Stephanie Knechtly | Rivers of Connection

RIVERS OF CONNECTION A C r i t i q u e o f t h e C in c in n a t i & N or t h e r n Ke n t u c k y Ri v e r E dg e S t e p h a n i e K n e c h tl y

LIK E V E INS AND AR T ER I E S , R I V E R S AND CAN AL S AR E WAT ER S OF C ON N E C T I ON AND C OMMUNICAT I ON .

T HE F L OW OF SE N T EN C E S OR R I V ER S E S TA B L I S HE S A C ON T INUUM , S O T H AT I N C OM M UN I CAT I ON T HE Y LINK ID E A S AN D E X P R E S S I ON S , AND IN C ONNE C T ION T HE Y L I N K P L AC E S OR T I M E .

- CH AR LE S W. MOOR E WAT E R AND AR CHI T E C T UR E

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R I V ER S OF C ON N E C T IO N Cincinnati can attribute most of its growth and success as a major city due to its location along the Ohio River. As industrialization grew and transportation of goods down the river became more prevalent, Cincinnati formed. Hotels, restaurants, and taverns quickly opened to meet the needs of settlers traveling westward on the Ohio River. Across the river, in Northern Kentucky, grew the cities of Covington and Newport, benefiting from the docking and passage of boats and steamships.

The Ohio River brought people, commerce, and transportation to these cities and allowed them to grow. Cincinnati and Newport have an innate instilled identity in their location along the Ohio River.

It is through this proximity to the Ohio River that Cincinnati and Northern Kentucky derive their character as urban spaces. However, there is a lack of urban connection to the river due to dramatic river levels changes throughout the year and a general disregard for the river edge. Major efforts have been made to revitalize parts of Cincinnati’s riverfront over the years, including a complete revisioning of the area with stadiums being repositioned, the Banks Project and the addition of Smale Park.

However, the riverfront areas beyond the central business district and across the river in Newport, Kentucky, have yet to be designed with the same rigor. These riverbanks on both the Kentucky and Ohio side are most often articulated through dense greenery that blocks physical and visual access to the water, or a hardscape edge that suppresses human interaction. This disengaged urban riverfront also lends itself to a lack of connection to the neighboring state. The lack of visibility of city life and intrigue on the riverbanks leads to a further disconnect between the states divided only by a mile of water.

This interwoven relationship between Ohio, Kentucky, and the Ohio River begs the question of how we can create a more mutualistic symbiosis where both the river and the cities that border it benefit from their interaction with each other. This thesis will focus on creating a river edge that blurs the divide between the river and the built environment and encourages human interaction with the Ohio River. Analysis into Cincinnati and Northern Kentucky riverfront history, urban waterfront guiding principles, and riverfront case studies will guide this re-envisioning of the riverfront on an urban and architectural scale.

This permeable edge will be created by eradicating the use of fortifications and over-engineered spaces and instead focuses on extending the urban fabric into the river, retaining water back into the city and populating green spaces in between.

Architecture and landscape will be encouraged to interact with the water in order to reprioritize the river in the urban fabric. Interrogation will be made into the way Architectural buoyancy could mitigate flooding concerns and harken back to the region’s rich riverboat history. In addition, a large focus will be put on curating experiences and engaging all the senses in order to amplify the human dimension of being close to the river. It is the hope that by reinvigorating the river edge and connecting it back to the cities that surround it, Cincinnati and Newport could feel more linked to the river that cultivated their growth.

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A very special thank you to my grandparents whose love for riverboating and Cincinnati cultivated my love for the city and inspired me to do this project.

In loving memory of Anna Easton 6.13.1938 – 1.30.2021

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T H E R I V E R F R ON T CI T Y 8

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T H E U R BA N WAT ER FR O N T

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D E S I G N ME T H OD OL O GY

• C inc i nna t i Hi s t or y • New p or t Hi s t or y • M a s t er P l a ns

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• O v e r - E ngi neer ed E dg e • 10 Gui d i ng Pr i nc i p l e s

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S it e S t r a t egi e s Bu o ya nc y a nd Submer si on R i v er boa t D e sign Ty p ol o g y E ng agi ng t he S ense s

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R I V E R S OF C ON NE C T IO N

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• S it e A na l y si s • D e sign Im pl ement a t i on • C o nc l usi on

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THE RIVERFRONT CIT Y

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“ O U R B OD IE S AND SP IR I T S N EED T H E FR E SH B R E E Z E S T H AT B L OW FR OM T HE WAT ER .

W E NE E D B O T H I T S CAL M AN D I T S S T I M UL U S .

W E NE E D T HE SE NSE OF C OM M UN I T Y, T H E OP P OR T UNI T IE S F OR FE S T I V I T Y, F O R AR T IS T IC E X P R E S SI ON , R E C R E AT I ON AN D C OMME R CI AL B U S T LE T H AT UR BAN WAT ER FR ON T OFFER S ”.

- WAT E R FR ON T S : CI T IE S R E C L AI M T HEI R ED G E

T HE R I V ER FR ON T CI T Y Since the conception of humanity, people have been assigning meaning to water.

Water has become a symbol for purity and is vital in many religious ceremonies and meditative spaces. Human ingenuity has allowed us to use water as transportation across vast expanses and utilized aqueducts and other irrigation techniques to bring water to arid areas of the world. However, arguably most importantly, water has also become a symbol for gathering. The allure of water has long drawn people to be near it, inviting congregations around it to enjoy in its splendor. The necessity of water for drinking brings even groups of lions and zebras together to drink in the rare Saharan watering hole. Similarly, humans have been congregating at rivers, lakes, and oceans to collect water, gather, and cleanse since ancient times. As we progressed, human ingenuity brought Roman bath houses and wells for drinking water. Over time and with the introduction of indoor plumbing, the necessity of gathering for washing purposes has given way to amassing near water for industry and transportation.

Urban waterfronts became vital spaces due to the ease of transportation, people, and goods that it provides. It is through these main arteries of oceans, rivers, and canals that gave birth to major cities along them.

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1920

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1949

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1970

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1993

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2000

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2004

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2007

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2010

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2013

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2017

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2020

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P U B LIC L AN DIN G Cincinnati 1907

CIN CI N N AT I HI S T ORY Cincinnati grew from a small settlement to the now renowned “Queen City of the West” through its proximity along the Ohio River. Israel Ludlow, Matthias Denman, and Robert Patterson built log cabins and purchased eight hundred acres along the Ohio River in 1788, becoming the first settlers of the region. Ludlow divided the region into two types of lots, half acre lots near the city center and four acre lots further out, providing the first thirty settlers with a lot of each type. They named the town Losantiville, a "city across from the mouth of the Licking River." In this initial settlement, they ordered an area about the size of a football field along the river to be the public common space and hoped it would attract visitors traveling down the river. This parcel of land included the cove and what we now refer to as the public landing.

The population began to rise substantially with the construction of Fort Washington in 1789. Three hundred soldiers were usually stationed at the fort, increasing Losantiville's population dramatically. In 1790, the governor of the Northwest Territory, Arthur St. Clair, changed the town's name to Cincinnati in recognition of the Roman citizen soldier Cincinnatus. Hundreds of settlers came to Cincinnati in hopes that they could make their fortunes by providing the soldiers and people traveling down the Ohio River with supplies. By 1792, there were already thirty warehouses in Cincinnati to meet these needs. Additionally, the Ohio River provided Cincinnati with numerous business opportunities and hotels, restaurants, and taverns quickly opened to meet the needs of settlers traveling down the Ohio River. In 1803, when the United States Army stopped use of Fort Washington, Cincinnati had grown to one thousand residents. It continued to grow, reaching nearly ten thousand people by 1820.

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A majority of these early settlers came down the river by boats and chose a spot to settle based on where they could safely and profitably make a home. “But the river, originally a great commercial highway, now appeared as a barrier between the states on either bank. At Cincinnati, beginning in the early 1790s, ferry boats were established to connect the two banks. ‘Small rivers could be bridged. Never the Ohio, ’they said.”

However, despite disbelief, in 1866 the Roebling Suspension Bridge was complete and spanned 2,252 feet across the Ohio River. Since this pioneer in engineering, eight more bridges were constructed connecting Cincinnati and Northern Kentucky. In addition, Cincinnati had developed into an important meatpacking center. The ease of transporting animals to the slaughterhouses and the finished meats to various cities made Cincinnati the pork-processing center of the United States. The city became known as "Porkopolis" and had become an important industrial, political, literary, and educational center.

Around the same time, the railroads were constructed and the need for goods transportation across the river shrunk. However, there was a dramatic increase in the number of people taking pleasure cruises on steamboats during this time. Cincinnati was the largest and densest city in Ohio by 1890, with almost “300,000 people and an average of 37,143 people per square mile.” Riverboating and pleasure cruising had become an integral part of the culture along the Ohio River for many Cincinnatians.

However, with an ice gorge and fire destroying many boats in the early 1900s, the growing usage of the automobile, and the Great Depression, the riverboat’s heyday had passed. “By 1958 the Delta Queen and the Avalon were the only steamboats left…

The end came in 1968 when the Public Landing was torn up and replaced with the Riverfront Stadium. A new and smaller Public Landing was built a bit further up the river.” Although the use of the river for primary transportation ended in 1968, the river is still used for barge transportation of goods and some leisure boats today.

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N E W P OR T H I S T ORY On the other side of the river, Newport, Kentucky, was forming and benefitting from its proximity to Cincinnati. 1807 is considered the founding of Newport when the Newport Barracks were constructed at the mouth of the Licking River. “Unlike the rapid growth that occurred in Cincinnati, Newport’s steep topography, lack of suitable groundwater, and frequent land disputes hampered development.” By 1866 when the Roebling Suspension Bridge provided a connection between Northern Kentucky and the Cincinnati metropolitan area, Newport began to develop more rapidly. However, the Flood of 1937 destroyed much of Newport. The large floodwall that exists at the Newport riverbank today was completed in 1948, constructed because of the damage the Flood of 1937 caused. The 1940s through 1980s brought turbulent times for Newport as gambling halls and nightclubs became prevalent in the city. Political and social change and dramatic reform efforts has led to the Newport we know today.

“The riverfront area is being developed and tourist attractions such as the Newport Aquarium, World Peace Bell and Newport on the Levee have been erected. Newport is also becoming a home for unique shops, cafes and independent businesses.” Due to this tumultuous history, geographical challenges, and smaller population relative to Cincinnati, Newport has not been given an adequate amount of attention or development. However, using Cincinnati as a case study, riverfront development of this area and increasing connection from Cincinnati could be a catalyst for growth and development of the area.

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M A S T ER P L AN S As briefly mentioned, Cincinnati and Newport have been through many changes and developments over the decades since they were conceived. In particular, the riverfront of Cincinnati has been a long standing and recorded developmental issue since the early 1900s. Through these challenges, there has been a major transformation from where the riverfront started. There is immense opportunity for further development, but it is first important to understand the history of the changes and visions that have already been made. One of the best ways to look at the history of these spaces and to understand the methodology behind this development is through the Master plans and major changes made to Cincinnati and Newport over the years.

As the timeline shows, there have been major improvements to the riverfront across from Cincinnati’s Central Business District over time and especially with the Banks Project. However, as stated in the 1948 Master Plan, the riverfront beyond this space and across the river at Newport, Kentucky, has yet to be considered with the same vigor which is what this project aims to consider.

1907 The Kessler Parks Plan recommended a park system for the City of Cincinnati. The plan proposed replacing the Miami and Erie Canal with Central Parkway to increase circulation to the downtown. The riverfront plans did not include any parks but did include waterfront commerce, industry, and railroad development.

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1925 Cincinnati’s Master Plan of 1925 marked the first city in the United States to have a comprehensive plan approved by City Council. One of the main concerns of this new plan was flooding, coming directly from the pain and damage caused by the flood of March 1913. “The value of the prevention of damage by floods can hardly be overestimated. Not only must the loss of human life and animal life be considered, but also the increase in the value of property and the enormously valuable increased confidence that would result from the assurance that flood protection up to a certain limit could be absolutely relied upon.” One of the measures encouraged through the city plan was to install detaining reservoirs in the upper areas of the river which were implemented soon after.

Another major point of the Master Plan of 1925 was the recognition of the riverfront as a vital part of Cincinnati’s urban fabric stating, “For its recreational possibilities as well as its scenery, the Ohio River is Cincinnati’s greatest asset. So far little advantage has been taken of its possibilities…It has often been suggested that the whole riverfront from Eden Park to Columbia, should be acquired by the City, County or State and made into one continuous park and parkway…Furthermore, such a continuous park would provide a variety of possibilities for water sports, bathing, boating, regattas and even water pageants.” This master plan sets up a vision for a continuous parkway along a specific and modest section of the river. This brought more attention to the possibility of riverfront parks but was never fully realized.

1929 The U.S. Army Corps of Engineers completed the channelization of the Ohio River with 50 lock and dam structures along the Ohio River. These channels helped reduce the impact of flooding and provide for better navigation for river transportation.

M AR K L AN D L OCK & DAM

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1948 The next Master Plan for Cincinnati came out in 1948 and again was responding to the lack of usability of the riverfront and the immense damage caused by the Flood of 1937. “The Flood of 1937 brought into focus such long-standing questions as: Of what use to the city is its riverfront? Is it being used to the best advantage from the city's viewpoint? Are its uses such as to justify the expense of protection from inundation, and if so, what kind of protection would be desirable?” This Master Plan designates Cincinnati into three districts with unique issues and plans for improvement. The designated East and West sections were designated as mostly industrial zones and called for little flood protection or development. However, the Central section was deemed the most at risk from flooding and attention was brought to remedying the situation.

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1970S

The 1948 Master Plan was put into place when Fort Washington Way was constructed. Opening in 1961, the major roadway segregated the riverfront from downtown.

The Riverfront Stadium (1970) and Coliseum opened (1975).

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1986 The Master Plan of 1986 (coined the Cincinnati 2000 Urban Renewal Plan) once again made improvements to the riverfront that was set up in previous developments. This plan detailed the creation of urban park spaces at Sawyer Point Park and Eden Park Waterway offering mostly passive park spaces for the city. In addition, it detailed the Riverfront West Park with a new public landing, restaurants, and shops. Another major addition to the plan was the outlining of building heights and densities as related to the city skyline and views of the river. “Maintaining the City's skyline which peaks at Fountain Square is an important consideration. The protection of views to the river will be a primary factor in determining building configurations…The importance of the river is such that viewing corridors from the core to the river must be maintained.”

These height guidelines and the consideration for maintaining cones of view to the Ohio River are still important today.

1997 Ohio River floods, cresting at 64.7 feet in downtown Cincinnati on March 5 and killing 30 people.

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200 0 ’ S Following the plan laid out in 1997, Paul Brown Stadium opened in 2000 along the riverfront.

Reconstruction of Fort Washington Way began, investing in re-envisioning the transportation of the city. Plans for the development of the resulting area began and was named The Banks by the Riverfront Advisors Commission. Great American Ball Park opened in 2003 and the National Underground Railroad Freedom Center opened in 2004. Across the river, Newport on the Levee was constructed and included commercial businesses, restaurants, and the Newport aquarium.

200 8 The Banks Project began, using the new stadiums and Freedom Center buildings as rough boundaries. It marked the beginning of the development of the riverfront with a new residential and commercial neighborhood.

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201 0 - 2 0 2 0 ’ S Smale Park and Carol Ann’s Carousel opened to the public in 2015 and the Skywheel opened in 2018.

202 1 Andrew J Brady Music Center Opens.

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T H E U R BA N WAT E R F R O N T

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T HE U R BAN WAT ER F R O N T This thesis hopes to achieve a mutualistic symbiosis, where all entities benefit from the connection. When analyzing this specific condition, it is vital to understand how the urban riverfront operates, what conditions are successful, and what aspects to avoid. This section will analyze the over-engineered edge in riverfront cities and at the Ohio River edge specifically, successful urban waterfront strategies that are currently employed, and guiding principles to take into consideration when analyzing the Ohio riverfront.

“ T H ER E WA S A GR OW ING D I S C ON N E C T B E T W EEN R I V ER S CAP E S AND T HE S OC I AL C ON S C I OU S N E S S , DE SP I T E T HE IR INCR E A SI N G E C ON OM I C R EL E VAN C E .

WAT ER FR ON T L OCAT IONS W ER E T UR N ED I N T O A H AR D AND AP PAR E N T LY P R E D I C TA B L E AN D C ON T R OL L A B L E INFR A S T R UC T UR E W I T H D I M I N I S HI N G AP P E AL .

T H E CI T IE S SHU T T HE MSELV E S OFF, T U R NING T HE IR BACK S ON T HE R I V ER .

T H IS R E ND E R E D R I V E R S CAP E S OF N O I N T ER E S T F O R O T HE R U SE S OR AC T UAL LY M AD E T HEM IN AC CE S SIB LE OV E R AN E X T EN D ED P ER I OD ”.

- R I V E R S CAP E S : D E SIGNI N G UR BAN EM BAN K M EN T S

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OV E R - EN GI N EER ED E D G E In nature, symbiosis is used to discuss the way animals inhabit the same spaces and compete for the same resources. The whole ecosystem operates through an intertwined relationship, organisms harming and benefiting each other for their own survival. In much the same way that organisms are connected to each other in their respective ecosystems, the built environment is intrinsically tied to the land it inhabits. Ecologists use the framework of parasitism, commensalism, and mutualism to describe these interactions between species. In particular, this framework can be applied to the push and pull between the riverfront city and the water that abuts it.

Parasitism is when one entity benefits by hurting another, we see this in both the way the built environment harms the waterways and vice versa. Commensalism is when one thing is operating in a way that doesn’t harm or benefit the other. In terms of the relationship between water and Architecture, it is naïve to think that they can operate without having an effect on the other. However, many cities and architectural interventions act as if this siloed relationship of indifference can occur. The third type of relationship is coined Mutualism, the idealistic relationship when both entities benefit. This is the symbiotic relationship this thesis will strive to achieve, when both the water and Architecture benefit from the integration of each other.

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P ar a sit ism On e e nt it y be ne f it s f r om har m i ng t he o t he r.

It is first important to understand the types of parasitic relationships this thesis will be avoiding. Water often acts as the parasite towards Architecture in the form of natural disaster or slowly weakening the structure. We see this happen in coastal regions that are ravaged by hurricanes, typhoons, and monsoons. The water takes over the built environment quickly and in massive force. However, we also see water as the parasite in a slower and more nuanced fashion. Buildings slowly deteriorate due to the erosion of buildable land, sea levels rising over time, and humidity causing mold infestation. In the case of this thesis, the City of Cincinnati and the Northern Kentucky cities along the river are forced to contend with the ever-present threat of flooding.

On the flip side, Architecture also acts as a parasite towards water and our experiences with it. The need for a modern city life often comes at the expense of our ecosystem.

The built environment has contributed towards climate change in a major way and has in part caused droughts, pollution, draining, and restricting small waterways, and rising sea levels. Even removing the ever-present example of climate change, the built environment often restructures and bastardizes the natural movements of water. As designers, we often think of the site as unmolded clay ready to be sculpted to our will. We fill in lakes and create new ones elsewhere, we insert damns to control the water’s movements, and we even reroute rivers and streams to bend to the will of our architectural desires. Although there is often valid reasoning behind these measures, it can result in environmental issues and a lack of connection between the built and the natural environments.

Mill Creek and Queensgate

Flood of 1937

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We see these parasitic responses along the Ohio River. In response to the forementioned threat of flooding, Cincinnati and Northern Kentucky have devised methods of protecting the built city core from the threat of water. Dramatic changes in river water levels throughout the year and the once vital but ever decreasing need for waterfront industry bred an antiquated urban waterfront design strategy. This urban strategy focuses on protecting the urban core by blocking the city’s connection to the waterways. The riverbanks on both the Kentucky and Ohio side are most often articulated through dense greenery that blocks all physical and visual access to the water, or a hardscape edge that suppresses human interaction. Although there have been efforts made on Cincinnati’s riverfront, including The Banks redevelopment project and Smale Riverfront Park, there is more left to be desired beyond the Central Business District.

The Ohio River and the contributing delta of Mill Creek are surrounded by heavy manufacturing spaces that constrain the natural ebb and flow of the waterways.

With the Kenyon Barr and Queensgate project, I-75 was drilled through the center of the historic West End neighborhood, displacing 25,000 people, and completely resurfacing the areas around the Mill Creek. Union Terminal and miles of train tracks were butted up against the Mill Creek on the east and heavy manufacturing plants were situated on the edge of it on the west. River Road and heavy industry was placed along a majority of Cincinnati’s riverfront edge as well. Although the Mill Creek is no longer being used for sewage expulsion from the city, this hard surface edge that surrounds it has heavily restrained its movement and thus made it a forgotten piece of the city.

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C o m me ns alism On e e nt it y be ne f it s and t he o t he r i s unaf f e c t e d .

Most often designers act as if a commensalistic relationship is possible, that choices we make do not effect the environment around them. However, this is not the case. On the main banks along the Ohio River, these manufacturing spaces and paved lots have a similar effect as the parasitic response. Although the public landing and parking lot in front of Newport on the Levee specifically are used for events and event parking, a majority of the year they sit empty. These large parking lots and unprogrammed areas serve as a kink in the flow of human circulation and connection. Today, the Ohio River and Mill Creek are not used much for recreation purposes that used to be an integral part of life in the region. This general disregard and mistreatment of these natural water bodies have caused the Mill Creek and the Ohio River to become an eyesore in our urban fabric. Rather than celebrating the beauty and life they bring to our city, this parasite of the over-engineered river edge (designed to protect the city from the water) has harmed the city and thus our ability to sustain life in this space.

Newport on the Levee

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M u t ualism Bo t h e nt it ie s be ne f it f r o m t he i r i nt e r ac t i on .

On the other hand, there are some urban riverfronts that are successful in incorporating the water into their city. One example of a city transforming their riverfront can be found in New York City. The transformation of industrial piers to the Brooklyn Bridge Park (to be discussed later) brought leisure and connection between the city and the river. In addition, the Big U proposal for the Manhattan river edge is looking at fortifying their riverfront as well due to the rising sea levels and threat of flooding.

Another example of a riverfront transformation can be found at the South Bank Parklands of Brisbane in Australia. The Parklands are across the river from the central business district and show a dramatic contrast between river edge conditions. South Bank consists of a mixture of rainforest, water, grassed areas and plazas, as well as features such as the riverfront promenade, restaurants, shops, and fountains. A riverfront wading pool even allows you to swim almost in the river itself. Rerouting streets, addition of pedestrian access and a focus on creating recreational spaces were important goals of the project in order to link the river back to the city. As is evident by the image below, South Bank allows much more interaction with the water than the major road on the river edge of downtown Brisbane allows.

South Bank at Brisbane Australia

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T EN GU I DI N G P R I N C IP L E S In trying to create a mutualistic symbiosis between the river and the cities, it is important to consider what makes an urban waterfront special and successful. Alex Krieger outlines Ten Guiding Principles for waterfront development (in Remaking the Urban Waterfront) that describe the important factors and considerations to make when re-evaluating the expression of the water’s edge. These guidelines are speaking to a breadth of cities across the world and a myriad of types of waterfront living.

However, these principles can be applied to the Ohio River waterfront as well.

Using these principles as a guideline for waterfront development, this thesis strives to take into account these values and strategies to make the Ohio riverfront a long-term success. In particular the principles of integration, permeability and accessibility will be the main drivers in the decisions made in the project.

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F OUNDAT I ON AL Id ent it y The aura of a city largely resides and endures along its waterfront, allowing substantial changes to occur without inevitably harming its enduring qualities of place.

Cincinnati and Northern Kentucky were bred and allowed to flourish due to their close proximity to the Ohio River. Throughout time, the use of the river changed and took the brunt of the changes in prosperity. It is time now to seize the opportunity to make the river an integral part of city life again. “For the city to thrive again, a metamorphosis must occur along its rivers. Those who will be drawn to the city in the future, or who will choose to remain, will do not because steel mills and rail yards once dotted the riverfronts, but because the riverfronts will be accessible, green, beautiful, and clean…”

Rei n v e nt ion The transformation along the urban waterfront is a recurring event in the life of a city and tends to occur when major economic or cultural shifts lead to conflicting visions of contemporary urban life.

Krieger describes the Boston history as an example of this need, citing that the re-planning of the waterfront is essential to its success and that proceeding with caution can lead to unsuccessful change. “Maintaining the status quo was not a high priority, nor should it be, at moments of impending economic change.” The Ohio riverfront is still focused on industrial use even though the need has decreased and the need for more public space and housing has taken its place. This proves the validity for an unencumbered revamping of the Ohio River at the Cincinnati and Northern Kentucky edge, using history as a guide but not as the limit.

S t abilit y Despite periodic and sometimes rapid change, a waterfront preserves for its bordering city some inherent and unalterable stability.

Despite the dramatic changes the waterfronts of Cincinnati and Northern Kentucky have made since the cities were formed, there is a consistency in the atmosphere and urban qualities along the river. “It is the capacity for geographic persistence, despite the periodic transformation of built forms, that is one of the most valuable qualities of urban waterfronts.” It is important to keep the need and ever-present continuity when proposing new riverside solutions.

L ong e v it y Waterfront redevelopments are long-term endeavors with the potential to produce long-term value.

In Cincinnati specifically, some efforts have been made to bring people to and extend the city towards the river. By introducing new stadiums and locating major cultural buildings near the river’s edge, people are drawn to the river for major sporting events, festivals, and special occasions. This has already had a huge impact on the way visitors and Cincinnatians view and use the city. Using Cincinnati’s own past as a precedent encourages further development to the Cincinnati and Northern Kentucky riverscape.

V iabilit y Distinctive environments, typically found at waterfronts, provide significant advantages for a city’s competitiveness in its region or in relation to its vital cities.

Cincinnati and Northern Kentucky are defined by their relationship to the river, adding to the cultural context of the city. This major artery of transportation, commerce, and public space has bred life into the cities and allowed them to flourish.

By reconnecting the cities to the river, they will be tapping back into their life source and strengthening the health of the urban environment.

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DE SIGN Ac c e s sibilit y The public increasingly desires and expects access to the water’s edge. This usually requires overcoming historic barriers- physical, proprietary, and psychological- while persuading that there is merit in maintaining that valuable edge within the public domain.

“The cities that limit public access to their waterfronts outnumber those that provide generous access. Various impediments – from physical barriers to riparian rights, flood zones, and the long-standing uses, and habits have made this so.” This principle speaks directly to the growing importance of accessing the waterway, although Cincinnati and Northern Kentucky have some physical barriers with the threat of flooding and heavy vegetation, it is important to try to overcome these restrictions for the outweighed benefits.

P e r me abilit y Even though a waterfront serves as a natural boundary between land and water it must not be conceptualized or planned as a thin line.

“Land-water relationships are often thought of in terms of opposites, or of the edge between the two. Metaphysically, this edge is razor thin. In terms of city building, the opposite is true. Even when geography offers limited variation, the broader the zone of overlap between land and water, the more successfully a city will capture the benefits of its water assets.” This idea of a thin edge between water and land is even less possible when the water levels are ever-changing, the line creeping towards and away from the city core. Blurring this river edge will be one of the major goals for this project in order to allow for a stronger connection between the water and city.

Int e g r a t ion As valuable and often contested realms, urban waterfronts bring forth the opposing, though reconcilable, human desires to preserve and reinvent.

Inherent with a project laden with so much history and cultural identity, are the opposing desires to improve the city and preserve history. Taking inspiration from the historical makeup of the city and respecting the culture of the Ohio River waterfront will be an important aspect in moving forward with this project.

Us abilit y The success and appeal of waterfront development is intrinsically tied to the interrelationship between landside and adjacent waterside uses- and the environmental quality of both the water and the shore.

The Ohio River is one of the most polluted rivers in the U.S. according to the U.S. Environmental Protection Agency. Keeping this in mind, the design of the riverfront should benefit the river’s overall health rather than add to its pollution. Not only is this vital for the environmental health of the region, but also to its livability and economic success as well. It is the hope that by increasing peoples understanding and appreciation of the river they will be able to better care for it.

L i vabilit y Underused or obsolete urban waterfronts come alive when they become desirable places to live, not just to visit.

As previously mentioned, the Banks Redevelopment Project and specifically locating the Great American Ball Park, Paul Brown Stadium, and The National Underground Railroad Freedom Center along the riverfront has had a large impact on the use of the city. However, how are these spaces used when it isn’t game day or a special occasion? How can revitalizing the riverfront extend the use and vitality of the urban waterfront on a daily basis?

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D E S IG N ME T HO D OL O GY

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“ W H EN W E M AK E P L ACE S T H AT I N C L UD E WAT ER I N OUR D E S I GN S , W E CANNO T IGNOR E T HE R OL E T H AT HI S T ORY AND SY MB OLISM P L AY IN F O R T IF Y ING C ONNE C T ION S AM ON G P E OP LE , WAT E R AND N AT UR E .”

- C H AR LE S W. MOOR E WAT ER AND AR CHI T E C T UR E

DE S I GN ME T HODOL O GY This project is focused on creating a mutualistic relationship between the Ohio River and the cities it divides. A main priority will be put on increasing human interaction with the river and strengthening connections between: • • • •

The city and the river Cincinnati and Newport People and water Built and the natural

These connections aim to unfold at many scales throughout the site. Large site strategies will blur the hard edge between the city and the river edge and increase the river’s presence in the city. Ideals of buoyancy and submersion will allow the Architecture to embrace changes in water levels, reconnecting the built and the natural. The cultural identity and form of Ohio riverboats will guide the Architectural and Interior Design strategies deployed and an importance will be placed on the atmospheric qualities water can engage in with all senses.

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SI T E S T R AT EGI E S As discussed prior, many urban waterfront strategies, including the Queensgate area and Chicago riverfront, focus on controlling, blocking, or retreating from the water’s edge. Although this can be an efficient and simple way to protect the city from the threat of water, it creates a hostile edge that prevents human interaction and experience. In addition, this speaks to the principle of permeability set out by Alex Krieger, that the waterfront boundary should not be planned as a thin line. Thus, for the purposes of this thesis, strategies that involve fortification, impermeable edge conditions, or dense green embankments will be avoided at all costs. Instead, the site wide strategy will be in an effort to thicken the line expressed between the city and the river. Investigations into the blurred edge will be made through three strategies: extending the urban fabric, water retention, and the introduction of programmed green spaces.

Ext ending T he Ur ban Fab r i c One way to help blur the edge between the city and the river is to extend the city further towards and even into the river. As mentioned prior, this “natural boundary between land and water can’t be conceptualized or planned as a thin line.” Stopping the urban fabric at a predetermined line away from the water’s edge does not allow for human interaction with the water and boldly proclaims that the water must obey this arbitrary boundary as well. Extending the city can be achieved through a myriad of applications including, pier extensions, spanning the river, and floating Architecture.

One of the most prominent and recent examples of using piers to extend the city life is Brooklyn Bridge Park designed by Michael Van Valkenburgh Associates. Special attention was taken to support the existing city and provide connections through providing accessible access points, continuity of space, sheltering the parks from noise and providing protected views.

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Re t aining Wa t e r Just as extending the urban fabric to the water is a vital component of blurring the edge, the opposite is also true. Allowing water to safely (and in a controlled manner) enter the urban fabric would not only enhance human interaction with water but would also help mitigate the dangers of flooding. Canals were an integral part to the transportation of Cincinnatians in the middle of the 1800s. The Miami and Erie Canal began in 1825 to connect the Great Lakes to Cincinnati, and a section of the canal passed right through downtown. This helped transport people, goods, and water through the heart of Cincinnati, but also helped mitigate the dramatic water level changes. The Miami and Erie Canal was the width of a street and was used primarily for transportation. However, the new introduction of canals for these purposes could be smaller or larger in scale for the purpose of flood mitigation and blurring the city / river edge rather than transportation needs. Canals can also be used to reinforce views to a body of water. The Salk Institute by Louis Kahn is a prime example of this, using a small trench to reflect the Californian sky and draw your eye to the Pacific Ocean.

Gr ee n Spac e s At this junction between the water and the city, should exist purposeful, program specific green spaces. These spaces could be used to enhance the use of public spaces, allow views to the river, and even act as a natural barrier that allows the river to ebb and flow naturally. In a direct critique of the paved riverfront currently existing in the region, the major considerations for these green areas will be the programmed use, strategic planning, and interaction with buildings. At the spaces surrounding wet zones or flooding prone areas, wetland plants that thrive off moisture could exist.

These wetland spaces would serve as a natural buffer to the city, allow some flooding to occur, and would work on filtering contaminants out of the waters. Programmed park spaces could exist near public buildings to draw people towards the river edge and will focus on bringing activities and curated events to the city. As previously mentioned with the Brooklyn Bridge Park, having park spaces designated for specific activities helps draw people to the park and therefore to the river.

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BUOYAN CY AN D S U B M E R S IO N As aforementioned, the Ohio River’s changing water levels and flooding has led, in many places, to a hostile river edge that serves as a barrier of human interaction. Even oceanfront cities are often designed in a way that works against the water instead of in congruence with it. One common solution to the threat of rising water is the stilted or raised building. While this ground condition does protect the structure from flooding, it still seems to be an antagonistic reaction, preventing humans to interact with it. What would happen if the Architectural response along the river’s edge embraced this threat and encouraged interaction between the waters and the Architecture? Not only could the Architecture account for these changes, but also utilize them to further express the close ties between the Ohio River and the cities that flank it. This Architectural expression of buoyancy and submersion would be a practical resolution to the flooding riverbanks, but it would also increase human interaction with the water and would harken back to our history along the Ohio River, tapping into the rich riverboat culture that once dominated the region.

As a SCUBA diver, I am well versed in this idea of buoyancy. Most of the diver’s experience is centered around trying to be perfectly neutrally buoyant. Positive buoyancy causes you to float on the surface and negative buoyancy causes you to sink to the bottom, neither of which are ideal when trying to move through the middle at the ocean. While physical and biological restrictions exist on the capabilities of experiencing space in these ways, Architecture can evoke feelings of floating, submersion, and duality as well. This terminology provides a three-prong framework to discuss how Architecture can respond spatially as positive, neutrally, or negatively buoyant in water. These three design strategies have their own intriguing spatial qualities and could be implemented in different ways.

P o si t i v e Buo yanc y Ne u t r al B uo yanc y N e g a t i v e B uo yan c y

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P o si t i v e Buo yanc y Positive buoyancy is the principle of floating on top of water’s surface. This spatial relationship allows the Architecture to be intertwined with the water as it ebbs and flows. This allows a more intimate understanding of the water and an expanded view of the life above it. This architectural buoyancy is closely tied with the region’s rich history of riverboating along the Ohio River. Allowing structures to float on the river’s surface provides a closer relationship between the built environment and the waters below as the river levels change. The idea of a house boat has been around for centuries, but the prevalence of floating Architecture is only increasing with the threat of rising sea levels and city density. These floating structures range from preexisting vessels turned into a more permanent space, to new buildings designed specifically for living in the water.

Jord den Hollander is one of the Architects investigating floating Architecture. In his Woonark Water House, he utilizes the reflectivity of the water’s surface to emphasize the appearance of floating above the water. “By raising the box-like structure ninety centimeters above the water; the bedrooms and bathrooms of the floating concrete hull are provided with a ribbon window affording fantastic frog’s eye views of the water world.”

On the other hand, a more radical example of positive buoyancy in the Architectural space is The Floating Piers by Christo and Jeanne Claude. This project was created in Lake Iseo, Italy, and lasted for 16 days in 2016. As a part of this project, 100,000 square meters of yellow fabric laid atop of floating dock system and connected three islands together. This allowed visitors to experience the lake and the entire city from a different vantage point, extending the urban fabric of the city by occupying the surface of the water.

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Neu t r al Buo yanc y The conventional meaning of neutral buoyancy in the context of diving is the ability to stay in the middle of the water, not touching the surface nor the bottom. However, I will be using the term neutrally buoyant here in order to explore how Architecture can exist both in and out of the water at the same time. There are many ways in which Architecture could explore this feeling of neutrality, allowing people to experience both life above the surface and below it.

One project that addresses this concept of partially submerging a structure is the Oceanix City concept for floating villages by BIG. These islands float and can connect to form villages and cities. While having a majority of above sea level programming and building space, this project also addresses below the water’s surface. The schemes include underwater viewing portals, habitat regeneration through ocean farming, and biorock reefs. This allows the viewer to experience both versions of the water, on top of the water’s surface and below it.

Another implementation of neutral buoyancy can be found in the Badeschiff Wien bathing ship on the Franz-Josefs-Kai west of the River Wien. This project partially submerges a pool into the river, allowing people to feel as if they are swimming inside the river itself while providing cleaner, safer water to inhabit. “The front section of one of the lighters is occupied by the 190 square meters swimming pool with a depth of 1.6 meters. Only the lighter’s outer steel wall separates its well-tempered water from the water of the river.” This manifestation of the neutrally buoyant concept allows people to not only experience being in the water, but to access above as well through a sun deck and changing rooms.

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Neg a t i v e Buo yanc y Negative buoyancy in this use is synonymous with submersion. Of course, as humans, it is impossible to enter a space that is fully submerged without first experiencing it on the ground. However, this section will explore interior spaces that are fully submerged in order to understand the spatial quality of being under the water. When delving into precedents that capitalize on underwater views, it is important to note the disparities between the clarity of the waters. Obviously, the quality and visibility of the waters in the middle of the ocean is dramatically different to the dirty and fast flowing Ohio River water. However, the qualities of light, reflection, and the mystery of submersion into murky waters can still be intriguing and beautiful.

One example of these effects can be found in the project titled Under designed by Snohetta. This underwater restaurant is in Lindesnes, Norway, and capitalizes on the views of the murky waters of the Northern Sea. “In Norwegian, ‘under’ has the dual meaning of below and wonder. Half-sunken into the sea, the building’s 34-meter long monolithic form breaks the surface of the water to rest directly on the seabed five meters below. With the thick concrete walls lying against the craggy shoreline, the structure is built to withstand pressure and shock from the rugged sea conditions.

Like a sunken periscope, the restaurant’s massive window offers a view of the seabed as it changes throughout the seasons and varying weather conditions.”

The entry into the dining space consists of a large grand stair overlooking an expansive window into the water’s depths. The lighting and material treatments darken in color and become more muted as you travel down, allowing the waters to be the main contributor for light and reflections.As the pictures depict, the atmosphere and spatial qualities in the space are dramatically benefitted from the lack of water visibility, only adding to the diffused reflections and mystery of the space.

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R I V ER B OAT DE S I GN T Y P O L O GY “A f loa t ing palac e ; a da zzl i ng s pe c t ac l e ; a s t r ang e l y uni f i e d , a r c hit e c t ur al c haos .”

When discussing buoyancy and the Ohio River, it would be remiss not to discuss the strong history the region has with boat transportation along it. Historically, river transportation grew from arks, keel boats, and flatboats to riverboats decked in luxury. Steamboat transportation and riverboating became a sign of wealth and leisure, with the design of the boat to match. This section will analyze the opulent design language of the riverboats that were so prevalent to the experience of the Ohio River for decades. The ideas of general form, strategy, color, and materiality will be the driver for the Architecture created in the project. Drawing on the opulence and atmosphere that these riverboats created rather than the exact function and style used.

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Riverboats draw inspiration from the Gothic Architectural style and is often referred to as “Steamboat Gothic.” In many cases the designs of Riverboats came from the Architectural books of the time including Andrew Jackson Downing and Calvert Vaux.

The exterior of the riverboats usually consisted of a multi teared box decks with an entirely glass pilot house on top. The horizontality of the boat was often emphasized by these stacked platforms, railings, and symmetrical windows a top a plinth base.

Another staple of the Ohio Riverboat is the two tall stacks on the top and the large paddle wheel on the stern. The exterior was often painted white with accents of red, yellow, and blue. The shape was usually adorned with oversized lettering, intricate gothic railings, and emblems of the time.

The interior was also lavish and consisted of large open spaces that were heavily decorated. Circulation spaces were often grand in scale and towards the middle of the space for easy access. “Having negotiated the wide stair from the main deck to the boiler deck, one long flight upward, sometimes winding, the view of the great saloon or cabin was overwhelming in brilliance. The carpenter designer created a tunnel link elongated sagging gallery or hall as the inner spinal space center of the ship. The ceiling usually was sufficiently high to permit daylighting through small clerestory windows.”

The interior of these spaces often used rich and saturated tones, whites and warm woods as décor. Another important aspect of these riverboats is the access to river views. Most spaces in the boat are oriented in order to see the river, even including the orientation of the long but skinny plan. Large windows, balconies and a rooftop deck all pull your eye to the water. This is one of the most important aspects of the design inspiration, allowing the Architecture and inhabitants to feel close to the river.

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EN G AGI N G T H E SENS E S Intrinsic in water is the manipulation of space and conscious qualities. Our primary senses: visual, aural, olfactory, and tactile sensations are activated with our experience of space. This notion of engaging all the senses through the design and utilization of water will be a main consideration in this thesis. This next section will delve into the phenomenological aspects of our spatial experiences through analyzing Therme Vals, a design that engages all senses through its manipulation of Architecture and water.

Therme Vals was designed by Peter Zumthor and is a spa situated in the alpine valleys of Vals, Switzerland. It utilizes the geothermal springs in the surrounding area for the spa’s waters and strives to conjure a relaxing, cave-like experience. The spa engages all sensorial conditions through its relationship to the spa’s waters. Although this thesis will not be programmatically similar to Zumthor’s spa, it will take inspiration from its Architectural strategies and treatment of water in the space.

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V i su al Water’s translucent property allow us to see through it, abstracting what’s under the surface. The type and amount of light, angle of the light’s surface, movement of the water, and materiality of the surfaces around the water all play a part in effecting the result. In Therme Vals, light and reflections of water played a large part in the design of the spaces. Zumthor expressed his inspiration of The Rudas Bath in Budapest stating, “The rays of light falling through the opening in the starry sky of the copula illuminate a room that could not be more perfect for bathing: water in stone basins, rising steam, luminous rays of light of water…There was something serene, primeval, meditative about it that was utterly enthralling.”

Light seeps through the cracks of large stones. Natural light enters the space washing the stone walls, slivers of light enter from many sources: the windows, the floors, the walls through expansion joints in the stone, and through the water itself. The water reflects and refracts light over the textured walls changing with people’s presence and interaction with it. The diffused lighting slipping through highly choreographed and sometimes hidden moments, creates an atmosphere that harkens back to the atmosphere he was inspired by. This expression of water’s reflections allows the gentle lighting of the stone walls and luminosity of the surface to be the focal point in the space, reinforcing the cave-like ambiance. In the similar way, the undisturbed waters serve as a mirrored surface reflecting and extending the lighting effects into the depths of the pools.

Lighting is also used to signal the type of the experience to the visitor as well. In the fire bath, the water is a hot 42 degrees Celsius and the waters glow red, enhancing the visual connection to the sensorial condition of the pool. “The glowing red illumination inside the glittering grey stone seems to know the secret of the hot zones deep within the mountain.” Another visual component that was incorporated to this spa in particular was the use of steam, further obscuring the views and adding an air of mystery to the space. In a direct comparison, the ice bath glows blue to signal the frigid temperatures of the plunge pool. The Architectural expression of water through Zumthor’s manipulation of lighting adds to the sensorial experience of the space and makes the viewer feel more connected to the baths. Although in a smaller scale as this thesis is proposing, the way Zumthor controls the visual environment can be applied to many different scales. The main points of inspiration for the project will be the way Therme Vals harnesses the water’s reflections, choreographs views through the Architecture of the space and utilizes colored light as a form of wayfinding.

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A u r al Sound is another vital aspect of the human experience of a space. Although we often take it for granted, noise sets the precedent for the ambience of a space. The babbling sounds of a brook, the lapping sound of the ocean hitting the sand, the trickling noise of a steady stream falling over the rocks, and the rushing noise of a strong waterfall all enhance mood and experience in different ways. The sounds of water have often been used in Architecture to enhance the experience of the space in incorporating natural water sources or in creating their own. Therme Vals emphasizes the unique intersection between water and the sound (or lack thereof) it creates.

In the Outdoor pool, Zumthor plays with the sound of water flowing from three gold fountains. The sound of rushing water serves as a backdrop for the outdoor space. On the opposite side of the spectrum, The Resonance Room explores sound as almost a lack of audible clarity, an extreme stillness. Zumthor utilizes the small interior space, water, and air in an almost acoustic vacuum. The Resonance Room utilizes the natural texture of the exposed wall as well as a pipe for a mysterious play of sound. The resonant frequency of the room and stillness of water makes even one’s own voice sound as if it is not coming from themselves. “From above a singing, a humming, a ringing seems to resound, issuing from the more or less practiced choir of those present, conducted according to the laws of sound propagation upward to the ceiling, carried and reflected by the different refraction angles of the walls. Certain frequencies and their overtones are amplified through interference and produce a fuller sound.” In conjunction with the space is the usage of a sounding stone, made by the sculptor Author Schneider, oscillating stones create a sound that “can be perceived by the entire body and their effect is like a deep-tissue massage.”

The aural dimension of space is often disregarded and is especially under considered on the city scale. On the riverfront of the Ohio River you often here boats and barges passing by, rushing traffic and groups of people talking. However, the sound of the river is seldom heard or considered in the soundscape of the riverfront. As Therme Vals explores, water can serve as both an auditory activator and muffler. The thesis will aim to create spaces that incorporate both the sound of rushing water and the feeling of submerged silence.

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Ol f a c t or y Human’s sense of smell is considered by scientists to be the strongest and quickest memory inducer. Smell offers a type of wayfinding that prompts behavior. Often, smell can evoke powerful memories and can emotionally reconnect us with our past experiences. Although a natural smell of the geothermal spring waters, stone and earth surrounding the spa exists and certainly adds to the overall experience of the space, Zumthor enhances the olfactory sense through his manipulations in the flower bath.

“Petals and pleasant aromas in public baths were common in the Middle Ages; the sweet bath was combined with bathing vessels, rose blossoms and flagrant smelling infusion of elder blossom, rosemary, chamomile and sweet clover were added to the warm, clear water.” To play homage to this tradition and emphasize the experience of the flower bath’s floating marigold petals on the surface of the water, lavender oil is emitted through the air filters as well.

Although the olfactory sense depends so much on the actual experience of a space and is hard to articulate on an urban scale, it is the intention that this thesis will be infused with the aromas that evoke placemaking. Freshly cooking food during a festival or performance at the P&G Pavilion, the aroma of flowers and freshly cut grass in the green spaces and the fresh rain smell of a water mist coming from a riverside fountain would only enhance the overall atmosphere of the space.

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Ta c t ile Our experience with water is often synonymous with physically touching it, through being splashed with water, wading into it, or fully submerging yourself within it. As previously discussed, the experience of feeling water has enchanted us for centuries and held many meanings of rebirth, purity, and cleansing of sins. Therme Vals delves into the tactile experience of touching water of course, but also explores this tactile expression in the use of textures, temperature, and materiality in the space as a whole.

Rough versus smooth stone, cold versus hot baths, and the depths of water all play a large role in the physical understanding of the space. He states that the Architecture “relies on the silent, primary experiences of bathing, cleansing oneself, relaxing in the water; on the body’s contact with water at different temperatures and in different kinds of spaces; on touching stone.” The materiality and the atmospheric qualities of being submerged or floating on water will be one of the largest considerations of the project. This tactile connection with the river and the materials that surround it will be a manifestation of the mutualistic symbiosis the thesis strives to achieve; allowing inhabitants to see the intersection of the built and the natural.

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RIVERS OF CONNECTION

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SI T E AN ALYS I S In analyzing the riverfronts of Cincinnati and Newport through the lens of mutualistic relationships that the thesis strives to achieve, points of intervention arose. As previously discussed, the area of Smale Park and the Banks Project have already been developed. However, the riverfronts beyond the Central Business District and across into Newport have not been developed to the same extent. This thesis takes a deeper look at the riverfront past the Licking River between Cincinnati’s Public Landing and Friendship Park and the corresponding riverfront of Kentucky. Developing the site on a multitude of scales allows for a complete vision of the whole expanse to be established.

Overall, the riverfronts of Cincinnati and Newport do anything but encourage a relationship where the water and the city benefit from each other. In most cases a hard impermeable edge of concrete or dense forestry block human connection to the river and restrict the natural ebbs and flows of the waterway itself. This section analyzes the specific spaces along the site through their current usage, the way they interact with the water and the interventions that can be suggested to remedy this.

Pu b l ic L anding The first point of intervention along the site is the Cincinnati Public Landing. Cincinnati’s rich riverboat history and use of the river for transportation of goods made the Public Landing a vital connector between the river and the city. Although still in use, the Public Landing isn’t as large of a transportation hub anymore and instead is often used as parking for events. In addition, the recognition of the landing’s importance relies on boats being docked at all times, otherwise it is perceived as only a riverfront parking lot. By reprioritizing the action of docking boats and connecting the space more integrally to the existing American Queen paddlewheel statue, The National Steamboat Monument, the landing feels more intentional to its historic relevance to Cincinnati. These principles are also used across the river at the BB Riverboat docking area. By mirroring the strategies on both the Kentucky and Ohio sides, the spaces are visually connected across the river, emphasizing their importance.

1904 Public Landing

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S er pe nt ine Wall The Serpentine Wall is one of the more successful parts of the riverfront along the site. The curvilinear stair allows for direct interaction with the water and expresses the changes in water levels, altering the experience of the space throughout the year. However, one weak point of the space as it exists today is its connection to the bridges that flank its edges. Although the Serpentine Wall is defined by the Taylor Southgate Bridge on the west and the Purple People Bridge on the east, it doesn’t directly interact with either. Strengthening the connection of pedestrian traffic between the Wall and the Purple People Bridge helps pull people along and over the river and re-establish both components as vital spaces in the urban fabric.

P&G P av ilion The P&G Pavilion is located between the Purple People Bridge and the Daniel Carter Beard Bridge. The performance and event space has a large stage and lawn for seating as well as a pathway that connects further down both directions of the riverbank.

Although this space functions well for its desired purpose, it doesn’t take advantage of its proximity to the Ohio River. The whole area is surrounded by dense forestry at the riverbank and doesn’t allow for any visual or physical access to the river. Opening up this space and expanding the usability of it into the river reprioritizes the mutualistic connection between the city and the river that the thesis is striving to achieve.

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Pu r ple P e ople Br idg e The Purple People Bridge is a vital component to the connection between Newport and Cincinnati because it is the only way for pedestrians to walk from one side of the river to the other. It is often used for events, holiday lights, and is the main spectacle of the WEBN Fireworks (when a waterfall of fireworks descend from the bridge). The structure’s height allows you to see across the river for miles, and when crossing over from Cincinnati to Kentucky, you are welcomed with many activities and restaurants at the Newport on the Levee. However, the main connection from the Purple People Bridge to Cincinnati isn’t as eventful, ending at Pete Rose Way and a multitude of parking lots. Strengthening the experience at this connection point between the bridge and the Serpentine Wall allows the opportunity to draw people from the bridge to the Cincinnati riverbanks and vice versa. This type of intervention also creates a new understanding of the bridge and river by allowing people to experience the space between the waters and the underside of the bridge more directly.

The Purple People Bridge is a vital component to the connection between Newport and Cincinnati because it is the only way for pedestrians to walk from one side of the river to the other. The structure’s height allows you to see across the river for miles, and when crossing over from Cincinnati to Kentucky, you are welcomed with many activities and restaurants at the Newport on the Levee. However, the main connection from the Purple People Bridge to Cincinnati isn’t as eventful, ending at Pete Rose Way and a multitude of parking lots. Strengthening the experience at this connection point between the bridge and the Serpentine Wall allows the opportunity to draw people from the bridge to the Cincinnati riverbanks and vice versa. This type of intervention also creates a new understanding of the bridge and river by allowing people to experience the space between the waters and the underside of the bridge more directly.

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T h eodor e M . Be r r y Int e r na t i onal Fr i e nds hi p P ar k To the west of the Procter and Gamble Pavilion in Sawyer Point Park are the Montgomery Inn Boathouse and the Theodore M. Berry International Friendship Park. These spaces have the same issue discussed prior of dense forestry blockading most access to the river. The pathway that currently exists along the riverbank helps connect the spaces, but in execution does more to divide the experience of the land versus the river. In a similar way as the P&G Pavilion, opening access points and allowing people to experience the river more fully was the main goal for these areas.

Bel l e v ue Re side nt ial D is t r i c t Directly across from the Friendship Park is Bellevue, Kentucky. This section of the riverfront is primarily a residential area. As it exists now, the riverfront in this region is mostly underutilized green space, parking and foliage. The primary objective for this district is to increase residential access to the river and fortify connections to the main community spaces that already exist.

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New por t on t he L e v e e Newport on the Levee is a riverfront commercial district housing retail, restaurants, a movie theater, and the Newport Aquarium. As previously discussed, the Purple People Bridge ends directly at the shopping area and encourages people to move from one space to the other. However, the Newport on the Levee’s steep hill and concrete river edge does not have a strong connection to the river. As even the name levee suggests, the constructed embankment is purposely parasitic in its control of the Ohio River’s movements. This space is often used for events such as firework viewing and Goettafest, but is often underutilized on a daily basis. By terracing the hill and adding programming closer to the river, this space can be utilized more yearround and reprioritizes the river to the Newport riverbanks.

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DE S I GN I MP LEMEN TAT IO N As previously mentioned, this thesis tackles the issue of mutualism between the river and the city through three distinct scales. Breaking this large site into Macro, Meso and Micro development plans allows the complete vision to be laid out with the intent for future development and growth to occur.

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M ac r o - O v e r all S it e S t r a t e g y The first and largest scope covers the whole site, establishing the relationships between the water, landscape and built environment. The main goal of the overall site strategy is to eradicate the over-engineered edge that exists today and blur the divide between the natural and the built environment. In following the main methodologies for site strategies outlined prior, this blurred edge is created through an extension of the urban fabric, water retention, and programmed green spaces.

Locations and types of interventions came directly from the research of riverfront development in the area since the 1800s, site analysis of the current usage of these spaces, and from the principles outlined by Alex Krieger.

Extension of the urban fabric is manifested on the site through the use of floating pathways, docking space, and Architecture jutting into the river itself. In addition, fortifying connections between pre-existing structures and the river is also a priority.

This is especially important in strengthening the connection point between the Serpentine Wall and the Purple People Bridge, drawing people from the bridge to the Cincinnati riverbanks and vice versa. Next was the idea of pulling water into the city to mitigate flooding, increase human interaction with water, and draw views towards the river. Canals of water are introduced at main points of connection throughout the city as a visual queue towards the river. Surrounding these water interventions are planned wetlands that allow the water to ebb and flow through the channels. In addition, programmed green space courtyards span from past the shore on piered lawns to the city core to thicken the boundary between the city and the river. This broad outline of the east side of the city allows for a complete re-envisioning of the city to be flushed out in detail later down the line.

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SI T E S E C T I ON Towards Cincinnati

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SI T E S E C T I ON Towards Newport

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M e so- Ar c hit e c t ur al Int er v e nt i ons The next and middle layer of the project zooms into the portion with the most desire for development, the space between the Taylor Southgate Bridge and the Daniel Carter Beard Bridge. This area encompasses the Serpentine Wall, Purple People Bridge, The Procter and Gamble Pavilion, as well as the entire Newport on the Levee riverfront. This area is already a well trafficked and beloved part of the urban fabric, making it a suitable and viable opportunity for improvement. These areas, as discussed previously, have much room for progress with most of the area currently dissuading human interaction with the water’s edge.

The site strategies previously laid out provides the guidelines for the Architectural methodology that is implemented in more detail here. As previously discussed, this thesis will use buoyancy and submersion to guide the way the interventions interact with the water’s edge and will borrow from the riverboat typology for its form language. Due to the constant threat of flooding along the Ohio River, the Architecture along the water’s edge must be able to withstand changes in water levels throughout the year. Not only does floating or submergible Architecture allow for this change, but it also encourages people to experience the water from different vantage points.

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Floating pathways are implemented to encourage exploration of the water above the surface. These floating pathways connect to the existing trails along the river edge and allow for people to not only view the waters from the shore but conversely view the shore from the river. These floating pathways also allow for direct connection to floating structures that extend the usability of the city and blur the hard edge between the urban fabric and the Ohio River. This rendering depicts a floating pathway implemented along the edge of Newport on the Levee.

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Another typology that is implemented across the site is partially submerged structures and viewing platforms. These spaces allow the viewer to appreciate the experience of being underwater and more fully understand the dramatic water level changes the river endures.

This depicts one of these underwater viewing areas at the Cincinnati side of the Purple People Bridge. As you descend under the water line of the river you can more viscerally understand the qualities of the river including the murkiness, movement, and reflections it may bring. This sense of descending into the river is emphasized by the building enveloping the Purple People Bridge itself, allowing visitors to touch and understand the structure that is so iconic to the connection between Cincinnati and Newport.

In addition, the floating pathway that surrounds the static building allows for a direct expression of how high or low the river level is at the time of visiting.

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After considering the “ground condition,” in this case whether these structures would be buoyant or submergible, the form of these interventions was to be considered. The form of the buildings across the site comes from extracted principles of riverboat design. The initial diagram below depicts some of the main principles that these buildings try to achieve. All the buildings and structural interventions utilized on the site have a long rectangular shape that is so indicative of the riverboat design. Another main principle that prevailed was using water, the form of the structure or materiality to emphasize the views towards the river. On the first diagram, emphasizing views is done using a glass bottom reflecting pool that pulls the eye and circulation towards the river. In the second diagram, a canted roof achieves a feeling of compression at the entry and release towards the river. In addition, a slat façade that is incrementally spaced closer to the entry and further to the river adds to this sensation. The third diagram utilizes a more stylized version of the Steamboat gothic style including the stacked form and detailed arch windows.

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M i c r o- S e nsor ial C ondit i ons The third and smallest scale of investigation dives into the details of the Architectural interventions and the human experience of being in these spaces. Drawing from the main principles of Zumthor’s usage of water to enhance the sensations of Therme Vals, this micro scale aims to activate the experiential dimension of the interventions being proposed. Choreographing views throughout the landscape and Architecture is of utmost importance to emphasize human interaction with the river. Using light and color as a form of wayfinding, harnessing the reflections of water, utilizing sound, and emphasizing the tactile materiality of the spaces help compose the experience of being at the riverfront.

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This shows the reimagined Newport on the Levee. The focus of this area was to extend the utilization of the space year-round and reprioritize the river in the area. Terracing the hill allows for a more accessible slope from the commercial area to the riverbank. This space was designed to draw people to the floating path on the river and across the site. A cascading water feature along the path draws your eye to the river and allows you to experience the water more intimately. Another major consideration was the use of lighting to signal and invite exploration of the landmarks across the urban fabric. In this rendering you can see that lighting signifies not only general wayfinding, but colored lighting is used to designate the bridges across the site as well. The Purple People Bridge glows purple and the Daniel Carter Beard bridge (affectionately nicknamed the Big Mac bridge) is enhanced by yellow lighting.

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The waterfall pavilion at Newport on the Levee was designed to increase interaction with the river and to gain an appreciation for water. The large grass field is intended to serve the event purposes the parking lot at Newport on the Levee currently fulfills. When events are not occurring, the waterfall pavilion is especially important in giving purpose to the space. This glass structure holds a trough of river fed water on the ceiling and cascades into canals cut into the grassy area. Visitors are able to watch the water’s reflections as it moves across the surface and falls to the ground, gaining a fuller understanding of the river from a sensorial experience.

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Similarly, this feeling of being under the reflections of water is implemented in an interior context in this example of a floating restaurant on Cincinnati’s river edge. The main priority of this building was emphasizing views towards the river. This is done through linear lighting that draws the eye towards the end of the space and a central staircase that drives circulation around the center and towards the river to ascend the stair. In addition, the exterior walls become more transparent as you move towards the river.

However, most importantly to reinforce the importance of water, is the utilization of a glass bottom reflecting pool. This pool in contrast to the waterfall pavilion is mostly static and is not river fed, this allows for the visual contrast between the clear blue reflecting pool and the murky waters of the river. This same effect can also be seen on the rooftop level, causing the second level to appear as if it is floating on top of the reflecting pool as well.

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C ON CL U S I ON Through looking deeper into the Ohio River waterfronts of Newport and Cincinnati over time, we see the resilience of these cities’ identities throughout the massive changes they have endured. It is partially due to this strong relationship with the river that allows for this stability. Cincinnati grew from a small settler town to becoming the “Queen City of the West” due to its integral relationship to the Ohio River. However, due to this fear of flooding and a general disregard for the river edge, both Cincinnati and Newport’s urban fabrics feel disconnected from the river that cultivated their growth. Creating a more mutualistic symbiosis between the cities and the river reprioritizes the river in the urban landscape and draws people to what makes these cities so special. It is through these mutualistic site strategies, Architectural buoyancy and sensorial conditions that resolves in the mutualism this thesis strives to achieve.

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