Private House/Public House: Interiors as Unifiers in Transitioning Communities

PRIVATE HOUSE PUBLIC HOUSE INTERIORS AS UNIFIERS IN TRANSITIONING COMMUNITIES

PRIVATE HOUSE | PUBLIC HOUSE: INTERIORS AS UNIFIERS IN TRANSITIONING COMMUNITIES by Mich elle A . Ma r shall

©2018 Mich elle A . Mar shall

A th esis s ubmit ted in par tial f ulfillment of th e req uirements for th e deg ree of Master of Fin e Ar ts in Interior Desig n Sch ool of Desig n Prat t Institute May 2018

ACKNOWLEDGMENTS. It has been a long and arduous year, but well worth it. Immense gratitude to J. Woodson Rainey, my thesis professor, who put up with all my shenanigans and was my fierce advocate and encourager. I could not have done this without you.

To Myonggi Sul for being my champion and design guru. You were always right even when I didn’t want you to be. I have the utmost respect for you.

Elizabeth, Mapa, Nadia - my posse - y’all are my rock(s). How can we recreate this surreal life we’ve been doing together for the last three years? You are forever in my heart and hopefully in my texts and calls and calendar events.

To my husband who supported this endeavor and didn’t die or go broke (yet) doing it.

To Amalia who threatened to kill me if I quit - it worked.

To Akemi who dreamed about me building beautiful buildings in the mountains. That is yet to come. Thank you for inspiring me.

To the friends who didn’t abandon me even though it often seemed like I abandoned them: Brandi, Lisa, Melinda, Melissa, Robyn...you kept calling and texting and checking in. It meant more than you will ever know.

And to my parents who rarely understand what I do and why I do it. You made this. You deserve at least a little credit.

To my kids who probably think I’m crazy. I am. But I hope you’ll see that it’s worth it - even when you’re old.

Michelle Marshall <MFA Candidate, Interior Design> _

CONTENT. M FA T H E S I S / M AY 2 018

ACKNOWLEDGMENTS

1

THESIS STATEMENT | CONCEPT ABSTRACT | THEORETICAL FRAMEWORK

3

PRECEDENT STUDIES

11

PROGRAM

14

CASE STUDIES

18

SITE

21

DESIGN STRATEGY

30

DESIGN DEVELOPMENT AND DISCUSSION

42

CONCLUSION

69

BIBLIOGRAPHY

71

APPENDICES

74

THESIS STATEMENT. CONCEPT ABSTRACT. THEORETICAL FRAMEWORK.

T H E SI S S TAT E M EN T. IN TRANSITIONING COMMUNITIES, D O M E S T I C DWEL L I N G S T H AT I NVI T E P U B L I C I N H AB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

CONCEP T ABSTRACT.

Urba n g entrification has th e a bilit y to erase th e collective memor y of a

com m unit y (Moskowit z, 59) as it slowly dilutes the eth os of th e n eig h borh ood to th e point that it loses its edg e. As th ese com m unities cha ng e, th e tension bet ween th e old a nd th e n ew is in evita ble. But does n ot n eces sa rily follow that a n ew pop ulation req uires th e replacement of the old . Rath er tha n n ew ver s us old , n ew min us old , or old min us n ew, it is th e n ew plus th e old that com prises vibra nt, diver se, a nd liva ble com m unities . And within th e contex t of a domestic urba n dwelling lies the oppor tunit y to enter th e conver sation of unification by operating in ta ndem wit the environ ment a nd inviting p ublic in ha bitation .

T his study im plements a layered prog r a m in which residential , h ospital -

it y a nd retail desig n inter sect within a domestic dwelling, ef fectively inviting p ublic in ha bitation . It im plements th e following desig n str ateg ies: (1) th e inter section of old a nd n ew; (2) stag es for en co unter a nd retreat which place objects a nd seating strateg ically to f acilitate conver sation a nd allow ch oice; (3) a nd interior as plaza which instills a sense of place while blurring th e lin es bet ween interior a nd ex terior.

Drawing upon th e ideolog ies of propor tion , con n ected n es s ,

s ustaina bilit y, localism , a nd sharing, th e relationship of th e interior to its con tex t is reinforced by promoting in clusion , a nd curating th e collective memor y of its com m unit y.

THEORETICAL FRAMEWORK. Terra i n : Social , Political a nd Econ omic Consider ations + E xperien ce a nd In ha bitation + Protot ypical + Sustaina ble.

The globalism of the last five decades has had many positive effects on our society. We are more aware of people, places, and events beyond our boundaries.

Everything we could need or want or need is accessible at the click of a button. People are increasingly moving to urban centers, where

they have access to these things on a grand scale. Yet the disparity between the haves and the have-nots is more pronounced than ever. Technology, despite its ability to connect, has left people feeling more isolated than ever. “We have lost the pleasure of being together.

Thirty years of precariousness

and competition have destroyed social solidarity.

Media virtualization has destroyed empathy among bodies, the pleasure of touching each other, and the pleasure of living in urban spaces.” (Berardi and Lovnik, 2011) Furthermore, the scale of development of the global community is not

Fig ur e 1.

THEORETICAL FRAMEWORK

CONTEXT PLAZA HISTORIC + URBAN

TRANSITIONING from

inspired by

TRIANGULATION SITTING SPACE COMMUNAL SPACE TRANSITIONAL SPACE OPEN SPACE PRIVATE SPACE

COMMUNITY

that is

STAGES OF ENCOUNTER

DWELLING

+

NEW

at the

of

s con s

FUNCTION

which are separated by STRUCTURE ENCLOSURE

ADAPTIVE RE-USE based on

PRIVATE INSIDE

OUTSIDE

HISTORY

6

+

PUBLIC

ider

PERMANENCE

PLACE + INTIMACY

INTERSECTION

of

ch whi

giving a sense of

OLD

using

to

HISTORICAL DETAILS while retaining

using

but are

BARRIERS

WELCOMING INCLUSIVE

and encourage

regardless of

ACCESSIBLE

CLASS or

MODERN MATERIALS

SUSTAINIST DESIGN PRINCIPLES

PARTICIPATION

STATUS LOCALISM

SUSTAINABILITY

CONNECTEDNESS

SHARING

PROPORTION

Inclusion: Old + New

Exclusion: Old - New

Displacement: New - Old

Segrega�on: Old +/ New Fig ur e 2.

sustainable in the long-term.

The insatiable appetite of the corporate engine …. As we seemingly progress in so many ways - technologically, academically, financially - our sense of history and place becomes more ambiguous.

We lose a sense of belonging and of community.

Change is inherent in urban communities unless they are protected by their landmarks or wealthy inhabitants. Those that aren’t rise and fall with the economic situation of the times, or as they are red-lined for development, gentrified,

or occupied by new industry.

Often much of this change is poorly considered and short-sighted, to the detriment of the long-time residents (Lippard, 202). One type of urban regeneration, “The Soho Effect” refers to the process of transformation from a manufacturing district to a bohemian enclave to an outdoor shopping mall, indicative of this type of change. It is successful to the extent that it increases the city tax base, improves city services, and rehabilitates deteriorating neighborhoods.

However, when urban

renewal is accelerated by builders, contractors, realtors, and speculators, it leads to gentrification (renovation that conforms to middle-class taste). For a certain amount of time in this process, social, economic, and racial housing integration exists, and the old and the new live side by side.

But as the price of housing and taxes inevitably rise, the cost of living becomes prohibitive to low-income people and displacement occurs - both voluntary and involuntary (Zeitz 66-79).

Gentrification also has the

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ability to erase the collective memory of a community.

Long-time residents tend to forget and new residents don’t know and what the community looked like ten years ago - that the renovated apartment they moved into was once inhabited by someone else who had a life there before the property became to valuable. Gentrification affects communities by displacing business owners, pushing up rents, and diluting the ethos of the neighborhood to the point that it loses its edge.

This happens because the normal neighborhood life has been transformed into a story that can be sold like a play for the enjoyment of gentrifiers. No gentrifier sees their new community as the consequence of a powerful and violent system - that their existence here comes

at the cost of the erasure of others’ cultures and senses of home. They essentially have no recognition of lived experience. Instead they see the neighborhood as a static place, not one that meant something more to the poor and the working and middle classes. To them, this mindset is normal, neutral, and value free. Yet gentrification is not the product of some greater conspiracy on the part of the gentrifier, but of absentmindedness and distracted destructiveness.

The fact is, that the prosperity and growth of a community are diametrically opposed to maintaining its ethos (Moskowitz, 73).

Interiors, in fact, can act as symbols in the fight to preserve the very face of our community as they were, are and will be.

Domestic interiors are largely absent from the conversation bout gentrification, yet memory is intrinsic within these walls. They are the epicenter of memory.

Intentional dialogue initiate community saving solutions such as cultivation of social ideas (and laws) which then can shape private investment, support long

As urban communities regenerate, tensions exist between the old and the new populations. But this does not necessitate the replacement of the old. Rather than new versus old, new minus old, or old minus new, it is the new plus the old that creates vibrant, diverse, and livable communities. In fact, it is within this context that an opportunity lies to enter the conversation of unification of the old and the new (Figure 2).

Fig ur e 3.

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Intersec�on of interior spaces where sharing, connectedness, localism, sustainability, and propor�onality act as unifiers in transi�oning communi�es

RESIDENTIAL

RETAIL

HOSPITALITY

established businesses, push back against invasion, rent increases, evictions, and income equality, and promote community oriented living (Moskovitz, 126).

This thesis explores the role of interior spaces in sustaining existing communities while allowing for positive change. Through design, it aims to facilitate an ongoing helpful dialogue that breeds mutual respect between disparate people n order to unify them in cause.

By reflecting the community, both past and present, by inviting public inhabitation and practicing inclusion, interior spaces have the potential to overcome physical and perceived barriers to unity. “The ideal should be an accessible core of meaning to which participants are attracted from all sides of art and life” (Lippard, 286).

In order to test this hypothesis, this project implements a program that layers residential, hospitality, and retail in an historic domestic dwelling.

It invites public inhabitation and instills a sense of place for long time residents, newcomers, and visitors alike. A clear understanding of function and transparency will be important to create an environment that is meaningful, inclusive, and welcoming to the community while maintaining its domesticity.

The design strategy comprises (1) intersection of old and new architectural

elements as a metaphor for inclusion; and (2) stages for encounter and retreat that facilitate conversation and allow for choice; and (3) interior as plaza to instill a sense of place and to create ambiguity between interior and exterior.

The project proposal as a whole is unprecedented, though certain elements can be studied for reference. One example that most closely resembles this project is the Fraunces Tavern in South Street Seaport, Manhattan.

Originally designed as a single family home, it went through multiple iterations of programming: from tavern to boarding house to grocery and, finally, a museum.

Throughout its long history, it exemplified a bastion of community gathering and conversation. Though its architecture is not particularly remarkable, its function is flexible and reflective of community needs (See precedent analysis, pg. 12).

The Waterhouse at Southbend in Shanghai, China is an excellent example of the architectural intersection of old and new in a hospitality setting. It uses vernacular building forms and practices in contemporary language while obscuring traditional barriers between public and private.

Two bed and breakfasts - one in Williamsburg, Brooklyn and the other in Mexico City - act as case studies, each capturing an aspect of the proposed programming. Several other architectural examples were

referenced, that portray different aspects of the proposed design strategies.

Readings included articles and books about cities, placemaking, preservation, revitalization and localism, many of which shaped my theoretical framework.

They also highlighted the need for a project such as this in transitioning urban communities Design considerations draw upon the ideologies of Sustainist Design Principles to reinforce the relationship of the interior to its community environment and to promote inclusion. In a sense, it makes a new weave with old and new strands by using: • Proportion - buildings and their components are related harmoniously to each other and to human beings (Sale, 13).

• Connectedness - hubs that can create strong connections at the neighborhood level • Sustainability - the ability to be maintained at a certain rate or level; avoidance of the depletion of natural resources in order to maintain an ecological balance • Localism - social measures which emphasize or value local and small-scale phenomena • Sharing - “To strengthen shared identities, we need more opportunities for meaningful interaction across ethnic lines where Americans (new and old) work, learn, recreate, and live” (Lippart, 25).

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Effectively expressing these ideologies in the design of the space is key to stimulating conversations that usher in social change and promote unity in a transitioning community. Interiors have largely been left out of the neighborhood revitalization and placemaking dialectic.

This project intends to present interiors as a valuable asset in the creation of sustainable communities. â&#x20AC;&#x153;Cities need to work with neighborhoods/communities on continuing basis to develop long-term vision of the future that can include growth AND preservationâ&#x20AC;?

(Agnotti, New York for Sale).

The field of Interior Design has the potential to become a vital contributor to this future.

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PRECEDENT ANALYSIS. IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

P h o t o c r e d i t: h t t p s : //e n .w i k i p e d i a . o r g /w i k i / Fr a u n c e s _Ta v e r n

FRAUNCES TAVERN < N e w Y o r k , N Y 1719 -2 2 > DESIGN STRATEGY

The tavern (public house) went through a series of owners and uses - from dance hall to tavern to boarding house to grocery. Most importantly, it has a storied past tied to the community and was used as a gathering place for visitors and residents alike. The building followed Sustainist principles by its use according to the needs of the community at large and the activities within reflected the function(s) of its environment. Now home to a museum that features items from the area’s past. The building’s interior function changed with the needs of the owner and the community and uses readily available local materials.

RELATION TO THESIS CONCEPT:

Respect for the history of place, use of local materials, and the continued use of the space as a center of the community, I hope to create a relevant space that can be flexible in order to meet the changing needs of its owner and community without drastic intervention. Understanding that much of that need is common throughout history - commerce, housing, and community gathering.

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A pub, or public house, which informed the title and program of the study, is a relaxed, social drinking establishment. Often, it is the focal point or the ‘heart’ of the community. Traced back to Roman taverns, pubs are typically chosen for their proximity to home or work, the availability of a particular beer or ale, a good selection, good food, a social atmosphere, the presence of friends and acquaintances, and availability of recreational activities.

Photo credit: Key Interiors Since 1900 by Graeme Brooker

THE WATERHOUSE AT SOUTH BEND <Shang hai , Chi na 2010 - Neri & Hu Desig n and Research Of fice> DESIGN STRATEGY

A 19-room boutique hotel is inserted into a decaying shell of a 3-story warehouse dating back to the 1980s on the edge of the Huangpu River. The concept - a series of joined houses sharing communal space - is inspired by the local vernacular architecture and meant to be a contextualized extension of the city. Public spaces are separated from guest rooms, yet the public and private overlap, which gives a certain voyeuristic sense of privacy.

RELATION TO THESIS CONCEPT:

Positioned within a transitioning community and placed in the eroding shell of a building, this intervention of modern interiors results in a patchwork of new and old that celebrates both by preserving the decay, translating vernacular architecture and craft into space and form that is relevant to contemporary use and aesthetic taste.

The overlap of public and private spaces also informs this thesis study with its evocative methods to pique the curiosity of the â&#x20AC;&#x2DC;outsiderâ&#x20AC;&#x2122;. In its own way, it encourages and even welcomes this interaction. Private spaces are not private in traditional sense, neither are public spaces public in the traditional sense, but certain elements are shared between the two.

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PROGRAM.

IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

PROGRAM OVERVIEW AND H I S T O RY. Th e Public Ho use Own er occupied residential b uilding that integ rates a com m unit y of traveler s with th e s urro unding com m unit y, its a r t, ar tisa ns , a nd entrepren e ur s AND unifies disparate peoples within a tra nsitioning com m unit y by acting as a plat form for dialog ue a nd a curator of collective memor y.

• Residen ce • Guest Ho use • Com m unit y Meeting a nd Private Event Space • Com m unit y Ed ucation Space • Retail ‘sh owroom’ for local a r tists , ar tisa ns , a nd entrepren e ur s • Public ‘plaza’ for local com m unit y The term “bed & breakfast” (B&B) comprises establishments that are primarily engaged in providing short-term lodging.

The industry grew significantly in the 1980s and 1990s and is still evolving to meet the varying and growing needs of various segments of the domestic and international tourism market. The industry developed its own niche in the accommodations sector serving travelers seeking an affordable and more personalized alternative to traditional hotels.

Market trends • Niche market: existing within a setting of historical significance, high-end dining or an immersive experience • Quality and genuine hospitality: competition relates more to quality,

•

•

genuine hospitality, and ambiance.

Integrated merchandising (retail): combines products from multiple categories focused around particular styles or areas of the home. Seeing complementary products in home settings increased revenue. Stores are also matching the products to the tastes of local demographics.

Exclusive brands (retail): working with brands exclusively differentiates from the competition and attracts new customers.

Areas of debate and study • Need for privacy vs.

Community • Desire for home-like atmosphere • Localism and community interconnectedness

User groups • Owner and family • Patrons/overnight guests (capacity for 1-8 guests at once)/event attendees/ community groups • Contract staff (house cleaner(s), gardener, etc.)

The majority of B&B patrons are leisure travelers, making up 80.0% Of industry revenue. Among leisure travelers, 58.2% Of industry customers are vacation travelers (the single largest market segment), while 21.8% are family travelers.

Vacationing baby boomers.

The typical B&B customer is a well-educated, affluent, retiring baby boomer who wants to experience local character, culture and charm.

S/he is an extrovert and likes

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interacting with others in the context of a genuine hospitality experience in a beautiful and peaceful environment that serves to relieve work related stress.

They are domestic travelers more than international and men are 7% more likely than women to have stayed at a B&B. Millenials. Millennial consumers comprise a larger share of travel spending, preferring smaller, more efficient lodging options with increased amenities and more emphasis on socialization and nightlife.

They value style, seamless service and nightlife amenities, and urban environments.

They travel to pursue their own interests, are spontaneous, and make quick decisions.

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Family and friends of university students. The presence of Pratt Institute, whose undergraduate population comprises 71% from out of state and 27% international students, attracts a large number of visiting relatives. With a total student body of 4,659, approximately 3,261 students will have family and friends bring them to school each term, visit during the course of the school year, and pick them up at the end of each semester. Graduation garners a large visitation of friends and families. Staying within close walking distance to the school is ideal, with amenities and easy access to Manhattan attractions at their fingertips.

Family & friends of local residents. Local residents will

occasionally need the services of a b&b. Of Clinton Hill’s 17,075 households, more than 25% garner $100,000+ per year. Those with an effective buying income (ebi) of more than $100,000 equaled 2976 (17.42%) Households. This translates to almost 3000 households who can afford and potentially need to house visiting family and friends in a nearby b&b, given the relatively small living spaces in New York city. Clinton Hill residents are a diverse mix of liberal, educated, and tech savvy people under the age of 55 with a wide range of cultural interests.

Business travelers. The Brooklyn Navy Yard regularly hosts domestic and international conferences and events in its event facilities.

With the imminent expansion of the workforce there, demand for accommodations will easily overwhelm an already under-served market, particularly for those seeking a quieter and more home-like setting away from major traffic like Flatbush Avenue, where the nearest hotels exist.

What do they want?

(Data from Clarita’s Prizm) • Digital accessibility, ability to view and compare establishments online prior to booking • Access to fitness facilities • Luxury shopping • Welcomed in their own language • The latest technology (wifi, tv, etc.), Free of charge • Common areas to meet others

• • • • •

Convenience to local shopping, dining and attractions Genuine hospitality Ambiance Quality food, wines, furnishings and fittings, gardens, and landscaping Historic or cultural significance

Concept Relationship This program is necessarily a domestic dwelling space while incorporating sleeping spaces for guests as well as public and private gathering areas it leaves spaces open to interpretation so that programming can overlap and include the public. I see these shared gathering spaces as opportunity to create a collection of diverse sitting spaces that foster community and give choice to the participants. I also envision a layering of retail programming, occurring organically throughout the public and private spaces of the dwelling.

Outdoor spaces are included in the program because they function with an interior condition and are integral to engaging the surrounding community and in ushering them to the traditional interior. There is a unifying sense to the program in that all programmatic sectors operate as stages of encounter to varying degrees and have the potential to connect one back to the surrounding community.

PROGRAM ADJACENCIES Communal/Gathering Spaces (thickness of perimeter indicates thickness of barrier) Retreat Spaces (privacy levels indicated by darker color)

balcony

sleeping

studio

Retail overlay

bath

deck Event Space overlay

UPPER LEVELS

Level Divisions bath

storage

balcony

deck

sleeping

bath

sleeping

bath

bath

sleeping

bath

communal space bath

sleeping

deck

balcony

porch LOWER LEVEL

garden

Fig ur e 4.

Diag r a m of layere d prog r a m ming.

Communal/gathering areas • Living/dining room • Kitchen • Shared restroom • Recreation room Owner suite • Sleeping space • Office/studio • Bathroom • Private terrace • Guest rooms • Sleeping space • Private restrooms` • Private patios/terraces

Exterior interior spaces • Front porch • Shared patios • Garden Functional space • Laundry/utility room Retail space • Product display • Sales counter Event space • Dining • Meeting

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CASE STUDIES.

IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

Photo credit: urbancowboy.com

URBAN COWBOY BED & BREAKFAST <Wi l l i a m s b u r g , B r o o k l y n 2015> DESIGN STRATEGY

With an overall aesthetic of ‘Rustic Luxury’, the Urban Cowboy is a communal concept. Their motto, “Arrive as strangers, leave as friends”, blurs the line between hotel and hangout space.

Their programming is intentionally flexible, incorporating an owner suite, guest rooms, event space, and photo shoots.

RELATION TO THESIS CONCEPT:

Though its concept is not revolutionary, it breaks the programmatic boundaries of traditional bed and breakfasts because of its urban nature, its lack of breakfast, as the name ‘bed and breakfast’ would suggest, and its hosting of very specific events that are in sync with the ‘vibe’ of the space. Instead, it takes on a very contextual nature, reflecting the neighborhood and its inhabitants. It is a venue that, through its design and flexible programming, naturally brings strangers together and becomes a comfortable space for intimate events between friends and strangers alike. Its materiality is a reflection of the taste of its owner, so it is extremely personal, while its industrial glass garage doors, are a consequence of its situation in Brooklyn - perhaps even vernacular Williamsburg - and invite public inhabitation by blurring the lines between the interior and the exterior.

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P h o t o c r e d i t: e l p a t i o77. c o m a n d M i c h e l l e M a r s h a l l p e r s o n a l p h o t o s`

EL PATIO 77 ECO-BED AND BRE AKFAST <Mexico City, Mexico> DESIGN STRATEGY

History, sustainability, art and hospitality come together in this restoration of a 19th century mansion. Sustainability meets modern life needs through rainwater harvesting, gray water filtering, use of solar water heaters, treated water in the toilet and energy-efficient light bulbs in addition to its recycled vintage furniture. Still it retains many original details honoring the history of the building. The owners desire to share vision for a new future for Mexico City and they exhibit the art of contemporary local artists and indigenous crafts displayed throughout the space - all of which are available for purchase by guests.

RELATION TO THESIS CONCEPT:

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The historical nature of this building and its neighborhood lay a foundation instilling a sense of place within a community. This project honors its history in its preservation of original details and revealing layers that give guests a sense of the original versus the restored. Preservation itself plays a major role in sustainable design, but this effort has taken additional steps to implement contemporary techniques in sustainable design to become an example for the local community. As an excellent example of layered programming, it is owner/manager occupied with guest rooms that are advertised to an international crowd. Their desire to feature local artists in art openings and events held within and the promote/sell the crafts of indigenous peoples connects visitors to the community.

SITE.

IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

Th e Ne ig h borh ood • • • •

<For t G re en e / Cli nto n Hill>

Tr a nsitioning La rg e Student Pop ulation Walka ble Ar t /Creative Com m unit y

• • • •

Entrepren e urial Com m unit y Ma n uf acturing Com m unit y Two historic districts within Vibra nt Busin es s District

HISTORIC - URBAN - CREATIVE - DIVERSE - FOODIE Photo credits: google.com; airbnb.com/clintonhillneighborhood

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Fig ur e 5.

BUILDING B ADMIRALS ROW BROOKLYN NAVY YARD FORMER RESIDENCE OF THE CAPTAIN OF THE YARD

ARCHITECT (possibly) Thomas U. Walter

DATE c. 1872

_

Admiral’s Row is located in the southwest corner of the Brooklyn Navy Yard and consisted of a group of ten brick residential buildings oriented to Flatbush Avenue, as well as Building 16, a non-residential structure running parallel to Navy Street that functioned as a timber shed.

All of these structures were built on what was once an eighteenth-century mill and mill pond, where timbers were stored and cured before being transformed into ships.

The officers’ row residences were constructed around the time of the Civil War. Building B.

The 7,500 square food residence of the Captain of the Yard (1872, 1931 addition) is rumored to have been occupied by John McCain’s father at one time.

History: Building B was the largest single residence on officers’ row. The house contains ten bedrooms, four full and two half-bathrooms. In 1912 the building received a new stoop and a stucco finish throughout. A kitchen extension was added to the rear in 1931. By 2011, the buildings and its garages and other ancillary structures were in an

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Fig ur e 6.

P h o t o c r e d i t s : h t t p : // b r o o k l y n s o t h e r m u s e u m o f b r o o k l y n . c o m /a d m r o w. h t m l

advanced state of disrepair.

The rear wall of Quarters B collapsed in the winter of 2010-11.

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Description: This three-story and basement, hip-roofed brick and stucco house features elements associated with a mid-nineteenth century transition period between the Greek Revival and Italianate style. The main, Flushing Avenue facade contains four bays and consists of a rusticated stone base and brick upper walls coated with stucco. A non-centered entrance is approached by a non-original stoop with concrete cheek walls. The door surround is composed of a denticulated entablature supported by

square pilasters. The doubleleaf wood paneled door is topped by a transom light.

The window openings at the first and second stories have bracketed crowns and projecting bracketed sills. The smaller third story windows have unbracketed crowns. On the east and west elevations, the rusticated base transitions into a stone belt course between the basement and first story. The building terminates with a bracketed cornice elaborated with panels and a widowâ&#x20AC;&#x2122;s walk at hipped-roof ridge. The 1931 rear kitchen addition is one-and two-stories tall.

Building B is one of two historic structures on Admiralâ&#x20AC;&#x2122;s Row that will remain in a proposed development

(see figure 6).

Strategic Nature of Site: Building B is located at the center of residential, public spaces, manufacturing and much of the future Development of the Brooklyn Navy Yard. It lies between low-income and middle-income housing, and mere blocks from historic mansions. Within the Navy Yard are nearby manufacturing facilities that house many community artists and artisans. Its historical past and present location bridges the gap architecturally between the old and the new.

25 Photo credit: Tetratech Site Assessment

Fig ur e 7.

P h o t o c r e d i t s : h t t p : //s 9 a r c h i t e c t u r e . c o m /a d m i r a l s /

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Current Development Plans: Sitting at the gateway to future plans for the Navy Yardâ&#x20AC;&#x2122;s development of a well-known grocery store, expanded manufacturing space, and new retail stores, it is surrounded by a human-scale plaza that is centrally located for use by local employees, residents, and passersby. More than 9000 jobs are projected to be created in the Navy Yard over the next four years.

This presents an incredible opportunity to honor both the past and the future and to showcase local art, artisans and entrepreneurs on a global scale.

Who lives here?

With a proposed program that requires owner or manager occupancy and a residence that has been abandoned for over fifty years, Building B needs a resident caretaker who can speak passionately about the struggle in the neighborhood, both past and present and who has been active in the preservation of its collective memory. This could potentially be someone like Scott Witter (shown below), a long-time Clinton Hill resident (since 1966), Pratt graduate, and outspoken community advocate for Admiral’s Row and other Historic sites

in Brooklyn. He is also an avid collector of found Brooklyn artifacts whose collection represents the violent gentrification of the neighborhood in the name of progress. Currently closed, he houses his collection in two adjacent neighborhood townhouses which used to be open to the community on Tuesday evenings under the nomenclature “Brooklyn’s Other Museum of Brooklyn.”

Photo credits:curbedny.com

27

Fig ur e 8.

Photo credits: BNYDC Archives

Original Footprint 19th Century Addition 20th Century Addition

Building B has seen a number of renovations over the years, including two additions (See Figure 8) diagrams below represent current conditions of the buildingâ&#x20AC;&#x2122;s circulation, entries and daylight intake.

Fig ur es 9-11.

28

CIRCULATION DIAGRAM - LEVEL 1 (EXISTING CONDITIONS)

ENTRY POINTS FROM PLAZA TO LEVEL 1 (EXISTING CONDITIONS)

LIGHT DIAGRAM - LEVEL 1 (EXISTING CONDITIONS)

SITE COMPONENTS Circula�on Retreat Spaces Public Spaces BUILDING B

PROGRAM BLOCKS

Fig ur e 12.

The massing diagram above illustrates a breakdown of the site components. The axonometric diagram below shows Building B’s major organizing axis, elements that are missing from original plans, those that were added later, and those that have collapsed.

20th Century Addi�ons Collapsed Area Rebuilt from Original Plans 1

Axo Section Basement

2

3

Axo Section 2nd Floor

Axo Section 1st Floor

Major Organizing Axis

4

Axo Section 3rd Floor

Fig ur e 13.

29

DESIGN STRATEGY. IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

D E S I G N S T R AT E GY. The Public Ho use will integ rate a com m unit y of traveler s with the Clinton Hill/Brook lyn Nav y Yard com m unit y, its ar t, ar tisa ns , a nd entreprene ur s AND unif y disparate peoples within the tra nsitioning com m unit y. It acts as a plat form for dialog ue by im plementing the following desig n s trateg ies:

1. Inter section Of Old And New 2 . Stages Of Enco unter/Retreat 3. Interior As Plaza

A set of design rules was established to create a cohesion between the design strategies: â&#x20AC;˘ Orig inal walls a nd opening s will remain excepting the com promise of safet y â&#x20AC;˘ 20th centur y demo, ad ditions , a nd ren ovations ca n be removed or replaced to accom modate prog ra m matic f un ction â&#x20AC;˘ Any removals or collapses will be represented architectur ally to sh ow the pas sag e of time a nd hig hlig ht th e conseq uen ces of politics a nd long-term n eg lect

31

INTERSECTION OF OLD AND NEW. T h i s a m e t a p h o r f o r t h e m e e t i n g o f u n l i ke materials and ideas

Fig ur e 14.

T h e co l la ge b e l o w i l l u s t r a te s t h e u n i t y of u n l i ke m a te r ia l s a n d i d ea s (e. g . a m a te u r a r t p la ce d a l o n g si d e f i n e a r t)

32

Photo credits: The New Old House by Marc Kristal and Gil Shafer

INTERSECTION OF OLD AND NEW. EXAMPLE. _

ASTLEY CASTLE < N u n e a t o n , E n g l a n d 2 012 b y W i t h e r f o r d Wa t s o n M a n n > C O N C EP T/DESIGN STRATEGY

• • • • • • •

Inhabited depth Buildings as volumes, 3D Topography, and communicating rooms Meeting of public space and interior Meeting of existing and new construction Meeting of durable and ephemeral Pragmatic aspects of how a building is made habitable Deep thresholds which invited one to spend time ‘in between’

RELATION TO THESIS CONCEPT

• •

Ambiguity between public and interior spaces Intersection of old and new

33

Photo credits: Original photos by Michelle Marshall

INTERSECTION OF OLD AND NEW. EXAMPLE. FIRST CIT Y PROJECT@JH Coles Homestead < G l e n C o v e , N e w Y o r k 1 6 9 0 -18 1 0 ( 2 0 15 ) > C O N C EP T/DESIGN STRATEGY

• • •

Artist collaborative to introduce the community to the next generation of urban artists Infuse new life into a historic structure through art Showcase rising local area talent alongside street art professionals through live art events, mural projects, art classes, artisanal food events, and street-art themed boutiques

RELATION TO THESIS CONCEPT

• •

34

Neglected, abandoned, landmarked structure Platform for community conversation about partnership of art and urban renewal

MODEL STUDIES. Th e i nter s e ctio n of old a n d n ew.

Preliminary model studies focused on a combination of old and new materials layered together.

The premise was the beauty of their adjacencies.

Photo credits: Original photos by Michelle Marshall

DETAIL

MATERIAL

FABRICATION

ENCLOSURE

_

HISTORY

PUBLIC/PRIVATE

CONTEXT

INTIMACY

PERMANENCE

MODERN

RE-USE

35

S TAG ES FO R EN C O UN T ER/ RE T RE AT. Defi n itio n .

Intentional, but not overtly planned spaces that provide opportunities for interaction and allow for spontaneous movement of users and elements

Tria ng ulatio n . * creates a third space that invites

conversation between two disparate groups or people.

Practically, it places objects and artifacts in public spaces in ways that nudge people physically closer together and increase the probability of conversation.

This diagram illustrates Muralism as a means to initiate social/ political dialogue and change.

DESIGN STRATEGY: TRIANGULATION

CREATING A THIRD SPACE THAT INVITES CONVERSATION BETWEEN TWO DISPARATE GROUPS/PEOPLE

DESIGN STRATEGY: TRIANGULATION CREATING A THIRD SPACE THAT INVITES CONVERSATION BETWEEN

36

Fig ur e 15.

Photo credits: google.com

S TAG ES FO R EN C O U N T ER /RE T RE AT. EXAMPLES. Sit ti ng Spaces .

• • • • •

Can act as ridges to the community Offer option for Immersive/meaningful conversation Can be public or private Offer options for retreat Can act as a platform for viewing

E x terior Spaces with Interior Co n d itio ns .

• • • • •

Plaza* Porch, patio, deck** Veranda** Balcony** Patio

Pivate Sit ti ng Spaces .

• • • •

Windows*** Single chairs Balconies** Corners

Pu bl ic Sit ti ng Spaces .

• • • •

Dining table*** Living areas*** Porches** Corners

* people encounter one another in neutral spaces ** public and private intersect *** sitting spaces offer choice and opportunities for immersive and meaningful conversation

37

MODEL STUDIES. Place of Res t: Sit ti ng Space/Corn er.

• • •

Backrests, arm rests and moveability are biggest assets Corners are comfortable for groups Lovers’ sit in most conspicuous spots: center or corners - The Social Life of Small Urban Spaces by William H. White

A PLACE TO REST: CORNERS

Photo credits: google.com

+ Backrests, arm rests and moveability are biggest assets + Corners are socially comfortable for groups The model study below explores + Lovers sit in most conspicuous spots - center portable or corners forms of corner seating

and its construction.

- The Social Life of Small Urban Spaces by William Whyte

Photo credits: Original photos by Michelle Marshall

38

INTERIOR AS PLAZA. T h e co n ce p t o f ‘ i n t e r i o r a s p l a z a ’ i n v i t e s t h e p u b l i c i n t o t r a d i t i o n a l l y p r i v a t e s p a ce s . T h i s i n s t i l l s a s e n s e o f p l a ce b y b l u r r i n g t h e l i n e s bet ween interior and ex terior

Fig ur e 16.

Interio r as Plaza Diag ra m .

• • • •

Stages for encounter are more prevalent on plaza levels Stages for retreat are more prevalent on upper floors Stages for encounter are present throughout the site Yellow arrow illustrates interior as plaza through either

39

Fig ur e 17

Photo credits: Rendering of the Barnes Foundation | Tod Williams Billie Tsien Architects

S TAG ES FO R EN C O U N T ER /RE T RE AT + INTERIOR AS PLAZA. EXAMPLE. BARNES FOUNDATION <P h i l a d e l p h i a , Pe n n s y l va n i a 2015 by To d d Wi l l i a m s + B i l l y Ts e i n> _ C O N C EP T/DESIGN STRATEGY

• • •

Materiality that expresses continuity and breaks in program Sitting spaces that encourage conversation Interior acts as a plaza for public gathering

RELATION TO THESIS CONCEPT

• •

40

Material and architectural continuity from interior to exterior express plaza-like experience.

This plaza area is an interior with exterior conditions as well as an exterior with interior conditions Sitting spaces that embody triangulation

MODEL STUDIES. Co nti n uit y of material a n d form .

This model study explored the continuity of materiality and form from inside to outside. It used materials to mark boundaries and planes.

Photo credits: Original photos by Michelle Marshall

41

DESIGN DEVELOPMENT AND DISCUSSION. IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

DESIGN LANGUAGE. Th e Public Ho us e will unif y the old a nd th e n ew a nd th e p ublic a nd private while ke e ping th e m distin ct f r om each oth er using preser ve d de cay a nd a ta xo n o my of â&#x20AC;&#x2DC;s tagesâ&#x20AC;&#x2122; or r aised floor s used for en co unter a nd r etr eat im ple m e nte d in both th e interior a nd ex terior. T his is th e physical ma nif estatio n of th e desig n strateg ies .

43

P R E S E RV E D D ECAY. Us i n g co n s e r v a t i o n t e c h n i q u e s t o s t a b i l i ze a n d protec t the struc ture in its current state as a n a r r a t i v e o f t h e p a s s a ge o f t i m e , t h i s t e c h n i q u e creates a link to the past without destroying it.

Rules fo r Sur face Treatment .

• • • •

Exterior vertical spaces host street art excepting original facades which will be preserved in their current state.

Public Interior vertical spaces host street art offset with scrim (show model) Interior horizontal spaces - public and private floors have painted floor tiles that have been replaced for safety Private ceilings host street art on offset scrim

Fig ur e 18.

Diagram illustrates current conditions of exterior facades that will be preserved

Photo credits: Tetratech Site Assessment

44

P h o t o c r e d i t s : h t t p : //c h a r l e s t o n m a g. c o m /n e w s l e t t e r s /c a p t u r e d _ i n _ t i m e

P R E S E RV E D D ECAY. E X A M P L E . _ AIKEN-RHETT HOUSE < C h a r l e s t o n , S o u t h C a r o l i n a 1817 > DESIGN STRATEGY

• • • • • • • •

Preserved Decay Conserved rather than restored Exposed Construction Details Exposed Layers As found condition Showcases urban life in antebellum Charleston The house and its outbuildings survive in a condition that depicts the way they have changed and evolved over time.

Allows visitors to explore the interconnections among all members of the Aiken household, free and enslaved

45

Photo credits: Original photos by Michelle Marshall

P R E S E RV E D D ECAY. E X A M P L E .

BAM Harvey <B r o o k l y n N Y 19 04 (1987) by Ha r d y H o lz ma n P f e i f f e r A s s o c i a te s>

DESIGN STRATEGY

• Create a link to the past without destroying the past • Eliminates intimidating aspect of theater • Defies conventional theatergoing experience • New scenic painting on alcoves to resemble decaying archways.

• Where original plaster resisted removal, it was left alone, creating layers that look as if they grew over one another like scales (NY Times, 1987.)

• Skeletal beams exposed and supporting columns pockmarked by time • Acts as a stimulator for economic redevelopment and revitalization • A restoration in the sense of bringing life to a building

46

Photo credits: Erik Allex Rogers and Rebuild Foundation

P R E S E RV E D D ECAY. E X A M P L E .

Stony Island Arts Bank <C h i c a g o , S o u t h Si d e 1932 (2015) by Wi l l i a m G i b b o n s U f f e n d e l l ( T h e a s te r G a te s)> DESIGN STRATEGY

• Serves as a space for neighborhood residents to preserve, access, reimagine, and share their heritage • Merging art practice with community redevelopment • Rebuilds cultural foundations of underinvested neighborhoods • Incites movements of community revitalization that are culture based, artist led, and neighborhood driven.

• Provides opportunities and spaces for neighbors to come together and engage in meaningful exchanges that spark collaborative action • Empowers artists and creative individuals to realize their potential as community change agents • Invests in developing the skills and talents of local residents to catalyze entrepreneurial efforts

47

MODEL STUDIES. Relatio ns h ip of ar t to pres er ve d de cay element s .

New surfaces can be painted with street art (e.g. wall of adjacent building facing mural garden.)

Stair risers (both interior and exterior) host street art, creating curiosity and ushering viewers up.

48

Photo credits: Original photos by Michelle Marshall

Semi-transparent scrims are offset from the walls on discreet metal frames. Scrims can host street art through printed fabric or by projecting art onto the fabric. Preserved decaying walls are visible through the scrim.

S TAG ES .

St a ge s co n n e c t a n d s e p a r a t e t h e n e w a n d t h e o l d t h r o u g h m a t e r ia l i t y, r e v e a l s , a n d l e v e l c h a n ge s . St a ge s a r e u s e d f o r s i t t i n g , s t o r i n g , eating , viewing , sleeping , bathing , creating , co l l a b o r a t i n g , a n d d i s p l a y i n g

Photo credits: google.com

49

TA XO N OMY O F S TAG ES .

STAGE FOR BATHING STAGE FOR SLEEPING

Fig ur e 19.

Front Eleva�on

Plan

STAGE FOR EATING Isometric

Plan

Front Eleva�on

Isometric

STAGE FOR VIEWING

STAGE FOR SITTING

STAGE FOR STORING Isometric

Isometric Isometric

Plan

Plan

Plan

Front Eleva�on

Front Eleva�on

Front Eleva�on

Fig ur e 20.

Stage Details No reveal on wall side of stage

Original Crown Molding Original Picture Railing

3" reveal on exposed side of stage

Steps to bathing stage double as night stands 3 4

Built in slide out steps @ 6"h

Bathing Stage made from Reclaimed Ipe from Coney Island Boardwalk Raised stage houses plumbing

Dividing Wall @ 8'h 2" gap between stage and wall Steps to stage double as bedside tables

3" reveal at front and exposed side of bathing stage

Bathing Stage Platform ‐ 12"h Bathing Stage Base ‐ 6"h to match original baseboard height Original Baseboard

0' - 6"1' - 0"

8' Transluscent glass Privacy Wall painted with street art

0' - 2" 0' - 3"

0' - 2"

Built‐in storage drawers/cabinets

Built‐in storage drawers/cabinets Bathing Stage Front View 1 1/4" = 1'-0"

2

Bathing Stage Side View 1/4" = 1'-0"

0' - 2"

3

Baseboard Detail 1" = 1'-0"

0' - 6"

50

0' - 6"

1' - 0"

4

Level 2 King Room Stage 1/4" = 1'-0"

PROPOSED DEMOLITION. The proposed demolition removes walls from t h e 20 t h ce n t u r y a d d i t i o n s t h a t d o n o t s e r v e t h e p r o g r a m m a t i c p u r p o s e s o r ge n e r a l f u n c t i o n a l i t y o f t h e s p a ce a n d o p e n s u p g h o s t e d w i n d o w s t o increase light and visibilit y to/from surrounding co m m u n i t y

Fig ur e 21.

PROPOSED DEMOLITION EXISTING STRUCTURE

51

FLOOR PLANS.

Fig ur e 22.

UP

Laundry

Storage WC

Public WC

Accessible King Room

Kitchen UP

Mechanicals Art classroom

Mural Garden

DN

DN

Community Room

Storage/ Wine

Community Dog Park

People's Plaza

• •

52

1

Basement 1/8" = 1'-0"

Visitors can enter from all plaza level entrances.

Mural garden, kitchen, utilities, art classes, public restrooms, and community reading room are located at basement level as well as an accessible guest room with a lift to the first floor

2

Level 1 1/8" =

Fig ur e 23.

Rear Entrance

Porch

Accessible Lift

Fireside Dining

Gallery/ Community Room Collective Memory Gallery

Mural Garden

Office

Vestibule

DN

Watching Balconies

Front Entrance

Community Puppy Playground

•

•

• • 2

Level 1 1/8" = 1'-0"

Front balconies are reinstated and back porch is added at collapsed addition to connect surrounding plaza with plaza level interiors.

Entry hall is a collective memory gallery which continues through the main communicating staircase and upstairs hallways. Photos of the community past and present flank the walls Office for guest room and event check-in, gallery/community room, and dining room live here Interior maintains its domestic elements while being open to the public

53

S T R AT EGY I M PLEM EN TAT I O N D IAG R AM .

Collec�ve

Inclusive s

Rear

Entrance

Laundry

Accessible Li�

Storage WC

Public WC

Accessible King Room

Kitchen UP

Mechanicals

Art classroom

Mural Garden

Mural Garden

DN

DN

Community Room

Storage/ Wine

Community Dog Playground

Communi

People's Plaza

54

Collec�ve Memory Spaces

Stages for Encounter/Retreat

Inclusive spaces

Architectural Allusions to Past

Viewing Bridge

Fireside Dining

Collec�ve Memory Gallery

Mural Garden Office

DN

Community Dog Playground

Fig ur e 24.

55

Fig ur e 25.

King Room

King Room

Collective Memory Gallery Dressing Room

King Room

Double Room

• •

56

• 1

Level 2 1/8" = 1'-0"

Level 2 opens into a collective memory gallery and houses four guest rooms Resident owner maintains private quarters on Level 3 and features a collective memory gallery in its central hallway Stages for encounter (seating, gathering, bathing, and triangulation pieces) are present throughout in various forms

2

Le 1

Fig ur e 26.

Owner Sitting Room

Guest Room

Collective Memory Gallery

Study/Den

Owner Bedroom

WC

2

Level 3 1/8" = 1'-0"

57

S T R AT EGY I M PLEM EN TAT I O N D IAG R AM .

nter/Retreat

usions to Past

58

Collec

Inclus

Collec�ve Memory Spaces

Stages for Encounter/Retreat

Inclusive spaces

Architectural Allusions to Past

Fig ur e 27.

59

EXPERIENCE.

Fig ur e 28.

Approach - first impression and welcome to the space. The mural and the street art on stairs invite you to explore the grounds and the interior. They usher you in.

(f a cing pag e) Fig ur e 29.

Mural garden - a space for gathering and contemplation.

It is here that social issues can be displayed while framing the structure of the long neglected Building B - it begins to tell the story

Fig ur e 30.

60

Rear Approach - a space for gathering and for watching.

This welcomes shoppers and employees from the newly developed retail and grocery spaces.

61

Fig ur e 31.

Entry Hall - visitors are greeted with preserved plaster walls - street art flanks vertical surfaces of main communicating staircase and the walls of surrounding rooms. The idea is to create curiosity and invite one to explore.

Fig ur e 32.

Gallery/Community Room street art is painted on scrims offset from the walls so the preserved architectural details are still visible. The space acts as the domestic living room and hosts public and private events. Stages here are sitable and movable to allow for programmatic flexibility,

62

Floor Joist above Lathe 1/4" Plaster approx 7/8" Brick Wall

Crown Molding

Fig ur e 33.

Scrim attachment detail for gallery/community room and dining room

Picture Rail 0' - 1 3/32" 0' - 0 13/16"

LED Strip Light Barrisol Rail System Transparent Fabric Scrim 0' - 1 5/32"

1

Ceiling with Scrim Rail Attachment Detail 6" = 1'-0"

Ceiling and floor joist above Lathe 1/4" Plaster approx 7/8" Barrisol Rail System Crown Molding

Picture Rail Transparent Fabric Scrim 1" furring strip

Brick Wall

Scrim is lit with wall washers at the front 2

Wall Detail Section TOP 6" = 1'-0"

Ceiling and floor joist above Lathe 1/4" Plaster approx 7/8"

0' - 4 9/32"

Brick Wall

Baseboard Transparent Fabric Scrim Barrisol Rail System LED strip wall grazer Ceiling and floor joist below 3

Wall Detail Section BOTTOM 6" = 1'-0"

Fig ur e 34.

Fireside dining room - A warm intimate space for small gatherings, where guests can eat together and talk. Small events and meetings are held here as well as traditional domestic dining. It is a space where friends and strangers connect.

63

Fig ur e 35.

Guest Room - Preserved plaster walls create a serene environment. Stages featured here include one for sleeping, storing and bathing. Because more of the stages here are conducive to vertical human positions, a scrim of street art is offset from the ceiling.

P h o t o c r e d i t s : h t t p s : //g l o b a l . e p s o n . c o m /

Fig ure 36.

64

Epson Lightscene EV-100 projector will project on wall and ceiling scrims while simultaneously revealing original decaying walls behind. This will allow for flexibility in curation

Fig ur e 37.

King guest room plan using all Brooklyn-made furnishings fixtures. Like this room, all rooms serve as a retail showrooms for local artists and artisans. All items can be purchased.

WATERLINE BED by Uhuru

1

MOD MIRROR by Uhuru

WATERLINE MIRROR by Uhuru

Level 2 King Room Detail 1/4" = 1'-0"

GOLD Q-BOT by Tightrope

STEEL SLING CHAIR by Stefan Rurak

FENCED-IN DEMILUNE by Uhuru`

FOLD END TABLE by Uhuru

DRY BAR CABINEt by Tamas Matyek

65

66

Photo credits: Original photos by Michelle Marshall

Model Ph otos .

Rear approach (facing page) Front plaza, front entry, and living room/gallery space

67

MAT ERIALS & LI G H T I N G . fabricut summer weave. tangerine.

materials

proposed. textiles.

existing.

dekton radium. acid degraded steel.

proposed. surfaces.

aged brick. luum navigate. fluorescent.

kvadrat by maharam. steelcut trio 865.

walnut.

dekton orix. worn cement.

exposed lathe. peeling plaster. bamberg. havana.

luum knurl. chatoyant.

wood parquet flooring.

gretchen bellinger. knot again.

robert allen palisadas. heartthrob.

reclaimed ipe wood. coney island.

dekton nilium. silver metal look.

mosaic from found objects. brooklyn.

dekton trilium. oxidized metal.

lighting

lighting as sculpture/art. lindsey adelman. cherry bomb chandelier.

luke lamp co. pendant

luke lamp co. aura chandelier

luke lamp co. tracer bar with rope led.

lighting to indicate what was.

lindsey adelman. clamp pendant. danielle trofa. mush-lume hemi pendant.

68

CONCLUSION.

IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

“A vivid and integrated physical setting, capable of producing a sharp image, plays a social role as well. It can furnish the raw material for the symbols and collective memories of group communication….

A good environmental image gives its possessor an important sense of emotional security [to]establish an harmonious relationship [with] the outside world.

This...means that the sweet sense of home is strongest when home is not only familiar but distinctive as well...[it] not only offers security, but also heightens the potential depth and intensity of human experience.”

- The Image of the City by Kevin Lynch

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Moskowitz, Peter. How to Kill a City: Gentrification, Inequality, and the Fight for the Neighborhood. New York: Nation Books, 2017.

Murphy, Jarrett. “Video: Rezonings and Gentrification in East New York and Beyond.” City Limits.

March 23, 2017. Accessed January 14, 2018. https://citylimits.org/2017/03/09/video-rezonings-and-gentrification-in-east-new-york-and-beyond/.

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APPENDICES.

IN TRANSITIONING COMMUNITIES,DOMESTIC DWEL LI N G S T HAT I NVI T E P U B LI C I N HAB I TAT I O N SERVE AS UNIFIERS THROUGH THE INTENTIONAL C U R AT I O N O F C O L L EC T I V E M E M O RY.

App e n dix 1.

ADDITIONAL PRECEDENT STUDIES. MATRERA CASTLE Cadiz, Spain 2011 Architect: Carlos Quevedo Rojas DESIGN STRATEGY: Anastylosis technique/use of materials that are distinct from the originals. Objectives: to structurally consolidate at risk elements; to differentiate the additions from the original structure; and to recover the volume, texture and tonality that the tower originally had. The essence of the project is â&#x20AC;&#x153;a reflection of its own past, its own origin.â&#x20AC;?

RELATION TO THESIS CONCEPT: Tension between old and new, understanding different interventions that preserve the old while allowing for new uses. Knowledge that the tension breeds conversation and actually promotes tourism or outside interest.

Photo credits: www.dezeen.com

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PLATJA DE MIGJORN FORMENTERA, SPAIN 2016 ARCHITECT: MARIÀ CASTELLÓ MARTÍNEZ DESIGN STRATEGY: RE-USE; Acting only in those parts that compromised the life of the building more. Making use of the original material palette, and the intended chronological and constructive point of view. Materials used in the restoration are very similar to the original ones, their implementation has clearly demonstrated the chronological differences between the original substrate and the material contributed during the intervention process.

RELATION TO THESIS CONCEPT: Re-use and graceful reconciliation of old and new. While new function may differ, history and original intent are honored. Minimal intervention employed for structural restoration and preservation.

P h o t o c r e d i t s : h t t p s : //w w w. d e s i g n b o o m . c o m

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UNTITLED (ROME) - NUMBER TWO FROM AN EDITION OF SIX CONCEIVED 1959; CAST IN RESIN 1985 ARTIST: CY TWOMBLY DESIGN CONCEPT AND STRATEGY: Engagement with mythic narratives of the past; fusion of line and material; mixture of Hellenic classicism and modern candor; arresting corporeality and compelling intimacy; using found objects which look to antiquated sources of inspiration than the everyday; smoother and more refined; exquisite resin copies of original; timeless elegance and talismanic mystique; minimal; inventive; alluring animation; presence of myth in the present work; The materiality honors the existing/old and re-frames it in a modern way. It does not subtract or obtrusively add, but captures the spirit of its past while embracing the future. Textures evoke curiosity and invite interaction with the user.

RELATION TO THESIS CONCEPT: Attention to formal laws of symmetry and geometric harmony ; “Without doubt, modern sculpture was born from classical archaeology.” (Rosalind Krauss’s thesis) “To encounter the past is to put into question the present. This sense of awe and perplexity at overlaid tenses and times and encountering places only previously known in the imagination…offered for Twombly a palimpsest of past, present and future; layered, intertwined and interpenetrating each other like archaeological strata.” (Nicholas Cullinan in Exh. Cat., London, Tate Modern, Cy Twombly: Cycles and Seasons, 2008, p. 74); calls to attention the delicate balance of merging the past and present harmoniously; speaks to the importance of materiality and composition in conveying welcome, invitation and inclusion

P h o t o c r e d i t s : h t t p s : //w w w. a r t n e t . c o m

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GREAT EXPECTATIONS NEW YORK, NEW YORK 2001 INTERIOR ARCHITECTS: ROGER MANN, DINAH CASSON, AND CRAIG RILEY DESIGN STRATEGY AND IMPLEMENTATION: Temporal inhabitation of a space leaving existing structure relatively untouched with no permanent alterations. Intended to slow down and catch the eye of passing commuters and to provoke reflection upon the displayed objects. The break in the table was announced by a canopy that flowed from the top of the light box and folded up and over the top of the passageway between the two table ends. A loose arrangement of chairs and exhibits around the table intended to create an informal dialogue and trigger interest in British design.

Exhibits were laid out on the table like different courses of food drawn from an exquisite menu and placed on a static plinth, unifying the exhibits and presenting them to the public in a continuous narrative.

RELATION TO THESIS CONCEPT: Flexible/multi-functional installation pieces that would allow for program layering. space. Impact on thesis: This represents how temporal pieces can function well within historic shells or contexts and create dialogue between users

Photo credit: Key Interiors Since 1900 by Graeme Brooker

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BEISTEGUI APARTMENT PARIS, FRANCE 1929-31 INTERIOR ARCHITECTS: LE CORBUSIER, CARLOS DE BEISTEGUI, EMILIO TERRY DESIGN STRATEGY AND IMPLEMENTATION Intended as a house for parties and social events a place for people to see and be seen in, floor to ceiling sliding glass doors allowed light into the main salon and gave a view out of the room.

The neatly trimmed hedges edging the roof garden were electronically configured so that, at the press of a button, they could be moved to reveal city landmarks. The apartment was designed to become an â&#x20AC;&#x2DC;eventâ&#x20AC;&#x2122;, interior configured to be playful and at the flick of a switch the space would open up to frame the city in various ways. Electronically altered walls and doors altered the shape of the room as they moved across the floor. The upper level surrounds the garden with a 5 foot high wall, editing out the lower half of the city. Exterior became an interior without a roof with the addition of an ornate fireplace on the garden terrace. It was designed to feel integral to the city in which it was placed, reaffirmed by the small cabin at the top of the spiral stair with a periscope to view the city.

RELATION TO THESIS CONCEPT A space that connects inhabitants to the exterior, the community. A space meant for social gatherings. Modern ammenties housed in an existing shell.

80 Photo credit: Key Interiors Since 1900 by Graeme Brooker

GALLERIA NAZIONALE PARMA, ITALY 1977-87 INTERIOR ARCHITECTS: GUIDO CANALI DESIGN STRATEGY AND IMPLEMENTATION Strategy was to connect three disparate spaces via a single route - a continuous passageway that moved the visitor through the museum without ever taking the same path. Building was stripped to its bare essentials, removing insensitive additions from the past. Archaeological finds were incorporated into the remodeling strategy. The journey is punctuated by a series of packing cases, irreverently displaying statues and sculpture, as if they were only partially unloaded. The building itself is treated as an archaeological object, respecting it and enhancing it through opposition. The severity of the ancient buildings is underscored by the flexibility and impermanence of the new interior. Where alterations could be made without diminishing historical significance, it was done. Raised walkways appear temporal. Other areas are more polished, contrasting with the masonry of the existing building. Materials throughout were chosen to clearly distinguish between the new and the historic.

Relation to thesis concept: A lesson in employing multiple strategies to contrast and highlight new and old. An interesting study in circulation and the contrast of permanence and impermanence and flexibility.

Photo credit: Key Interiors Since 1900 by Graeme Brooker

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SELEXYZ DOMINICANEN BOOKSHOP MAASTRICHT, THE NETHERLANDS 2007 INTERIOR ARCHITECTS: MERKX+GIROD DESIGN STRATEGY AND IMPLEMENTATION 13th century church repurposed as a bookseller. Program requirement was for usable square footage twice that of the existing structure. Strategy focused on the height of the church and an inserted bookcase structure that would create the necessary amount of selling space while retaining the scale of the building. Bookcase as platform affording fantastic views. Elevator connects newly excavated basement to all levels of the multi-level black steel walk-in bookcase, situated orthagonally in the main hall of the church and constructed to equal the scale and mass of the building while setting itself apart materially. Display plinths are placed between columns in the nave and the cafe in the apse hosts a crucifix-shaped table at its center, reminding the user of the building’s previous function. New entrance of corten steel was designed as a sculptural box that contrasts dramatically with the building’s exterior. Lighting is concealed within the bookcase to ensure that all levels are adequately lit and to dramatically highlight the ceiling.

RELATION TO THESIS CONCEPT Study in materiality and proportion to surroundings. Respecting, differentiating and highlighting it’s contrast. Interior insertion and intervention.

Photo credit: Key Interiors Since 1900 by Graeme Brooker

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Appendix 2.

PROGRAM CONCEPT DIAGRAMS. PROGRAM 1

PROGRAM 2 UNIFIERS/STAGES FOR ENCOUNTER

UNIFIERS/STAGES FOR ENCOUNTER

FEWER

FEWER

MORE

MORE

DIVIDERS/FILTERS

DIVIDERS/FILTERS FEWER`

FEWER`

MORE

MORE

PROGRAM 1

PROGRAM 2 PRIVACY MORE

PRIVACY

LESS MORE

LESS BARRIERS TO COMMUNITY LESSER`

BARRIERS TO COMMUNITY

GREATER

LESSER`

GREATER

PROGRAM 1

PROGRAM 2 FUNCTIONAL FLEXIBILITY LESS

MORE

DIVIDERS/FILTERS FEWER`

MORE

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Appendix 3.

ORNAMENT SKETCHES.

84

Appendix 4.

MODEL STUDIES. Place of Res t: Un der

This model study explored the idea of a covering that ‘shuts out’ distractions in order to focus or to meditate.

Photo credit: model photos are original by MIchelle Marshall; the remainder are found on google.com

A PLACE TO REST: UNDER

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Appendix 5.

MODEL STUDIES. Pro por tio n .

This model study looked at proportion of the building and the option of public versus private spaces within the site. It attempts to learn which spaces connect with the surrounding plaza and which do not.

Photo credit: Original photos by Michelle Marshall

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â&#x20AC;&#x153;There may have been a time when preservation was about saving an old building here or there, but those days are gone. Preservation is in the business of saving communities and the values they embody.â&#x20AC;?

- Richard Moe

National Trust for Historic Preservation

PRIVATE HOUSE PUBLIC HOUSE INTERIORS AS UNIFIERS IN TRANSITIONING COMMUNITIES