Master of Architecture - Graduate Thesis

Phenomenolo gy of place making:

Explori n g t h e m i n d , b o d y a n d e n vir onment as an appr oach to the r ede velopment o f t h e Ivanhoe Dance Center.

By Maryum Khan A research project presented to The University of Florida Graduate School of Architecture in partial fulfillment of the requirements for the degree of Master of Architecture. University of Florida, 2017

Phenomenology of place making:

Exploring the mind, body and environment as an approach to the redevelopment of the Ivanhoe Dance Center.

By Maryum Khan The University of Florida – 2017 Master of Architecture Chair: Donna Cohen Co Chair: Frank M. Bosworth PhD., AIA

A b s tract This project proposes a place for dance that will explore the body, mind, and environment as a lens for creative place making in the north quarter district of downtown Orlando.

Architecture is often mitigated by a static system driven by programs and technicalities; when in fact, it holds the power to inspire and transform our day to day existence. It shapes our reality and orients our emotions, which constitutes the means and end of the experience in regards to a physical and immersive presence. The challenge with creating an immersive presence is bringing poetic dimension of true human life into a constructed space (Bachelard, 1994). Human experience is always mediated linguistically, yet, we have to ask if that ideology is existent in today’s physical society: how often are humans participating in the “presence” of a constructed space?

The Phenomenology of place making compromised of a series of architectural interventions acting as a depository for the mind, body, and environment fragmented through an area within the North Quarter District of Downtown Orlando. There are three conditions of space, each specifically exploring a study of phenomenology: Memory, Movement, and Perspective. Each intervention is based on the historical Ivanhoe Power Plant once home to the Orlando Ballet and in turn informed by studies of phenomenology. The series of spaces acts as a monument and experience for showcasing and interpreting phenomena as individual entity’s or a cohesive intervention evoking the senses along the way.

The Phenomenological method of place making is a speculative typology within architecture. This research embodies the techniques of memory, movement, and perception informed by theories of the mind, body, and environment. The engagement of this allows for each intervention to embody an authentic design approach that will explore the relationships among body and the act of creating; environment and the act of perspectival place making; as well as the mind and the phenomena of experience translated into design.

Ta ble of C ontents 1 I NT R O D U C TIO N 9

In t r o d u c t i o n to Phenom enology 9 Ba c k g r o u n d 10

S t a t e m e n t o f the problem 11 2 P H EN O M EN O L GY IN A R C HIT E C TURE 12 P r e c e d e n t s 14

Me m o r i e s a t the C enter 16

S p a n i sh S teps - R ome, Italy 17

T h e H igh L ine- N ew York, NY 17

Th e B u i l d i n g as a stage for Moveme nt 18

MA X X I Museum - R ome, Ita ly 19

S e o n a R eid B uilding - G lasgow, Gla sgow City 19

Qu e st i o n s o f P erception 20

T h e T herm e Vals - G raubünde n, Switz e r la nd 21

B r u d e r K laus Field - Mechernic h, Ge r ma ny 21 3 O B J E C T IV E 22 Mi n d 22

Bo d y 22 En v i r o n m e n t 22 4 S I TE A N A LY S IS 24 Vist a s 24

Co n t e x t u a l l ens 26

S i t e A n a l y si s 27 Hist o r y 28

Na r r a t i v e 30

Mi n d 32

Bo d y 34 En v i r o n m e n t 36 Da n c e 38 Mo v e m e n t 40

Re f l e c t i v e Analysis 42 5 D ES I G N 46

MI N D - Me mory of the site 46

BO D Y - M o vem ent of volum es 48

EN V I RO N ME N T - P erception of Wa te r 50

Program 52 6 C O NC L U S IO N

Co n c l u si o n

54 54

W O RK S C ITE D BI BL I O G R A P H Y

56 58

L i st o f F igures 1-4 Figure 1.1 - Architecture as an extension of nature into the man made realm (Deshpande, 2016) Figure 1.2 - Five senses (Pool, 2015) Figure 1.3 - Human participating in the presence of a building (Marshall) Figure 2.1 - Kobe Church by Tadao Ando Architect and Associates (Fabra, 2016) Figure 2.2 - Daniel Libeskind 2 (Bessor, 2014) Figure 2.3 - Tadao Ando (Schriner, 2006) Figure 2.4 - Peter Zumthor (ArchiTravel) Figure 2.5 - Steven Holl (Heitoff) Figure 2.6 - Beginning (Booth, 2010) Figure 2.9 - Light and Dark (Fujii, 2011) Figure 2.12 - Rhythm (Guerra, 2016) Figure 2.15 - Jewel of Light (Ryan, 2008) Figure 2.7 - Middle (Booth, 2010) Figure 2.10 - Stark and Serene (Fujii, 2011) Figure 2.13 - Tranquility (Guerra, 2016) Figure 2.16 - Levels of Landscape (Ryan, 2008) Figure 2.8 - End (Booth, 2010) Figure 2.11 - Solid and Void (Fujii, 2011) Figure 2.14 - Serenity (Guerra, 2016) Figure 2.17 - Art in Architecture (Ryan, 2008) Figure 2.18 - Spanish Steps by Francesco de Sanctis (Marino) Figure 2.19 - The High Line by Diller Scofidio + Renfro (Baan, 2014) Figure 2.20 - Maxxi Museum by Zaha Hadid Architects (Baan, MAXXI Museum / Zaha Hadid Architects, 2009) Figure 2.21 - Seona Reid Building by Stevn Holl Architects (Baan, Seona Reid Building / Steven Holl Architects, 2014) Figure 2.22 - The Therme Vals by Peter Zumthor (Guerra, 2016) Figure 2.23 - Bruder Klaus Field by Peter Zumthor (Ludwig, 2011) Figure 3.1 - Conceptual analysis of the Mind, Body, and Environment Figure 4.1 - C. Vista overlooking Lake Ivanhoe Figure 4.2 - Conceptual analysis of the Mind, Body, and Environment Figure 4.3 - Lightstyle Figure 4.4 - Sunrail Figure 4.5 - The Orlando Ballet Figure 4.6 - Lake Ivanhoe Figure 4.7 - An illustrated perception of the site analyzed through a phenomenological lens Figure 4.8 - Historical Timeline (OUC) Figure 4.9 - Narrative Timeline Figure 4.10 - Analysis of Memory and Time Figure 4.11 - Analysis of Order, Orientation, and Choreography Figure 4.12 - Analysis of Time and Reality Figure 4.13 - Step configuration of various dance forms Figure 4.14 - Spatial configuration of various dance forms Figure 4.15 - Watercolor studies of form and movement Figure 4.16 - Watercolor studies of form, movement, and program Figure 4.17 - Reflective analysis through the mind Figure 4.18 - Reflective analysis through the body Figure 4.19 - Reflective analysis through the environment

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9 10 11 12 13 13 13 13 15 15 15 15 15 15 15 15 15 15 15 15 17 17 19 19 19 19 21 21 23 24 25 26 26 26 26 27 28 30 32 34 36 38 39 40 41 43 44 45

L i st o f F igures 5-6 Figure 5.1 - Existing edge conditions Figure 5.2 - Existing edge conditions + desired path Figure 5.3 - Memory ideograms Figure 5.4 - Idea in relation to place making Figure 5.8 - Spatial configuration of the idea in elevation Figure 5.5 - Volume A Figure 5.6 - Volume B Figure 5.7 - Volume A + B Figure 5.9 - Spatial configuration of the idea in plan Figure 5.10 - Path Configuration Figure 5.11 - Spatial Voids Figure 5.12 - Ground Floor Figure 5.13 - First Floor Figure 5.14 - Second Floor Figure 5.15 - Third Floor Figure 5.16 - Perception of Water Figure 5.17 - Section A Figure 5.18 - Section B Figure 5.19 - Ground Floor Figure 5.20 - First Floor Figure 5.21 - Second Floor Figure 5.22 - Third Floor Figure 5.23 - Circulation Figure 6.1 - Collage Figure 6.2 - Detailed Elevation Figure 6.3 - Perception of Ivanhoe Dance Center contributing to the downtown skyline

47 47 47 47 49 49 49 49 49 51 51 51 51 51 51 51 52 52 53 53 53 53 53 55 55 55

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1 I N T R O D U C T IO N I n t r oduction to P henom enology Phenomenology within Architecture refers to the individual experience; an experience within a constructed space that engages our senses. It questions the most basic theory of architecture: to be open minded towards opportunities that promote the integration of sensory perception as a function of a built form. It is the responsibility of architects to poetically enrich and acknowledge the ‘genius loci’, the spirit of a place (Moran, 2001).

Juhani Pallasmaa’s, The Eyes of the Skin: Architecture of the Senses, defines architecture as “an extension of nature into the man-made realm” (Figure 1.1). Thus, the objective of integrating genius loci into the design phase is for the architecture to declare an identity amongst its surroundings, which reflects authenticity to any physical or mental chora in contact (Pallasmaa, 2007). Leading this research is the urgency of authenticity amongst modern architecture and the significant results of phenomenological experiences, which poses the questions: is Phenomenology the best way to epitomize authentic architecture? Is it possible to step back from reality and begin to understand an urban fabric – its richness – from within? Within the Architecture; within the human? The reality is, the contemplation of phenomenological approaches within the design phase invokes a ‘radical’ school of thought: generating consequential desires to immerse humans within a space, simply because it feels good. This thesis establishes a phenomenological position to explore the body, mind, and environment as means for place making.

Figure 1.1 - Architecture as an extension of nature into the man made realm (Deshpande, 2016)

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B a c kground Phenomenological subjects can easily place false impositions on experiences beforehand; it is critical to avoid any presumptions before an individual understands the phenomena. Rejection of mitigated methods is acceptable and encouraged by leading philosophers in order to renew the emphasis of rebellious inquires without consequence (Malnar & Vodvarka, 2004).

Martin Heidegger was an influential German Philosopher who inquired about the value of life and the importance of sensory experiences that run parallel within it. In Being and Time, he proposes to investigate the question of being, that is, the meaning of being (Heidegger, 1962). The impact everyday objects and the world has on the being heightens the senses and awareness of said objects as individual entities. This impact is the study of phenomenology: the science of human consciousness. It emphasizes the attempt to uncover the truth that manifests itself within the experiencer. This practice is used in architecture as an approach to manipulate individual human experiences, resulting in genius loci.

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Figure 1.2 - Five senses (Pool, 2015)

S t a tement of the problem Architecture is often mitigated by a static system driven by programs and technicalities; when in fact, it holds the power to inspire and transform our day to day existence. It shapes our reality and orients our emotions, which constitutes the means and end of the experience in regards to a physical and immersive presence.

The challenge with creating an immersive presence is bringing the poetic dimension of true human life into a constructed space (Bachelard, 1994). Human experience is always mediated linguistically, yet, we have to ask if that ideology is existent in today’s physical society: how often are humans participating in the “presence” of a constructed space? (Figure 1.3) “Experience of architecture is multi-sensory; qualities of matter, space, and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture strengthens…one’s sense of being in the world, essentially giving rise to a strengthened experience of self.” (Pallasmaa, 2007) (Figure 1.2) Multi-sensory qualities are combined in a single dimension which become the key ingredient of our very existence. The task of Architecture is then to reconcile the narrative between the human and the built environment, and begin to mediate design and concept strategies towards architectural phenomenology.

Figure 1.3 - Human participating in the presence of a building (Marshall)

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2 P HE N O ME N O L G Y IN A R C H IT E C T U R E Phenomenology is characterized by a number of themes, all of which contain untraditional approaches that are understood as practices rather than systems. These approaches justify the need for sensual social architecture that respond to real human desires and feelings. The following literature reviews and case studies will examine the significance of human perception in architecture, define phenomenological parameters, review themes of perception that have been influential in the twentieth century, and examine the relationship between the human body and the direct object of experience. The purpose of these reviews will be to display instances where perception, as an idea, has successfully recreated a phenomenological sense of place, and the designers behind the execution of those ideas. (Figure 2.2-2.5)

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Figure 2.1 - Kobe Church by Tadao Ando Architect and Associates (Fabra, 2016)

Figure 2.2 - Daniel Libeskind 2 (Bessor, 2014)

Figure 2.3 - Tadao Ando (Schriner, 2006)

Figure 2.4 - Peter Zumthor (ArchiTravel)

Figure 2.5 - Steven Holl (Heitoff) 13

P r e cedents

The following precedents demonstrate Architectural Phenomenology through various elements of natural and man made building components.

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Daniel Libeskind

Jewish Museum Berlin, Germany

Tadao Ando

Church of the Light Ibaraki, Osaka, Japan

Light

Peter Zumthor

The Therme Vals GraubĂźnden, Switzerland

Water

Steven Holl

The Nelson-Atkins Museum of Art Kansas City, MO, USA

Narrative

Art

Figure 2.6 - Beginning (Booth, 2010)

Figure 2.7 - Middle (Booth, 2010)

Figure 2.8 - End (Booth, 2010)

Figure 2.9 - Light and Dark (Fujii, 2011)

Figure 2.10 - Stark and Serene (Fujii, 2011)

Figure 2.11 - Solid and Void (Fujii, 2011)

Figure 2.12 - Rhythm (Guerra, 2016)

Figure 2.13 - Tranquility (Guerra, 2016)

Figure 2.14 - Serenity (Guerra, 2016)

Figure 2.15 - Jewel of Light (Ryan, 2008)

Figure 2.16 - Levels of Landscape (Ryan, 2008) Figure 2.17 - Art in Architecture (Ryan, 2008) 15

Me mories at the C enter The beauty behind the relationship between architecture and memory is the the ability to be embedded in each one’s allocation to the other, to make an ever lasting connection in a moment in time.

The object of direct experience, seen through layers of imagery, are exposed to time and begin to the blur the present from the past.

Memory and architecture have the ability to evoke compassion within to reveal details of space, its relationship to time and the meaning behind its initial recollection relative to place making. For memory, architecture stands as a monument in time, as a vault in which experiences can be recalled; in architecture, memory reveals the essence of familiarity which allows the object of direct experience to lend itself to human spatial comprehension.

The following objectives are selected from Kent C. Bloomer and Charles W. Moore’s, Body, Memory, and Architecture, to emphasize the significance of memory in relation to place making: a. Humans develop memories of an inside world that is extracted from an experience taken from the outside world, which are engraved into our feelings and morph our identity over time. b. Inner perception is populated with people, places, events, and senses; these were once experienced through our perception, and have a direct link of association. c. The bodily elements of doorway, window, centerpiece, and even roof, find their expression in the form of a house and may occur repeatedly until they achieve the dimensions of a city. d. The center of a body creates an internal network comprised of remnants of our external experiences in the world, and the corresponding emotions which translate from said experiences. The constant encounters and following emotions, other occurrences, and instances within the internal and external world contributes to the growth of one’s internal network within the body. The body, then, can be viewed as the center place of a house; the purpose of which is to archive memories, experience, and emotion in an accumulated space.

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Sp a n is h S tep s -

Rome , I ta ly

All bodily elements of a house can be found amongst the Spanish steps (Figure 2.18). The fountain is a memorable center piece for the public square. The steps allow for people to gather, dwell, and relive a personal memory. The flowers embellish the steps, similar to a house. The framed windows around the steps acknowledge the presence of other eyes seen through a threshold. There is a presence of comfort and familiarity.

Figure 2.18 - Spanish Steps by Francesco de Sanctis (Marino)

T h e H ig h L in e-

Ne w Yor k, NY

The memory associated with walking through a green space is translated into understanding and accepting this urban park weaving through the city.

The notion of taking a stroll through a park is embodied within the highline, and therefore familiar. In a fast (Figure 2.19)-paced city such as New York, a moment to stroll, pause, and dwell is acceptable and comforting because people may associate the High Line with a pleasant memory.

Figure 2.19 - The High Line by Diller Scofidio + Renfro (Baan, 2014)

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T h e B uilding as a stage f or Mo v ement The Symbolic relationship between architecture and movement is the experience of moving and being moved within a constructed space. In everyday experiences, people engage buildings, cities, and landscapes through a choreography conducted by spatial configurations. Movement and architecture relate to one another in a way that uses man’s perception of place, to frame the narrative in which individuals physically immerse themselves in. Aside from visual representation defined by people and path, movement in Architecture has the capability to reinforce social engagements, develop a narrative, and trigger all sensory responses The following objectives are selected from Kent C. Bloomer and Charles W. Moore’s, Body, Memory, and Architecture, to emphasize the importance of movement in relation to place making: a. Movement within a building begins with the building itself, which immerses into space and the future. The excitement woven within a building goes beyond technology to man’s role as an active agent. b. If the aesthetics of a building acts as a call to move, it also implies the presence of a platform or stage which allows for movement among people and space. It can encourage a choreography of dynamic relationships among people moving within their domain. c. Humans are innocent in the participation of movement; this process between body and the act of moving are in constant dialogue with the architecture of experience. d. Forms are more often the focal point in design than space or movement itself. Space is typically thought of as a void, and the act of moving is treated separately from its existence in space.

Dancers, in a way, blur the separation between void and movement in spaces. They are tasked to hold on to a movement in space that is defined by the form of their bodies.

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MAX X I M u s eu m -

Rome , I ta ly

The choreography of the Maxxi Museum is composed of slipping streams of stairs that weave over and under one another in diagonal configuration, which begins to questions one’s sense of order and orientation in a specific moment in time.

Figure 2.20 - Maxxi Museum by Zaha Hadid Architects (Baan, MAXXI Museum / Zaha Hadid Architects, 2009)

Se o n a Re id B u ild in g -

Gla sgow, Gla sg o w City

The dynamic communication between people and path are defined by disoriented forces that compel our own movements, as well as our spatial relationships to one another.

The tendency towards disorientation depicted in both the Maxxi Museum and the Seona Reid Building seems acceptable to awaken the senses. The dynamic of the overt configurations leaves the occupier to be alert and move in response.

Figure 2.21 - Seona Reid Building by Stevn Holl Architects (Baan, Seona Reid Building / Steven Holl Architects, 2014)

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Q u e stions of P erception Questions of architectural perception underlie the questions of intention. The intention of achieving a phenomenological response from a constructed space is separate from a pure phenomenology that is attained through natural sciences. However, the intent can be architecturally articulated in which we perceive it, validating the integration of natural sciences to achieve an architectural phenomenology. Experience in architecture can evolve through reflective and silent analysis. The perception of a place needs to be understood from within and received with empathy; only then can awareness of one’s unique existence in time is essential in developing a consciousness of perception.

The following objectives are selected from Steven Holl, Juhani Pallasmaa, and Alberto Perez-Gomez’s, Questions of Perception: Phenomenology of Architecture, to outline elements of phenomenological intent. a. Retinal Architecture and loss of plasticity: Architecture of our time is turning into the retinal art of the eye (Pallasmaa, 2007).

We observe buildings upon glance and flatten them to an image, instead of immersing ourselves to experience them. b. As buildings lose their plasticity and their connection with the language and wisdom of the body, they become isolated and distant, and emerge as a visual outline. The detachment from the reality of a building means a detachment from the truth; the authenticity of materials and structure are compromised if the phenomena is not present. c. Natural Materials poses the characteristics to awaken the senses and engage people in the presence of reality. Materials such as stone, brick, and wood allow the eye to penetrate their surfaces and enable us to commit to the body of the building. d. Materials common in architecture today – sheets of glass, enameled metals, and synthetic materials – pose a threat to repel the eyes to gaze any further. Their unyielding surfaces inhabit no essence or age.

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T h e Th erme Va ls Peter Zumthor is a modern architect known for curating spaces with sensitivity towards the use of material and form. In doing so, he establishes a strong connection between the individual and the environment, which work together to serve the desires and practical needs of the user. Zumthor’s use of large stone carved in space is strategically applied to focus on the physical and emotional experience a person may have while walking through the space. His passion for stone as a material, the life and soul it holds, creates a comfortable atmosphere for the user. “I reintroduced it as a construction method…because it feels good to be with, to be in (Kimmelman, 2011).”

Gr a ubünde n, Switz e r la n d

Figure 2.22 - The Therme Vals by Peter Zumthor (Guerra, 2016)

B r u d e r K la u s F ie ld A more recent project by Peter Zumthor, which qualifies as a building with sensual characteristics, is the Bruder Klaus Field Chapel in a private field commissioned by local farmers. From afar, there is a monolithic presence that the retina grasps upon sight. Upon close proximity, the concrete structure embodies a prehistoric essence amongst its surroundings, similar to the ambiguous existence of Stonehenge in an open field.

The Triangle concrete door leads into immediate darkness and the smell of burnt wood. The smell comes from the charred surface of the interior, which lingered from burning the wooden struts that formed the initial framework.

Me c he r nic h, Ge r ma n y

Figure 2.23 - Bruder Klaus Field by Peter Zumthor (Ludwig, 2011)

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3 O B JE C T IV E The aim of my research project is to explore the mind, body, and environment as means for place making. Sensory perception is broken into three phenomenological zones of research:

M in d

Memories at the Center Humans develop memories of an inside world that is extracted from an experience taken from the outside world, which are engraved into our feelings and morph our identity over time. Using all the senses, perceptions are the initial stimuli for the process of making a memory. This process is populated with people, places, events; that were once experienced through vision, sound, smell, touch, and taste. This central idea will accumulate spaces where memories can be relived, ritualized, and created a new.

Bo d y

A call for Movement Movement within a building begins with the building itself. The excitement woven in a building is extended to man’s role as active agent within a constructed space. If the aesthetic of building acts as a call to move, it also implies the presence of a platform which allows for movement among people and space. The influence of movement within a constructed space alerts the occupier by awakening the senses and move in response. The choreography of of volumes will call for a dynamic communication between people and path, that are defined by forces of orientation, order, and scale.

E n v iro n men t

Question of Perception

Only architecture can simultaneously activate all the senses that make up the complexity of perception, yet the traditional approach in designing a building is perceived from an aerial perspective that is far from the truth. We observe buildings upon glance and flatten them to an image, instead of immersing ourselves to experience them. Elements of time, light, shadow, transparency, color, texture, material, and detail all participate in the complete experience of architecture. The perception surrounding this intervention acknowledges the fundamental elements for place making, layered to create an environment that awakens the senses, merged into an authentic experience through which the intervention exists. In this manner, the architecture is understood as a series of partial experiences rather than a totality.

Each theme corresponds to a perceptual Phenomena (touch, smell, sight, etc.); these categories naturally overlap.

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Figure 3.1 - Conceptual analysis of the Mind, Body, and Environment 23

4 S I T E A N A LY S IS Vi st a s Intentionality sets architecture apart from a pure phenomenology that is manifest for the natural sciences (Holl, Pallasmaa, & Peres-Gomez, 2006). Thus, the intent of achieving phenomenology through architecture stems from the integration of natural characteristics as a focal point in the narrative.

Water as a phenomenological lens, has the power of reflection, spatial reversal, and refraction. It possesses the ability to transform rays of light, manipulate time, and dwell in the sky. The attention to phenomenal properties of water can present poetic tools as a means for place making.

Majority of lakes in the State of Florida are the result of sinkholes formed when underground limestone is dissolved by karst erosion. Some lakes have formed through depressions in the ancient limestone bedrock. However, some are formed by man through building dams, weirs, residential communities, etc. Evidently, this led me to focus on large bodies of water as the focal point, and the logic of pre-existing concepts meeting the conditions to awaken the senses in a constructed space.

My research began with multiple visits to various lakes in the Orlando area. I began to sketch what I could see over large bodies of water; around the time the sun would be setting. These sketches (Figure 4.2) illustrate vistas of various sites, and an untraditional approach of an urban analysis through perception.

c.

Figure 4.1 - C. Vista overlooking Lake Ivanhoe

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In this particular sketch (Figure 4.1 -C), I was looking over Lake Ivanhoe and my eyes were immediately drawn to a linear building that I had not come across prior to this moment. My attention was captivated by the presence the building had over the body of water and the physical contribution to the imagery of the downtown skyline. I went over to see the building, and to my surprise, it was boarded up and abandoned. I was intrigued by the lack of transparency, and I subconsciously began perceiving the building in which it presented itself to me. I wanted to unfold the history and memories that have morphed the narrative from the time of its existence, and observe the water as a protagonist. Compelled to explore further, I moved forward with this experience as the reasoning for my site.

a.

b.

c.

d.

e.

f.

Figure 4.2 - Conceptual analysis of the Mind, Body, and Environment 25

C o n t e x tu a l len s

Lightstyle The antique lighting store is adjacent to the abandoned building, also claiming a presence in response to the water. The ripples of the water reflect onto the glass as a transparent layer, blurring over an array of artificial lights hanging from the ceiling.

Figure 4.3 - Lightstyle

Sunrail The Sunrail runs parallel to the historic building. In the 1990s, this rail was an industrial railway that would transport storage facilities and large equipment to and from the loading deck, now sealed off with plaster.

Figure 4.4 - Sunrail

The Orlando Ballet The building was once home to the Orlando Ballet, and originally known as the Dr. Phillips Center for the Performing Arts. The standing characteristics, the large windows and high ceilings, makes this building compelling and ideal for the arts.

Figure 4.5 - The Orlando Ballet

Lake Ivanhoe Lake Ivanhoe sits on North Orange Avenue, located in-between downtown and the North quarter district.

The downtown skyline, along with various parts of Orlando, are captivated by the water for an authentic experience in which we perceive the city.

Figure 4.6 - Lake Ivanhoe 26

Si te A n aly s is

Figure 4.7 - An illustrated perception of the site analyzed through a phenomenological lens

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Hi st o ry In order to understand the existing conditions in relation to its context, the building must be understood from within. A comprehensive analysis can peel the layers of history and time, in order to reveal its true identity over the years,

Lakes Highland and Ivanhoe were OUC’s primary sources of drinking water.

1922

1923

The city of Orlando bought Orlando The city of Orlando bought Orlando Water & Light Co., a privately held Water & Light Co., a privately held company in operation since 1901. company in operation since 1901.

City leaders approved to purchase and City leaders approved to purchase and improve the utility. improve the utility.

Figure 4.8 - Historical Timeline (OUC)

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1924 The city of Orlando bought Orlando Water & Light Co., a privately held company in operation since 1901.

City leaders approved to purchase and improve the utility.

The source of Downtown Orlando’s water and electric supply orginally came from the Ivanhoe power plant.

19 2 6 The city of Orlando bought Orlando Water & Light Co., a privately held company in operation since 1901.

City leaders approved to purchase and improve the utility.

1938

199 5

The city of Orlando bought Orlando The city of Orlando bought Orlando Water & Light Co., a privately held Water & Light Co., a privately held company in operation since 1901. company in operation since 1901.

City leaders approved to purchase and City leaders approved to purchase and improve the utility. improve the utility.

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Na r rativ e The narrative continues from the moment history unveils itself to the performers occupying the space, and the identity of an existing power plant building that had deteriorated over time and seeped into the walls. The reality of past and present merging into a constructed space, forced the Orlando Ballet out, and the mold to move in.

Figure 4.9 - Narrative Timeline (Broffman, Arts Groups displaced by mold in Ivanhoe OUC Building find temporary homes, 2013)

In August 2013 The Ballet alerted OUC to a strong odor emanating throughout the former Lake Ivanhoe Power Plant, and subsequent environmental tests conducted by OUC staff and contractors have identified the presence of mold. This year’s record rains increased water intrusion at the 112-year-old building and caused leaks that appear to have led to the development of mold. Upon learning of the presence of mold, OUC immediately contacted the Ballet and the City to make them aware of the findings.

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The Ivanhoe building was undergoing routine remedia up some diesel spill from the building’s time as a p floors of the building are being torn up in order to re soil. Once the soil is removed, the building will be wa future ground seepage and flooding (a major problem the past as it sits a little below the level of Lake Ivanho ly across Orange Avenue) and then the mold problem

ation work to clean power station. The emove the polluted aterproofed against for the building in oe, which is directwill be addressed.

Besides the mold issue that had sent their tenants running, standing crude oil had accumulated in the former power station’s generator room, and as the ground floor was barely above and sometimes below the water table, water would regularly leach up into the building from nearby Lake Ivanhoe.

The Orlando Ballet, The Central Florida Community Arts (CFCA), The Florida Symphony Youth Orchestra are working to find permanent homes.

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Mi n d

- Memor ies at the Center

The narrative revealed a sequence of events in which the dancers endured. It also revealed a desperate need to seek a permanent solution for the Orlando Ballet group. The expectation a place for dance must meet can be outlined programmatically with existing and additional features. However, expectations can expose themselves by revisiting memories at the center. Sensory responses in a constructed space can reveal the image and significance of a particular place. This analysis explores memories behind the narrative to comprehend the perception of time amongst the dancers.

Figure 4.10 - Analysis of Memory and Time

E YE

EAR

vision

sound

- Extra high ceilings due to lifts required in ballet.

- Acoustics of the space impact the performers.

- Open rehearsal space for visitors.

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SK

tou

- Musicians hauling

- Dancers gracing during re

- Costume chan room

KIN

uch

g large instruments.

g the ballet barre ehearsal.

nge in the locker ms.

NOS E

TO N G U E

smell

taste

- Strong odor emanating throughout the building.

- Conversation before a show.

- The discussion over immediate evacuation and finding a permenant solution.

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Body

- A call f or Movement

The sequence of events, the orientation of the Ivanhoe building, and the choreography of dance are analyzed under one lens in which the past and present merge together. The aesthetic of the building acts as a call to move, it also implies the presence of a platform which allows for movement among people and space. This analysis examines the influence of movement over time, that can awaken the senses and dictate design responses.

Figure 4.11 - Analysis of Order, Orientation, and Choreography

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E n v iro n me n t -

Question of P er ception

The perception surrounding the Ivanhoe building questions the reality of its state. Aside from the mold issue, oil and brownfield was discovered, while in the process of being cleaned-up. It would cost more to remove and salvage the building; therefore decision was made for it to rest as a historic landmark in the Ivanhoe area. The intention of achieving a phenomenological response, regardless of reality, is separate from the potential it has to achieve pure phenomenology. If the intent is to achieve pure phenomenology mitigated by water, does the building itself need to remain active? This analysis examines the reality of a building, deteriorating over time, adjacent to a large body of water that has the potential to alter reality and keep the building presence afloat.

Figure 4.12 - Analysis of Time and Reality

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Da n c e Dance and architecture are similar in which spatial configurations are defined by creative interpretation. Dancers, in a way, blur the separation between time and space. They are tasked to hold on to a movement of the human body through space over time. In that respect, architecture has the ability to create spaces for, and by the body as mutual entities in which they both meet.

The first series of analytical studies (Figure 4.13) explore step configuration of various forms of dance. The following iterations (Figure 4.14) are understood as spatial concepts perceived in dance to inform the design of architectural space. This process demonstrates two interchanging concepts of spatial definition, refined to a reliable design parameter to work from. a.

b.

c.

d.

e.

Figure 4.13 - Step configuration of various dance forms 38

Figure 4.14 - Spatial configuration of various dance forms 39

Mo v e men t Movement within a building begins with the building itself. The watercolor series below (Figure 4.15) explores possibilities of spatial configurations within the existing footprint. The drawings are a number of elevations in reference to the scale of the existing condition. In doing so, the concept narratives associated with the existing building are preserved through form, and the spatial configurations are defined by ideas of movement. The choreography of space organizes program by spatial hierarchy; the orientation of spaces is merged to define path (Figure 4.16).

Figure 4.15 - Watercolor studies of form and movement 40

Figure 4.16 - Watercolor studies of form, movement, and program 41

R e f l e c tiv e A n aly s is In Questions of Perception, Holl reiterates that our experience and sensibilities can evolve through reflective and silent analysis. In that regard, my analysis and comprehension of the site evolved and contributed to the perception of this particular place. My private reflection provoked my inner perception to take public action. The following drawings (Figure 4.17-4.19 ) are a reflective analysis of the site through the mind, body, and environment as a phenomenological lens.

The reflective analysis concludes with a drawing relationship to Lake Ivanhoe; which evidently traces the question of water, and the impact it has on our mind, body, and environment. In any given context, does water dominate all perceptions of place?

Subconsciously, is participation of time measured by water? The act of moving choreographed by water? And the revisiting of memories recalled by water?

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Mi n d

Figure 4.17 - Reflective analysis through the mind 43

Body

Figure 4.18 - Reflective analysis through the body 44

E n v iro n me n t

Figure 4.19 - Reflective analysis through the environment 45

5 D E SIG N M IN D - M e mo ry o f th e s ite 1. Current path defined by existing edge conditions, including the existing building.

2. Desired path defined by existing edge conditions, removing the existing building, and using the footprint as a historic refrence to the narrative.

3. These ideograms illustrate the call to move through the site in a continuous notion. The repition of a single idea is embedded into the subconscious, and affiliated with memories of the site.

4. The process of committing an idea to memory, includes one which can be recalled at any moment. The memorization of the desired path can influence all aspects of place making.

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Figure 5.1 - Existing edge conditions

Figure 5.2 - Existing edge conditions + desired path

Figure 5.3 - Memory ideograms

Figure 5.4 - Idea in relation to place making

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B O D Y - M o v eme n t o f v o lu mes 5. The committed idea is extruded in elevation, as volume A.

6. The committed idea is also extruded in plan, as volume B.

7. Volumes A and B are connected in path of overlapping perspectives, and are encountered by the body moving through space. The massing studies are combined, to execute the idea volumetrically in both:

elevation

and plan

8. As a result, the same idea defines the spatial configurations in both conditions.

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A

Figure 5.5 - Volume A

B

Figure 5.6 - Volume B

A

B

AB

Figure 5.7 - Volume A + B

elevation

Figure 5.8 - Spatial configuration of the idea in elevation

plan

Figure 5.9 - Spatial configuration of the idea in plan 49

E NVIR O N M E N T - P erc e p tio n o f Wa te r 9. The idea as a configuration of circulation and path.

10. The path defines voids of spaces, that in turn, are used to outline a program based on spatial relationships.

11. The idea, path, and spatial voids are layered together and begin to define levels of hierarchy in relation to scale and program.

Ground Floor

First Floor

Second Floor

Third Floor

12. The idea works as a continuous notion in which the body moves through the space. The path defines the mental and physical connection to the water, in which the choreography stems from.

The voids form opportunities in which time and movement meet, and create a platform for people to dwell in.

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Figure 5.10 - Path Configuration

Figure 5.11 - Spatial Voids

Figure 5.12 - Ground Floor

Figure 5.13 - First Floor

Figure 5.14 - Second Floor

Figure 5.15 - Third Floor

Figure 5.16 - Perception of Water

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Pr o gra m At this point in my research, there were many methods in which I could articulate ideas of the mind, body and environment as a means for place making. I made the decision to take these very ideas about phenomenology and place making, and relate it back to architecture. I asked myself how can this method be used in practice today for creative place making?

The plans represent a marriage between a phenomenological concept and practical means of design. The memory of a single idea is a choreography of path in which people and path move within a space (Figure 5.23), the body as volumes that are connected by the narrative overlapped with memory and imagery. The environment in which we question the perception of place through a single idea.

Figure 5.17 - Section A

Figure 5.18 - Section B

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Figure 5.19 - Ground Floor

Figure 5.20 - First Floor

Figure 5.21 - Second Floor

Figure 5.22 - Third Floor

Figure 5.23 - Circulation

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6 C O N C L U SIO N C o n c lu s io n The initial concept started from the narrative of the dancers. The analysis of the mind, body, and environment, in relation to the dancer’s memory, movement, and perception of their time in the Ivanhoe building created a purpose to re-live their experiences to evaluate the need for public action once it was understood from within.

This collage (Figure 6.1) depicts their experiences of movement, space, time, and memory; overlapped with imagery of perception and a narrative of a dance academy that identified with the Ivanhoe building as place to call their own.

The second iteration of the collage is a detailed elevation (Figure 6.2), containing the narrative of the dancers internally, but symbolizing the struggle externally. The intent behind the design of the façade, physically indicates through scale and materiality where the old meets the new, the possible juxtaposition of materials to signify the new intervention as a shell, containing the narrative that was trapped and sealed within. The transparency of materials and space allows for light, water, and the narrative to be perceived from within, and anyone who encounters the space.

The perception of the building, is layered onto the lake Ivanhoe vista from the first phase of the site analysis. This additional layer is included into the personal perception of the downtown skyline, as a conclusion to the narrative in which this site was selected for in the first place.

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Figure 6.1 - Collage

Figure 6.2 - Detailed Elevation

Figure 6.3 - Perception of Ivanhoe Dance Center contributing to the downtown skyline

In conclusion, in order to construct a well-equipped phenomenon, all aspects of the senses should be engaged: sight, smell, touch, taste, sound. Phenomenology creates a holistic basis for architecture that is socially and culturally encompassing. It seems a promising way to embody an authentic architectural experience through sensory responses. Additionally, phenomenology puts forth a means towards a more enriched design approach that calls for more experiential and contextual practice. The goal of phenomenology, ideally, would be to fully submerse oneself in the surrounding space; or better, comprehend and belong to its social, cultural, and historical aspects.

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WO R K S C I T E D

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Figure 1.1

Deshpande, C. (2016, September 12). Winners of the 2016 British Wildlife Photography Awards. “Free Bird” . London, England: Colossal.

Figure 1.2

Pool, A.-H. (2015, February 1). File:Five senses.jpg. Wikimedia Commons . Wikimedia Commons.

Figure 1.3

Marshall, A. (n.d.). Lease Length - Landlords, Sublets, and the “3-Year Minimum”. Retrieved April 23, 2017, from SquareFoot Blog: https://www.squarefoot.com/blog/posts/lease-length-landlords-sublets-andthe-3-year-minimum

Figure 2.1

Fabra, G. (2016, November 10). The Art of Rendering: 12 Ways to Create Atmospheric Architectural Visualizations. Architizer.com . Tadao Ando Architects and Associates.

Figure 2.2

Bessor, I. (2014, September 26). Friday Five with Daniel Libeskind. design-milk .

Figure 2.3

Schriner, C. (2006, January 3). flickr: Tadao Ando. Retrieved April 20, 2017, from flickr: https://www.flickr. com/photos/krss/3166875352/

Figure 2.4

ArchiTravel. (n.d.). Peter Zumthor. Retrieved April 4, 2017, from ArchiTravel online architecture guide: http://www.architravel.com/architravel/architects/peter-zumthor/

Figure 2.5

Heitoff, M. (n.d.). Steven Holl - ‘Architecture brings art into our lives’ . Retrieved April 20, 2017, from Phaidon: http://www.phaidon.com/agenda/architecture/articles/2015/october/07/steven-holl-architecturebrings-art-into-our-lives/

Figure 2.6 Figure 2.7 Figure 2.8

Booth, M. (2010, November 25). AD Classics: Jewish Museum, Berlin / Daniel Libeskind. Retrieved April 20, 2017, from Archdaily: http://www.archdaily.com/91273/ad-classics-jewish-museum-berlin-daniel-libeskind

Figure 2.9 Figure 2.10 Figure 2.11

Fujii, N. (2011, January 6). AD Classics: Church of the Light / Tadao Ando. Retrieved April 20, 2017, from Archdaily: http://www.archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando

Figure 2.12 Figure 2.13 Figure 2.14

Guerra, F. (2016, October 30). Peter Zumthor’s Therme Vals Through the Lens of Fernando Guerra. Retrieved April 15, 2017, from Archdaily: http://www.archdaily.com/798360/peter-zumthors-therme-valsthrough-the-lens-of-fernando-guerra

Figure 2.15 Figure 2.16 Figure 2.17

Ryan, A. (2008, July 30). The Nelson-Atkins Museum of Art / Steven Holl Architects. Retrieved April 17, 2017, from Archdaily: http://www.archdaily.com/4369/the-nelson-atkins-museum-of-art-steven-holl-architects

Figure 2.18

Marino, B. (n.d.). Spanish Steps. Retrieved April 20, 2017, from Walk Inside Rome: http://www.walksinsiderome.com/en/rome-tour-attractions/spanish-steps.html

Figure 2.19

Baan, I. (2014, September 23). Take a Walk on the High Line with Iwan Baan. Retrieved April 15, 2017, from Archdaily: http://www.archdaily.com/550810/take-a-walk-on-the-high-line-with-iwan-baan

Figure 2.20

Baan, I. (2009, December 16). MAXXI Museum / Zaha Hadid Architects. Retrieved April 12, 2017, from Archdaily: http://www.archdaily.com/43822/maxxi-museum-zaha-hadid-architects

Figure 2.21

Baan, I. (2014, March 7). Seona Reid Building / Steven Holl Architects. Retrieved April 15th, 2017, from ArchDaily: http://www.archdaily.com/483381/seona-reid-building-steven-holl-architects

Figure 2.22

Guerra, F. (2016, October 30). Peter Zumthor’s Therme Vals Through the Lens of Fernando Guerra. Retrieved April 15, 2017, from Archdaily: http://www.archdaily.com/798360/peter-zumthors-therme-valsthrough-the-lens-of-fernando-guerra

Figure 2.23

Ludwig, S. (2011, January 26). Bruder Klaus Field Chapel / Peter Zumthor. Retrieved from Archdaily: http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor

Figure 4.5

Broffman, M. (2013, October 2). Arts Groups displaced by mold in Ivanhoe OUC Building find temporary homes. Retrieved March 3, 2017, from Bungalower: http://bungalower.com/2013/10/02/arts-groups-displaced-by-mold-in-ivanhoe-ouc-building-find-temporary-homes/

Figure 4.8

OUC. (n.d.). History of OUC. Retrieved March 15, 2017, from OUC The Reliable One: http://www.ouc. com/about-ouc/history-of-ouc

Figure 4.9

Broffman, M. (2013, October 7). IVANHOE FOUNDATION PULLS REQUEST FOR ANNUAL FUNDING FROM THE CITY FOR OLD OUC BUILDING. Retrieved April 1, 2017, from Bungalower: http:// bungalower.com/2013/10/07/ivanhoe-foundation-pulls-request-for-annual-funding-from-the-city-for-oldouc-building/

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Bloomer, K. C., & Moore, C. W. (1977). Body, Memory, and Architecture. New Haven: Yale University Press.

George Ranalli Architect. (1992). First of August Boutique. Retrieved December 13, 2016, from George Ranalli Architect: http://www.georgeranalli.com/first-of-august-boutique/#1 Heidegger. (1962). Being and Time. New York: Harper & Row. hhmi. (n.d.). The Human Suprachiasmatic Nucleus. Retrieved December 14, 2016, from BioInteractive: http://www.hhmi.org/biointeractive/human-suprachiasmatic-nucleus Holl, S., Pallasmaa, J., & Peres-Gomez, A. (2006). Questions of Perception. San Francisco: William Stout Publishers.

Kimmelman, M. (2011, March 13). The Ascension of Peter Zumthor. Retrieved December 13, 2016, from The New York Times.

Malnar, J. M., & Vodvarka, F. (2004). Sensory Design. Minneapolis, MN: University of Minnesota Press.

Moran, D. (2001). Introduction to Phenomenology. New York: Routledge.

Pallasmaa, J. (2007). Eyes of the Skin: Architecture and the Senses. London: Artmedia Press Ltd. Royal Academy of Arts. (2014). Sensing Spaces: Architecture Reimagined. London: Royal Academy of Arts.

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