempt is not merely about saving buildings, but also of the relationships and broader sense of community and connectivity the buildings engender. It is a challenge to immerse oneself in such a pursuit, and many refer to the ability to do so as a paradigm shift. The Living Building Challenge asks, “What if every single act of design and construction made the world a better place? Focusing on the challenge to all of humanity to reconcile the built environment with the natural environment, into a civilization that creates greater biodiversity, resilience and opportunities for life with each adaptation and 24 development.” The Living Building Challenge is comprised of seven categories, or ‘Petals’: Place, Water, Energy, Health & Happiness, Materials, Equity and Beauty. Petals are subdivided into a total of twenty Imperatives, each of which focuses on a specific sphere of influence. The organization believes that any of their imperatives can be applied to any building anywhere whether new or existing. The Living Building Institute takes the goals of sustainable communities and buildings for that matter, a step further than the rest by incorporating ideals of happiness, beauty and inspiration. Not only do they believe in energy efficiency, zerowaste, and environmentally friendly materials, but also the belief that an engendered sense of connection between people and structure is imperative to building sustainable communities.

21 “What is CNU?” http://www.cnu.org/who_we_are 22 “LEED for Neighborhood Development”, http://www.cnu.org/ leednd 23 LEED 2009 for Neighborhood Development, Project Scorecard 24 “The Living Building Challenge 3.0”, p.7

PLACE MAKING: URBAN DESIGN AND INTERIOR DESIGN In order to understand how cities can be designed for success and to begin to translate the formerly mentioned urban design principles to interiors, it is imperative to examine the close connection that the two disciplines share. Architect Joan Blumenfeld, Interior Design Director of Perkins + Will New York, explains that the way in which cities are designed is not so distinctive from how interiors are produced. She states, “Both disciplines, when successful, result in what one might term “place-making”. During the 1970’s Edward Bacon’s “Design of Cities” established place-making as the hallmark of good urban planning and moved the study of cities beyond technical land use. But interior designers have always understood the importance of place in providing spaces that are inspiring, that foster community and that serve both public and private interests 25 together.”

Ms. Blumenfeld goes on to explain that there are five overarching themes that relate urban design and interior design. Foremost, both urban design and interior design are based on two-dimensional systems; taking the landscape or the building and designing within the given space. Secondly, the design of interiors and urban centers are guided by adjacencies. The complex associations of the relation between things are considered, as there are priorities for physical connections between zones and programs. Circulation also plays a critical role in both urban planning and interiors as the layout of roads or sidewalks, and corridors or egress dictate the flow and movement of people and things throughout a city or within a building. Furthermore, the innately chaotic, non-linear design processes among many departments, involved on many levels, significantly impact both disciplines.

As Blumenfeld explains, “Community groups,

25 “Interior Design vs. Urban Design” http://talkcontract.contractdesign.com/2010/05/interior-design-vs-urbandesign.html 26 “Interior Design vs. Urban Design”

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political entities, regulatory agencies and zoning boards are matched by end users, senior management, facilities people, project managers and building departments. There is an intensity of engagement at an individual level that is almost intimate at times, because it will eventually touch how people live and 26 work.” And lastly, time is sensitive as interiors change in response to society, culture and technology and cities are living entities as we have seen, they grow and decline with time.

With this understanding of the two disciplines of urban design and interior design, the similarities become evident and give a new perspective to both the design of cities and interiors. As each field offers differing principles and guidelines, crossing the boundaries and approaching design challenges with a crossdisciplinary perspective can be a gateway to innovative outcomes.

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CASE STUDY A review of a project in Denver, Colorado portrays the notion of taking urban design principles and translating them to the interior. Armstrong Oil & Gas, an adaptive re-use project designed by Lake & Flato, tested this 27 idea in a structure built in the 1900s that was formerly a machine shop.

The architects designed the building based on principles of conservation, efficiency and sustainability to create a new space for Armstrong’s new offices. The interiors exhibit agriculture in an open-air atrium space at the center of the building. Mimicking the public plaza of a neighborhood, the open air and agriculture contributes to the health and wellness of the users and creates a gathering space for people to meet. They also re-used the existing structural grid and steel columns to lay out the offices and organize the space. The use of existing materials helped to recreate the identity of the industrial origin of the building and old artifacts from the machine shop were used throughout the space to pay homage to the building’s 28 past. Although this project’s intention was not the translation of urban design principles, an examination of their process outlines a translation across disciplines.

27 Armstrong Oil & Gas, www.lakeflato.com/projects/armstrong-oil-gas/ 28 Armstrong Oil & Gas

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synthesis In order to categorize the many urban design principles from CNU, LEED-ND, and LBC, an investigation of a master plan can further facilitate an arrangement to ultimately apply the findings to an interior design test. As the design test is taking place in Cincinnati, Ohio, a breakdown of the city’s master plan principles guided the necessary components to be included. Cincinnati’s current master plan, Plan Cincinnati, has the following five initiative areas: sustain, connect, collaborate, compete and live. The concept of the plan is thriving re-urbanization: “The vision for the future of Cincinnati is focused on an unapologetic drive to create and sustain a thriving inclusive urban community, where engaged people and memorable places are paramount, where creativity and innovation thrive, and where 29 local pride and confidence are contagious.” So, in order to take urban design principles and translate them to the interior, a close examination of the five urban master plan initiatives guided the process.

The next step taken in the determination of the interior design principles was a comparison of guidelines established by the three formerly mentioned urban planning organizations. After categorizing each urban planning principle under the five initiative areas of Plan Cincinnati, ten principles appeared in common across the categories and were extracted for closer examination. They were: conserve, agriculture, walkability, beauty, mixed-use, inspiration, efficiency, diverse, health and safety. These ten principles, paralleled to the examined case study, led to the following five general urban design principles to be applied to the interior design test for this thesis:

29 Plan Cincinnati, http://www.plancincinnati.org/learn/about-plan-cincinnati/our-vision-0

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Street:

Connecting and guiding people, main streets and alleyways create circulation pathways for ease of navigation and lead people to desired destinations.

Plaza:

A space for community collaboration, a large atrium on the interior will mimic a neighborhood or city plaza and provide an open gathering space that promotes community relationships

Neighborhood: The idea residences

of an interior district for a variety of

or

locality income

offers levels.

Agriculture:

Local plants and relationships with local farmers bring life and oxygen to the interior, contributing to a sustainable community and overall health and well being of the inhabitants.

Identity:

Re-creating the character of the exterior neighborhood on the interior reminds the users of the past and present uniqueness of the city, making the site a desirable place to be.

design component Site Selection The design test required an existing building in an urban neighborhood that was transitional or in need of revitalization. The neighborhood needed to be of diverse incomes and backgrounds; essential for a design test that was meant to create a space that connects different types of people. The building needed to be an important landmark in the community, making it easily recognizable and a desirable place to frequent.

As Cincinnati had been the focus of the project thus far, the criteria led to the selection of a building in the Pendleton Arts District which is part of the landmarked district of Over the Rhine. The neighborhood of Over the Rhine was considered a high crime, low socio-economic area, dubbed “ the most dangerous neighborhood in America” for many years in a row. This was prior to the 2004 start of major investment and re-development.

Over the Rhine is the largest collection of Italianate Architecture in the US and the entire district is on the National Register of Historic Places. Developments here are carefully considered and planned according to historic preservation guidelines, which keeps the neighborhood’s authentic aesthetic and culture. The

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Pendleton neighborhood is considered part of the Over the Rhine district by the National Register for Historic Places, but is regarded as a separate neighborhood by the city. Since it is quite small, many locals refer to the area as the Pendleton Arts District of Over the Rhine, essentially they feel as one in the same. The triangle-shaped boundaries of Pendleton are Liberty Street, Reading Road/Central Parkway, and Sycamore Street, just East of Over the Rhine.

The Pendleton area of Over the Rhine has been in the eyes of many developers since the early revitalization stages of the city. A casino, Horseshoe, opened in 2013 just South of Central Parkway. This is not in Pendleton, but next to it. An urban development called “Broadway Commons” is slated to be built just North of this site, in Pendleton. The $26 million dollar redevelopment will include 40,000 square feet of residential and 11,000 square feet of retail space. They will be using the existing residential buildings and putting retail on the first floors and the residential units above. This project will be bringing many more residents and small businesses to the Over the Rhine and Pendleton neighborhoods.

site park residential N

parking broadway square

site information Specifically, the site is located at 1310 Sycamore Street in Cincinnati, Ohio. The existing building was most recently home to the School of Creative and Performing Arts, and before that it housed Woodward High School for which the building was originally built. There is a large green space on the site, which the community uses as a park.

The front of the building faces South, and the back of the building faces North. The building has been abandoned for several years.

There are small parking lots surrounding the building, and there are small public parking lots across the street and in the immediate area. The selected site is surrounded by residential developments on all sides, and close to many public bus transportation stops.

Programming The proposed design is comprised of a mixed-use commercial and residential program, coined the Pendleton Center. The programs serve both public and private interests with the goal of connecting people in the community. The Pendleton Center’s lower level and first floor will together include an urban market, restaurant and brewery, leasing offices, and shared-co workspace. These programs are all designed around a center atrium space. The second level is work-live lofts available for rent. Private condominiums on the third level are also available for sale and can be customized to the buyer. A spa and fitness center is located on the fourth level and is open to residents and community members alike.

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urban market brewery atrium leasing office

2,000 SQ. FT. 36,000 SQ. FT. 36,000 SQ. FT. 36,0000 SQ. fT.

CO-WORK SPACE LOFTS CONDOS SPA & FITNESS

2,000 SQ. FT. 36,000 SQ. FT. 36,000 SQ. FT. 36,0000 SQ. fT.

The design test: an experiential space walkthrough Upon arrival on the ground level, visitors can directly enter into the urban market to the west, through the main common entry on the south, or into the brewery on the East. The North Entrance will be secure and private, as it is designated for residents of the building.

Use of the common entry allows the visitor to access any of the public, bi-level programs. Main circulation paths mimic the main streets of urban cities, and lead visitors along the path to the secondary corridors that flow to the entrance of program components; these are meant to mirror the side streets and alleyways in cities that direct people to their desired destination.

The straight corridors and rectilinear grid of the circulation pathways is meant for ease of navigation throughout the large interior space.

The experience of the Pendleton Center is unique to each visitor and resident. A walk through of the spaces from each of these perspectives will portray the space as two users experience it. The first is as a visitor; a local family plans their Saturday at the Pendleton Center. They enter through the main entrance off of 13th street.

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lower level floor plan

SOUTH ENTRANCE LOBBY

This entrance leads to a familiar face at a reception desk, greeting them and guiding them to their desired destination. The lobby space at this entrance has been opened up to two stories and reveals the building grid. Graphic murals by local artists bring the neighborhood identity into the interior. This lobby provides a space for people to connect with their family and friends and mingle in the lounge space.

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atrium

Directly beyond the main entrance lobby is the atrium, mimicking a neighborhood plaza. It is the focal center of the interior design to which the public programs are designed around. The family drops in and James decides to stay for the open music session. Local music artists populate the space for lessons every other Saturday as this space is designed for a variety of community gathering and collaboration activities.

Three stories tall, the atrium provides a space for a regular schedule of small performances, indoor flea markets, community meetings and symposiums, pop up art gallery space, and even can be rented for private events such as weddings and birthdays. The graphic mural in the atrium acts as a landmark, orienting people as they enter and move through the spaces.

The family leaves James, and decides to get some fresh air, they head directly into the open light court.

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lower level floor plan

light court In the light court, the family can sit and relax and enjoy a peaceful afternoon. This space provides an open-air patio setting, contributing to the health and wellness of the community patrons. It was also designed as a semi- private exterior space that allows visitors to intermix. Local plants and agriculture are grown, keeping the urban air fresh and oxygenated.

After some time spent lounging, the family heads into the market to get some grocery shopping done.

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lower level floor plan

urban market The urban market program allows for local vendors to sell goods and community members to become more engaged with regional farmers and fellow merchants.

Sustaining local agriculture is a way to give back to the broader community, this allows for selfthriving.

A living plant wall visually reminds the visitors of the local agriculture and farming; and fresh vegetables and fruit are on display for sale.

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lower level floor plan

brewery

The family finishes up their shopping and decides to head over to the brewery. The brewery pays homage to Cincinnati’s past as a brewing town, offering local fare and beer. Upon arrival from the lower level, a glimpse toward visible fermenting tanks is a unique experience, and if the timing is right, the family can catch a quick tour of the brewing area. Here the urban design principles of path and identity play a vital role in the design. A visible connection to the upper level opens up the interior and allows for transparent and flowing circulation throughout the space.

The homage to the city’s brewery past keeps the identity of the neighborhood on the interior and promotes the city to continue to be a leader in the industry.

ATRIUM - PUBLIC LOUNGE After lunch, the family decides to catch some of the music and they head to the first floor to hang out in the lounge space overlooking the central atrium.

The first level programs mimic the activities of the lower level. The first level of the atrium space allows visitors to enjoy the activities happening below, whether a performance or conference.

It also provides alternative seating options than what is offered on the lower level. The lounge is transitional and can be used for gallery space, private events, or meetings. This brings community members together and allows for collaboration amongst visitors that might not happen otherwise.

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FIRST FLOOR PLAN

BREWERY BAR & Chef’s table

48

Later that day after James and his family have headed home, a resident of the building who rents out one of the lofts, experiences the center a bit differently.

After a long day of work, Brad starts his evening by meeting a co-worker in the brewery bar for happy hour.

The bar is designed to showcase the material palette of the city. Rookwood tiles line the front of the bar, while a replication of a historical tin ceiling is carried throughout the space. The stools are handcrafted at a local steel mill and artisans in the surrounding neighborhood designed the accessories. The bar overlooks the east entry and is visibly connected across the way to the open kitchen and Chef’s bar; keeping an open kitchen allows for maximum engagement between patrons and chef’s. A visual connection to the food and the brewing areas aids in open communication about the food and drink provided, again further deepening the connection between different visitors.

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second floor plan

residential lofts

After happy hour, Brad and his friend head upstairs to his loft to unwind and make some dinner. They take the private elevators at the north entrance.

The second floor mimics a residential neighborhood, with work-live lofts providing rental units for local artists and students.

Each loft provides living and workspace for artists and independent business owners alike. The

first level provides a kitchen and dining space.

Brad has enough space to entertain a few guests for meals. The kitchen space is efficient, and provides ample storage and room for cooking meals while the dining area allows for seating up to six, and if necessary, can transition into a studio table for working. The living area offers comfort and relaxation; a space for guests to hang out.

Custom built-ins provide ample storage and work space for the artists, creating a unique studio space in each loft. The materiality is kept simple, with neutral walls and floors so that each artist can design their space with their own color palette and accessories. The mezzanine level includes a small bedroom area, walk in closet and bathroom. The open loft plan allows for maximum daylight to enter the entire space, and creates a bright and airy feel. Although the space is not entirely private and closed off, it offers a quiet place to retreat. As Brad and his friend are cooking downstairs, his sister is able to have a space to get some work done on her own.

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partial second floor plan

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partial mezzanine floor plan

residential atrium lounge After dinner, Brad and company decide to venture around and see what his fellow residents are up to. They head through the hallway galleries, where each resident has a space to display their work for the other residents and guests.

These also act as a screen to provide a sense of privacy to the unit entrances. They find some friends, also residents of the lofts, having parties in the community kitchen and the common lounge area. These areas are designed to encourage connecting with neighbors, and provide larger spaces for gathering and holding community meetings.

Brad decides that he would like to hear the concert that is playing that night, and heads over to the shared resident’s lounge space in the private upper area of the central atrium. WWith the skylight and glass curtain wall, this space acts as an indoor patio for residents to enjoy.

It is used as both a community garden and gathering place for neighbors. Instead of fighting a busy crowd for the popular concert that evening in the lower public space of the building, Brad and his friends can have a private space to hang out. They can bring their dessert and cocktails and enjoy the music from the balcony.

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second FLOOR PLAN

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conclusion

56

In the past ten years, there has been a growing interest in developing sustainable urban communities. Urban planning organizations that have been developed have proven to be successful in creating and maintaining such communities. A thorough investigation of urban design principles and a synthesis of extensive research on the topic of urban design, led the researcher to translate urban design principles and create a new set of interior design principles. The established set of interior design principles can be used across a variety of interior applications in urban communities in need of, or undergoing revitalization. Urban design principles can be translated to inform an interior design that fosters community and serves both public and private interests together.

The design outcome of this thesis achieves the goal of designing spaces that connect people. The interior design offers ample space for community collaboration, and also provides residences for a variety of income levels. Lastly, the interior design contributes to a sustainable community and the wellbeing of its inhabitants, and it re-creates the neighborhood identity on the interior making the space a desirable place to be.

As a result, the translation of urban design principles to interior design resulted in a set of interior design principles that are able to intimately connect people and contribute to the revitalization of urban areas.

bibliogrpahy “Armstrong Oil & Gas - Lake|Flato Architects.” Lake|Flato Architects. http://www.lakeflato.com/projects/armstrong-oil-gas/ (accessed August 22, 2014).

Auch, Roger, Janis Taylor, and William Acevedo. Urban growth in American cities glimpses of U.S. urbanization. Reston, Va.: U.S. Dept. of the Interior, U.S. Geological Survey, 2004.

Clubbe, John. Cincinnati Observed: Architecture and History, Columbus, Ohio: Ohio State University Press, 1992.

Dobbins, Michael. Urban design and people. Hoboken, N.J.: Wiley, 2009.

“HUD Historical Background.” US Department of Housing and Development. Http://www.hud.gov/offices/adm/about/ad “Great Migration” http://www.history.com/topics/great-migration Kostof, Spiro. The city assembled: the elements of urban form through history. Boston: Little, Brown, 1992.

“Interior Design vs. Urban Design” http://talkcontract.contractdesign. com/2010/05/interior-design-vs-urban-design.html “LEED for Neighborhood Development”, http://www.cnu.org/leednd

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“Mass Immigration and WWI.” United States Department of Homeland Security. http://www.uscis.gov/history-and-genealogy/ our-history/agency-history/mass-immigration-and-wwi Model Group, “Over the Rhine”, last modified 2010. http:// modelgroup.net/portfolio/detail.aspx?id=c94d14fe-7cc7-4413-84a8b4c11a5f4851 Over the Rhine Chamber of Commerce “OTR Profile”, last modified 2012. http://www.otrchamber.com/otr_profile “Over the Rhine” http://www.3cdc.org/where-we-work/over-therhine/ PBS. “The Great Depression.” PBS. http://www.pbs.org/wgbh/ americanexperience/features/general-article/dustbowl-greatdepression/ Plan Cincinnati, http://www.plancincinnati.org/learn/about-plancincinnati/our-vision-0 “The Living Building Challenge 3.0”, The Living Building Institute.

“The Roaring Twenties”, http://www.history.com/topics/roaringtwenties “What is CNU?” http://www.cnu.org/who_we_are

appendix thesis presentation script 1. Hello, I am Kat and I will be presenting on the topic of Urban Design and Interior spaces: translating principles to foster community.

2. Before I begin, I will tell you a little bit about myself. As a psychology major in Undergraduate, I began to study people’s behavior within an interior as it relates to recycling for my thesis.

3. and, Right before I moved to Chicago to study interior design I was living in a neighborhood that began an extreme transformation process and 4. I became interested in the formula for success of redeveloping of communities through use and respect of the existing built environment.

5. The beginning of my research process led me to many questions. This statement outlines the current research and proposed design test.

As the majority of us are aware: In the past ten years, there has been a growing interest in developing sustainable urban communities. A series of guidelines have been developed by urban planning organizations in order to successfully achieve this. Urban design principles can be translated to inform an interior design that fosters community and serves both public and private interests. As a result, interior design intimately connects people and contributes to the revitalization of urban areas.

6. In other words, I am proposing to synthesize selected urban design principles 7. Translate them into interiors 8. and create a new set of design principles that can be used across a variety of interior applications in urban communities.

9. Many of the terms I am using in my research and presentation need to be defined so as to not confuse with lay terms or multiple meanings. An explanation of these terms is as follows. I refer to Urban Design as the process of giving form, shape, and character to groups of buildings, to whole neighborhoods, and the city. It is a framework that orders the elements into a network of streets, squares, and blocks.

10. Community is a group of people who live in the same area (such as a city, town, or neighborhood) and have a sense of fellowship or togetherness 11. The term Sustainable pertains to a system that maintains its own viability by using techniques that allow for continual reuse.

12. A Neighborhood is a district or locality, often with reference to its character or inhabitants 13. Revitalization is to restore vitality or animation to a neighborhood 14. The majority of sources tell us that the number one factor affecting urban development is people. There are 318 million live in the United States,

60

15. and of that, 250 million people live in urban areas.

16. In other words, 80% of the population in the US lives in urban areas. Therefore, it is imperative to examine how and why urban neighborhoods operate sustainably and successfully.

17. Looking back at urban development across the United States will help us understand what has affected the growth or the decline of cities.

At the same time, I will examine Cincinnati. Cincinnati was the first city in the US to have a comprehensive plan adopted by city council in 1925, leading the way for cities to strategically plan growth and development.

18. Although Cincinnati is known as a smaller and less relevant city most recently, it has always been a hub for transportation across the United States, with one of the earliest Amtrak hubs, and 19. The city appears to be on the track for growth as a part of the proposed high speed rail system.

20. Starting in the early 1900s, WWI had a huge effect on industry in the states and more than 6 million African Americans fled to northern cities in search of factory work. Up until 1920, 9 million people immigrated to the States and cities began overcrowding. Meanwhile, the immigrants were settling in neighborhoods close to their family and friends from back home, creating ethnic based communities where interiors were developed based on culture.

21. A few decades later, the Second World War sparked industrial production and boosted the economy. The Veterans administration passed a bill for home loans allowing more people to purchase property in the suburbs; moving people with money away from the city; and causing a major decline in some city centers. This created what we knew as “slums” and left vast amounts of vacated interior spaces behind.

22. In the 70s, Congress institutionalized the reinvestment of older neighborhoods by local financial institutions, coining the terms “urban redevelopment” and “urban renewal”.

23. Into the new millennium, industry and corporate campuses began moving out to the suburbs once again. It was more affordable outside of the city and closer to work for many families. In Cincinnati specifically, the city went through rapid decline where crime and poverty became widespread. Many city buildings were left vacated, abandoning the majority of interior space in city centers.

24. Some cities began a regrowth after 2000, and Cincinnati was one of them. . Many local efforts were at work trying to clean up areas and make room for businesses to grow, and create affordable living spaces in the existing interiors that were formerly left vacated and neglected.

In just a few short years, Over the Rhine in Cincinnati became a model city in the US for renewal and revitalization.

25. In recent years, a number of urban planning organizations have been developed. Many of these groups certify neighborhoods as sustainable and successful. But, what does it all mean? Further investigating the more prominent groups guides us in understanding their overarching principles.

26. LEED for neighborhood development emphasizes the creation of compact, walk able vibrant, mixed use neighborhoods with good connections to nearby communities 27. The congress for new urbanism stands for the restoration of existing urban centers and towns within coherent metropolitan regions, the reconfiguration of sprawling suburbs into communities of real neighborhoods and diverse districts, the conservation of natural environments, and the preservation of our built legacy.

28. The newest organization, the living building institute, calls for action that describes not only the building of all humanity’s longest lasting artifacts, but also of the relationships and broader sense of community and connectivity they engender, adding guidelines such as beauty and inspiration.

29. As you can see, these organizations overlap in principles, all of which have proven to be vital for the development of a sustainable community.

30. As an attempt to synthesize the formerly mentioned urban design principles and begin to translate them to inform an interior, I went a step further and looked into Cincinnati’s current master plan. Their five initiative areas of sustain, connect, collaborate, compete and live helped me begin organize my design drivers. Charting urban design principles under the five initiative areas from the master plan, I began seeing overlap. Ten of the principles appeared in common across categories and were extracted for closer examination.

31. They were: conserve and agriculture, 32.walkability and beauty, 33. mixed-use and inspiration, 34. efficiency and diverse, 35. and health and safety.

36. In order to apply these principles to interiors, it was imperative to examine the close connection that urban design and interior design share. Architect Joan Blumenfeld explains that the way in which we design cities is not so different from how we design interiors. She states, “Both disciplines, when successful, result in what one might term “place-making.”... Interior designers have always understood the importance of place in providing spaces that are inspiring, that foster community and that serve both public and private interests together.”

37. Urban design and Interior design are both based on 2d systems- taking the landscape or the building and designing within.

38. Both disciplines look at adjacencies, the complex associations of the relation between things.

39. Circulation plays a critical role in each- roads and sidewalks, corridors and egress.

40. Both are non-linear processes with many departments involved on many levels.

41. And lastly, both are time sensitive. Interiors change with the nature of culture and technology and cities are living entities as we have seen, they grow and decline with time.

42. A review of a case study in Denver, Colorado, portrays the notion of taking urban design principles and quite literally translating them to the interior. Armstrong oil and gas, an adaptive reuse project designed by Lake & Flato, used an existing structure and the principles of conservation, efficiency and sustainability to create a space for their new offices.

43. The interiors exhibited agriculture and an open air atrium at the center of the building, contributing to the health and well-being of its users and creating a public plaza.

44. they also re-used the existing grid structure and materials to re-create the identity of the space and bring the surrounding industrial neighborhood to the interior.

45. With a closer look at how this can be done successfully, I was able to create my five design principles. The urban design principles that will be translated to my interior design test are 46. street, 47. plaza, 48. neighborhood, 49. agriculture, 50. and identity.

51. These guide me to reach my goals of creating a space that will connect people, 52. provide space for community collaboration 53. offer residences for a variety of income levels, 54. contribute to a sustainable community and overall well-being, 55. and also to re-create the neighborhood identity on the interior making the site a desirable place to be.

56. My design test site is located in Cincinnati, Ohio, 57. In Pendleton, a small arts district located in the landmarked neighborhood of Over the Rhine, referred to as OTR. 58. It is just north of the downtown Central Business District, where the majority of businesses are located in the city.

59. It is just South of Clifton home to the University of Cincinnati is located, housing many undergraduate as well as graduate students and one of the nation’s largest medical campuses.

60. And it is bordered by Mt. Auburn and the west end, two primarily residential neighborhoods.

61. The site chosen for the design test is in the small Southeast section of OTR known as the Pendleton Arts District.

62. I chose Over the Rhine as it is close to my heart because I was living there in the beginning of it’s transformation stage. More specifically, the criteria for my site selection called for an urabn neighborhood that was in need of revitalization or undergoing a transformation. Over the Rhine was recently considered a high crime, low socio-economic area – dubbed “the most dangerous neighborhood in America”. Since 2000, there has been more than 6 billion dollars of investment to the area and there is still more development happening. The demographics from 2012 show how the area was in a state of neglect and decline. Today, these numbers are much higher than they once were and the community plans to see them continually increase.

63. The existing building for the design test is located at 1310 Sycamore Street, a building that in its past life housed two high schools, most recently The School for the Creative and Performing Arts.

64. Located on 13th street between Broadway and Sycamore streets, the site takes up the entire block.

65. with a large green space that is the community’s primary outdoor park.

66. Pendleton is predominantly residential properties, 67. and the building is surrounded by a few small public parking lots, and free street parking throughout the neighborhood.

68. Of note, there is currently a $26 million dollar investment project, called Broadway Square, that will house residential and retail programs. It is planned to be completed in the next five years, with the goal of beginning the re-development of the Pendleton neighborhood.

69. The site is located close to many public bus stops, and is slated to be a stop on the new Cincinnati Street Car, which broke ground just last year.

70. I am proposing to design a mixed use commercial and residential program, termed the Pendleton Center. The programs will serve both public and private interests with the goal of connecting people in the community.

71. The Pendleton Center’s lower level and first floor will together include an urban market 72. restaurant and brewery 73. and an atrium in the center will connect these prospective programs 74. Leasing offices for the condos and apartments, 75. And a co-work space are also located on the lower level 76. On the second level work live lofts are available for rent 77. and privately owned condominiums are on the third level 78. Lastly, a spa & fitness center is located on the fourth level . A closer look at the interior will examine how the urban design principles were translated to inform the interior design.

79. Upon arrival on the ground level, visitors can directly enter into the urban market to the west, through the main common entry on the south, or into the brewery on the East. The North Entrance will be secure and private, as it is designated for residents of the building.

80.

Use of the common entry allows the visitor to access any of the public, bi-level programs.

81.

These main circulation paths mimic the main streets of urban cities, and lead visitors along the path to the

82.

Secondary corridors that flow to the entrance of program components; these are meant to mirror the side streets and alleyways in cities that direct people to their desired destination. The straight corridors and rectilinear grid of the circulation pathways is meant for ease of navigation throughout the large interior space.

83.

The experience of the Pendleton Center is unique to each the visitor and the resident. A walk through of the space from each perspective will portray the space as it is experienced by two users. The first is as a visitor, a local family plans their Saturday at the Pendleton Center. They enter through the main entrance off of 13th street 84.

This entrance leads to a familiar face, greeting them and guiding them to their desired destination. The space has been opened up to two stories and reveals the building grid. Graphic murals by local artists bring the neighborhood identity into the interior. The lobby provides a space for people to connect with their family and friends and mingle in the lounge space.

85.

Directly behind the main entrance is the atrium, mimicking a neighborhood plaza. It is the center to which the public programs are designed around. (plan).

86.

The family drops in and James decides to stay for the open music session. Local music artists populate the space for lessons every other Saturday. This space is designed for community gathering and collaboration.

87.

Three stories tall, the atrium provides a space for small performances, indoor flea markets, community meetings and symposiums, pop up art gallery space, and even can be rented for private events such as weddings and birthdays. The graphic mural in the atrium acts as a landmark, orienting people as they enter the space.

88.

The family leaves James, and decides to get some fresh air, they head directly into the open light court.

89.

Here, the family can sit and relax and enjoy a peaceful afternoon. The space provides an open-air patio setting, contributing to the health and wellness of the community patrons. Designed as a semi private exterior space, this allows visitors to intermix. Local plants and agriculture are grown, keeping the urban air fresh and oxygenated.

90.

After a some time spent lounging, the family heads into the market to get some grocery shopping done

91.

The urban market program allows for local vendors to sell goods and community members to become more engaged with regional farmers and fellow merchants. Sustaining the local agriculture means to give back to the community, this allows for the self-thriving. A living plant wall visually reminds the visitors of the local agriculture and farming; and fresh vegetables and fruit are on display for sale.

92.

The family finishes up their shopping and decides to head over to the brewery. On their way they pass the leasing offices

93.

And a shared co-work space that is open to the public and the residents of the building

94.

The brewery pays homage to Cincinnati’s past as a brewing town, offering local fare and beer.

95.

Upon arrival from the lower level, a glimpse into the fermenting tanks is a unique experience, and if the timing is right, the family can catch a quick tour of the inside. Urban design principles of path and identity play a vital role in the design. A visible connection to the upper level opens up the interior and allows for transparent and flowing circulation throughout the space.. the homage to the city’s brewery past keeps the identity of the neighborhood on the interior and allows for the city to continue to be a leader in the industry.

96.

After lunch, the family decides to catch some of the music and they head to the first floor to hang out in the lounge space overlooking the atrium. The first level programs mimic the lower level.

97.

The first level of the atrium space allows visitors to enjoy the activities happening below, whether a performance or conference.

It also provides alternative seating options than what is offered on the lower level. The lounge is transitional and can be used for gallery space, private events, or meetings. This brings community members together and allows for collaboration amongst visitors that might not happen otherwise.

98.

Later that day after James and his family have headed home, a resident of the building who rents out one of the lofts, experiences the center a bit differently.

99.

After a long day of work, Brad starts his evening by meeting a co-worker in the brewery bar for happy hour. The bar is designed to showcase the material palette of the city. Rookwood tiles line the front of the bar, while a replication of a historical tin ceiling is carried throughout the space. The stools are handcrafted at a local steel mill and the accessories are made by artisans in the surrounding neighborhood. The bar overlooks the East entry and is visibly connected across the way to the open kichen and Chef’s bar.

100. Keep an open kitchen allows for maximum engagement between patrons and chef’s. A visual connection to the food and the brewing areas aids in open communication about the food and drink provided, again futher deepening the connection between visitors.

101. After happy hour, Brad and his friend head upstairs to his loft to unwind and make some dinner. They take the private elevators at the north entrance.

102.

the second floor mimics a residential neighborhood, with art/work live lofts providing rental units for local artists and students.

103.

Each loft provides living and work space for artists and independent business owners alike.

104. The first level provides a kitchen and dining space. Brad has enough space to entertain a few guests for meals. The kitchen space is efficient, and provides ample storage and room for cooking meals while the dining area allows for seating up to six, and if necessary, can transition into a studio table for working.

105. The living area offers comfort and relaxation; a space for guests to hang out. Custom built-ins provide ample storage and work space for the artists, creating a unique studio space in each loft. The materiality is kept simple, with neutral walls and floors so that each artist can design their space with their own color palette and accessories.

106.

The mezzanine level includes a small bedroom area, walk in closet and bathroom. The open loft plan allows for maximum daylight to enter the entire space, and creates a bright and airy feel. Although the space is not entirely private and closed off, it offers a quiet place to retreat. As Brad and his friend are cooking downstairs, his sister is able to have a space to get some work done on her own.

107. After dinner, Brad and company decide to venture around and see what his fellow residents are up to. They head through the hallway galleries, where each resident has a space to display their work for passersby. These also act as a screen to provide a sense of privacy to the unit entrances.

108. They find some friends having parties in the community kitchen and the common lounge area. These areas are designed to encourage connecting with neighbors, and provide larger spaces for gathering and holding community meetings.

109. Brad decides that he would like to hear the concert that is playing that night, and heads over to the shared lounge space in the atrium.

110. With the sunroof and curtain walls, this space acts as indoor patio for residents to enjoy and use as a community garden and gathering place. Instead of fighting a busy crowd for the popular concert that evening, brad and his friends can have a private space to hang out. They can bring their dessert and cocktails and enjoy the music from the balcony.

111.

No matter where one start’s their experience in the Pendleton Center, residents and visitors alike come together and are able to enjoy each program as they please. The design outcome reaches the goal of providing a space that connects people, offers ample space for community collaboration, supports residences for a variety of income levels, contributes to a sustainable community and the wellbeing of its inhabitants, and it re-creates the neighborhood identity on the interior making the space a desirable place to be.