Nawrocki 2012 B.Arch Thesis Document

FORECASTING CHANCE: Architecture + Landscape + Weather

Timothy Nawrocki

Bachelor of Architecture Thesis Temple University Tyler School of Art Architecture Department Fall 2011 - Spring 2012 Thesis

The making of architecture is intrinsically tied to human experience and site. Weather events are also linked to site locality while simultaneously providing immense human experiences. While architecture has the ability to wait for all sorts of weather events to occur, traditionally architects seek to resist processes of weathering.

This thesis seeks to manipulate weather conditions with built form to ecologically and culturally remediate the landscape of the former Scranton Iron Furnaces. These conditions are created within a proposed train station due to the station’s need for semi-enclosed spaces that must allow weather in. This scenario examines how natural weathering processes can develop an architecture that both reacts to the latent history of a postindustrial site and the future needs of the city.

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

TABLE OF CONTENTS Part One: Thesis Position

Part Two: Thesis Proposal

Part Three: Typology and On-Site Research

Abstract Theoretical Foundation

Understanding Weather(ing)

Theory to Project Link Site Information

Scranton’s Development

Vals

Therme Vals Chicago

Atmosphere

Event, Condition, Outcome

Weather and Movement

Relevant Case Studies

Banca Popolare di Verona Olafur Eliasson: The Weather Porject Olympic Sculpture Park

Post-Industrial Landscapes Drosscapes

Terms of Criticism Methods of Inquiry Design Speculation

Site Conditions

Program

Programming

User Groups Program Cycles

Design and Research methodologies

Weather, time, and Cycle Experiments

Material Dialogues Landscape Connections

Relevant Case Studies

Sundial Bridge

Gas Works Park Andy Goldsworthy: Clay Wall Tribune Campus Center and Noise Tube

Seattle

Tribune Campus Center and Noise Tube Art Institute of Chicago Pedestrian Bridge Olympic Sculpture Park Gas Works Park

Part Four: Design Design Process Development Resolution Final Review Reflection Concluding Remarks Endnotes, Bibliography, Image References

Part One: Thesis Position Abstract Theoretical Foundation

Understanding Weather(ing) Atmosphere

Event, Condition, Outcome

Weather and Movement

Relevant Case Studies

Banca Popolare di Verona Olafur Eliasson: The Weather Porject Olympic Sculpture Park

Post-Industrial Landscapes Drosscapes

Terms of Criticism Methods of Inquiry Design Speculation

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

FORECASTING CHANCE Weathering is an uncertain, chance-based occurrence.

The thesis seeks to forecast chance by influencing possible outcomes of weathering. This creates an architecture that responds to the latent history of a postindustrial site while accommodating the future needs of its adjacent environment.

Architecture as a discipline often seeks to mitigate the effects of weathering, going to great lengths to preserve the appearance of newness. Architecture today tends toward the hermetically sealed and resistant to nature.

Rituals of cleaning, painting and washing to remove residue of past sites are commonplace.

Yet in many parts of post-industrial America, architects work to re-purpose industrial ruins, finding ways to preserve parts of those built environments and integrate them for contemporary purposes. This thesis suggests that people who live and work in those environments can be enriched by experiencing less hermetic spaces, where the design incorporates the effects of weathering into the re-purposed environment.

Instead of resisting all weather occurrences, architecture can become a filter between environments. In embracing weathering it becomes possible for architecture to accept variable atmosphere as a valuable medium for design. Atmosphere being the prevailing tone, mood, or character of a given place at a given time can be created by harnessing weather conditions. Inside and outside can diffuse, blur, and blend as a method to enrich experience. This acceptance that weather inevitably affects all built structures creates an arena where the amplification of these conditions creates spaces that are dynamic rather static, and evolving rather than existing.

It is possible for certain instances of weathering to be positive, (patina, smoothing of surface, moss growth) but as long as it is clearly shown to be intentional. This

thesis seeks to tease out new possibilities of intentional weathering to reverse the adverse views associated with decaying post-industrial sites. The program becomes a filter for the fast and slow moving processes associated with the site to control and exploit these processes.

In allowing for the process of weathering to occur, architecture becomes a catalog for occurrences of place over time. Spaces become embedded with the DNA inherit in each site and place. This creates an architecture tied to its location and to time. Spaces that were once climatecontrolled can become atmospherically variable and responsive to the mood of their surroundings. Response to site does not mean resistance; it means allowing the atmospheric qualities of time to continue into the space.

The space is a filter, not a barrier to weather. This filter prevents discomfort, but does not alter the daily occurrences of the environment. This is achieved by blurring the lines between inside and outside along with temperature fluctuations and light conditions.

01. Scranton Rail Yards

These types of atmospheric conditions can be created within the program of the train station due to the station’s need for semi-enclosures. A constructed landscape, a series of seasonal programs, and the augmentation of existing infrastructure produce opportunities to control larger weather occurrences. These programs will work two-fold, to remediate ecologically and culturally the site of the former Scranton Rail Yards and Iron Furnaces.

Forecasting (fawr-kast-ing)1.verb. to predict (a future condition of occurrence); to calculate in advance.

2.noun. a conjecture as to something in the future.

Chance (chahns)1.noun. the absence of any casue of events that can be predicted or controlled.

2.noun. an opportune or favorable time.

02. Fountain | Therme Vals | Peter Zumthor

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

UNDERSTANDING WEATHER(ING) lates the conditions and outcomes of the environment.

skin system, consequently changing the outcome.

In understanding that architecture inserts itself between the event and the condition while materiality and detailing falls between condition and outcome the architect can control how a structure reacts to weather conditions. For this thesis the architecture is a filter to direct certain types of environmental factors like light conditions, temperature, and humidity into diffused semi-enclosed atmospheres.

Weather exists in an event, condition, outcome situation where rain, for example, becomes the event, pooling the condition, and cracking the outcome. These processes work serially and cyclically due to seasonal shifts.

It is impossible to predict exactly how weather will affect the skin of a building, but it is possible to influence and harness weathering to a degree. Certain architects have designed weathering over time into the detailing of their exteriors. University of Pennsylvania professor, architectural theorist, and writer, David Leatherbarrow, discussed planning for weathering as seen in the work of Carlos Scarpa, specifically in his Banca Popolare in Verona.

Underneath each circular window a channel is created to catch rainwater and direct it downwards as a means to influence where the residue of the raindrops will stain the structure.1

Although it is impossible to predict the track of an event, once the event occurs, a finite series of conditions and outcomes is derived. These conditions correlate to a series of site operations that process the physical embodiment of the event. Rain, for example is either absorbed, pooled, or runs off completely. These occur freely in nature without architecture at all, but when architecture is conceived it reacts to weather’s events and manipu-

This detail reveals that Scarpa designed with rain in mind and that he accepted that rain would inevitably stain his buildings. In embracing this event the architecture responds to its local climate in a productive manner by controlling the path of water, thus altering the condition. This concentrates staining to certain control points while at the same time preserving other potentially more vulnerable portions of the architectural

EVENT

CONDITION

In order to understand weathering processes one must understand weather and how it operates. Weather operates by chance and the prediction of weather has consumed thousands of people for centuries.

Architecture fortunately has the opportunity to wait for weather and this opportunity becomes the method of creating atmospheres that are trigged by the subtleties of weather.

Weathering (weth’-er-ing)1.verb. to discolor, disintegrate, stain, build up, as by the effects of weather 2.verb. to expose to the weather or be affected by the exposure to the air or atmosphere Filer (fil-ter)1.noun. a porous substance by which material can be passed through to remove impurities.

2.verb. to pass or slip through slowly into another environment

OUTCOME

Controlling Weathering

Weather as a Medium to Create Atmosphere

ATMOSPHERE Atmosphere is classified as a Condition. Atmosphere is a byproduct of weather and the architecture reacting to the weather. In organizing the events that the architecture filters specific daily and seasonal atmospheres are created. This informs the user of the seasonal conditions around them, therefore elevating experience. The architecture, although stationary, constantly evolves due to its relation with daily sun patterns and seasonal temperature conditions while still providing comfort and shelter from harsher events.

Atmosphere visualizes the qualities of weather. In order to make these subtle weather shifts visible and noticeable polar conditions can be harnessed. Moments of wet and dry or light and dark are amplified in the detailing of the architecture. Due to the cyclical processes of weather at a certain point there exist polar qualities in every condition.

Banca Popolare

The Weather Project

A channel is created to catch rainwater and direct it downwards as a means to influence where the residue of the raindrops will stain the structure.2 This technique of making certain reveals upon the façades of the building is a sophisticated way to predict architectural weathering over time.

Eliasson utilized a series of humidifiers and monochromatic lights to create an artificial atmosphere within the Turbine Gallery of the Tate Modem in London. This artificial atmosphere significantly alters the galley by turning a vastly open gallery into a perpetual sunset. Mirrors were placed on the ceiling to make the already tall room even taller creating a larger “sky”.

Verona, Italy | Carlos Scarpa

The details that control weathering are designed to reveal exactly what they are doing. Their form reveals purpose.

London, United Kingdom | Olafur Eliasson

Although artificial, the installation shows that atmosphere is a medium for creation of experience. Light, humidity, and temperature all combine to engage the user and this can be examined in exterior situations using architecture.

Atmosphere is perceived through our emotional awareness of space. Upon entering any space our body immediately tells us an enormous amount about it.3 We can sense warmth, darkness, exposure, or protection from to the outside’s ever changing conditions. This relates strongly to the experience and mood of space and oftentimes architecture counteracts these changing conditions. Alternatively by embracing these occurrences the architecture can embody the mood of exterior conditions and become variable as a means to maximize experience.

Atmosphere (at-muhs-feer)1.noun. the prevailing tone, mood, or character of a given place at a given time. A condition 2.noun. the air of a locality.

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

EVENT > CONDITION > OUTCOME gests that people can be enriched by experiencing less hermetic spaces.

Weather exists in an event, condition, outcome situation.

Events can be categorized as series of triggers. Each event triggers a series of subcategories, or gradients. So rain can also be defined as lightly as drizzle or as heavily as monsoons, but each type of rainfall follows similar trajectories in their conditions and outcomes. The exact extremes of gradients can be quantified within the realm of rain’s overall conditions.

MIST DRIZZLE SHOWER RAIN DOWNPOUR STORM TORRENTIAL DOWNPOUR MONSOON

Additionally materiality reacts to conditions and processes the final outcomes for the skin of the architecture. This further narrows down possibility and therefore maximizes certain predictions. This allows to the architect to backtrack, picking a desired result and working backwards to understand the processes to achieve such an effect.

The architecture becomes a filter to direct certain types of environmental factors like light conditions, temperature, and humidity into diffused semi-enclosed atmospheres. This is achieved by material reactions in the form of weathering and user reactions in the form of experience and mood.

RAIN

04. Gradient of rainfall types

These are not seen as necessary limitations but as counterpoints to frame moments of weathering. These counterpoints, in their detailing, help to reveal the intention behind allowing certain components to weather.

Event (ih-vent) 1.noun. An occurrence regarded as an instant of measurable space and time 2.noun. A circumstance that is usually an important happening Condition (kuh’n-dish-uh’n) 1.noun. A restricting or limiting circumstance, a condtional 2.verb. To put, form, or limit to a certain state of being or existence.

EVENTthe > architecture (ARCHITECTURE FORM) + OUTCOME) Outcome (out-kuhm) Obviously in accepting weathering must> (CONDITION 1.noun. A final product or end result. Consequence remain intact, continue to be a provider of shelter and TYPICAL CONSTRUCTIONS 2.noun. A conclusion reached through a process protection, and be structurally sound.

A typical construction creates an architecture that processes every atmospheric occurrence and counterTION > OUTCOME acts them to create an “ideal” environment. Although necessary for certain types of program the thesis sug-

MIST DRIZZLE SHOWER RAIN OWNPOUR STORM OWNPOUR MONSOON

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

HEAT WAVE

HEAT WAVE

ABSORB

DROUGHT

LEACH

DIFFUSE

DROUGHT

RAIN

DRIFT

HT: RADIATION

RAIN

HUMIDITY

FILTER

CRACK

HUMIDITY

FOG

SEEP

SWELL

FOG

DEW

STAIN

WIND

POOL PUDDLE

GROW

WIND

THAW

SATURATE

FREEZE

RUN OFF

COLLECT ERODE

FREEZE

FREEZING RAIN

DEHYDRATE

DRY

SLEET

SOAK

BLUR

SNOW

BLEACH

SNOW

HAIL

STATE CHANGE

HAIL

05. Weather occurences in the Form of Events, Conditions, and Outcomes. This occurs naturally with or without architecture

DEW

ARCHITECTURE

THAW FREEZING RAIN SLEET

06. An example of how architecture typically reacts to weather conditions.

ALL ARCHITECTURE EFFECTS THIS PROCESS

CLOSED ENVIRONMENT

HERMETIC SPACE

ABSORB HEAT WAVE

LEACH

DIFFUSE

DROUGHT

DRIFT

HT: RADIATION

RAIN

CRACK

HUMIDITY

POOL PUDDLE

FOG

RUN OFF

STAIN

DEHYDRATE

GROW

BLEACH HT: RADIATION

COLLECT ERODE

DIFFUSE

DRY

BRIGHT

BLUR

DEW

ARCHITECTURE

WIND 07. This thesis proposes that architecture can filter and redirect weather occurences as a means to engage nature and prevent hermetic, stale space

directs concentrations

THAW FREEZE FREEZING RAIN SLEET EVENT

SWELL

> (ARCHITECTURE FORM) > CONDITION > (materiality) > SHADE OUTCOME

SNOW

atmospheres

ARCHITECTURAL FILTER HAIL

PROTECT DAMP DARK SHELTER ABSORB LEACH DRIFT

RAIN 08. Rain is a primary point of investigation. Architecture has the ability to react to rain and process it as a series of conditions and outcomes.

ARCHITECTURE directs concentrations

REPEL

POOL PUDDLE

SOLID

RUN OFF

LAYERED

DEHYDRATE

PERVIOUS

BLEACH

PERCOLATED

HT: RADIATION

REACTIVE

DIFFUSE

PHASE CHANGE

BRIGHT

PACKED

SHADE

DIFFUSE CRACK FILTER STAIN GROW COLLECT ERODE BLUR

material connections

PROTECT DAMP DARK SHELTER ABSORB

09. In highlighting one specific occurrence of rain it becomes clear how the architecture will absorb rainwater through a growing solid form or be stained by the rain hitting a reactive surface. This allows the architect to backtrack by picking a desired result and working backwards to understand the processes to achieve such an effect.

GROW

RAIN SOLID ARCHITECTURE

CRACK STAIN

directs concentrations

REACTIVE ERODE material connections

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

WEATHER AND MOVEMENT A. POOL

B. FILTER

C. SEEP

Furnaces or recreational sporting events show a high concentration of movement in all directions in a compact space as seen in the summer and autumn mappings.

Pedestrian traffic is significantly impacted by season, while not. Understanding these metE. STAINvehicular traffic F. POOL is | CRACK G. FREEZE | CRACK rics reveals what paths must be responsive to weather and weathering.

D. SOAK

Weather greatly affects the way people traverse sites.

Slow walking, strolling, and collections of people outside exist in times of ideal climate. Alternatively in other conditions such as rain people move quickly between interior spaces, find shelter under awnings and building overhangs, or wait until the occurrence passes. In cooler seasons people spend less time outdoors and search out warm places when waiting for the train on a platform. In warmer seasons people spend significantly more time F. outdoors and seek shaded areas.

C.

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

Although the specific times cited and researched for these maps coincided with specific seasonal festivals on site, it is important to remember that currently the site is LACKAWANNA AVENUE and movedeserted during most of the year.

The actions ment patterns that these seasonal festivals create are D. helpful in understanding how people will move through the site once the train terminal is constructed. It is also important to note that these festivals (Riverfest and Arts F. on Fire at the Furnaces) will remain onsite and be acB. E. commodated by the new landscape.

Walking and wandering also occurs in the predominately G. warmer months with potential trails being assigned to these peripheral inhabitants. This movement rarely A. occurs in cooler months as seen in the winter mapping, G. E. butA. different patterns emerge in winter. Desire paths F. the quickest route between interior spaces A. highlighting D. E. are shown and can be utilized in designing the outdoor A. transitional connections.

G. E.

it is important to note that dozens of downtown workers D. traverse the site daily to take advantage of free parking F. in the adjacent neighborhood. These people become the primary creators of desire paths that exist between the A. South Scranton neighborhood and the downtown.

G. In cataloging and compiling data regarding the site’s weather conditions observations were made in response to understanding how weather influences local moveG. ment patterns. These patterns were charted in terms of representing inhabitants as vectors where each person spotted was also assigned a speed and direction.

C.

D.

D. Traverse (tra-vurs) 1.verb. To pass mover, along, or through 2.verb. To extend across or over. A bridge traverses the sream

Certain types of movement are reflective of season.

Community events along the river and near the Iron

10.People move differently in the city during different weather conditions

G.

A.

G. A.

G. D.

A. E.

F.

G.

A.

G.

E. A.

D.

E.

A.

A. D.

F.

E.

A.

E. G.

D.

E.

D.

A. E.

F.

G.

E.

A.

G.

D.

E.

D.

A.

E.

F.

E.

A.

A.

F.

D. F.

A.

Spring

F. A.

Summer (9-16-2011 1000h-1200h) Vehicular Traffic Pedestrian Traffic Observation Point

D.

Autumn (10-22-2011 1100h-1300h)

D.

G.

Winter

A.

D.

DROSSCAPES

Traversing Drosscapes

Dross is defined as waste matter that is unused. This in architecture becomes the leftover space that is left unused due to deindustrialization. These large unconnected parcels of land become Drosscapes.

Alan Berger considers these Drosscapes to be waste landscapes, a byproduct of deindustrialization that falls in between a commercial core and residential periphery.

These sites are characteristic of being disconnected to the city, an in-between space that is used merely as a place of trasition between places. The now obsolete Rail Yards and Iron Furnaces of Scranton, Pennsylvania become the grounds to investigate how Drosscapes can be connected with the city and responsive to both site and time. The site maintains features of its industrial past (used and unused rail lines, the river, Iron Blast Furnaces, Textile Mills) that can become opportunities to reconnect the space with the city’s population.

11. The Bessemer Process, Scranton Iron Furnaces

POST-INDUSTRIAL LANDSCAPES The Industrial Revolution marked a time of prosperity, cheap goods, and intense manufacturing capabilities for the northeastern United States. Farmers flocked to the city to find factory jobs and the growth of the nation’s population and economy nurtured this flight to the city. Mills, Factories, Collieries, and Foundries rapidly changed the face of the American landscape.

In time the massive needs of the society would wane and the large scale hubs of manufacture would slowly decline and close in favor of more service oriented jobs and a global economy. Deindustrialization was the cause for the economic collapse of many cities across the northeastern United States. As manufacturers moved out, no one moved in to fill these gaps, and the postindustrial landscape was born out of wasted polluted space.

The National Historic Park, Steamtown, was created within the Scranton Rail Yards due to its context but also due to the fact that the land was valueless because there no longer any use for an extra 50 acres of land in the urban core of a distressed city at the time. Its primary industry, iron forging, closed in 1902 and the rail company that supported it, the Delaware Lackawanna and Western Railroad, ceased operations in 1970. Even though Steamtown operates a Locomotive restoration center approximately 75% of the site is still in ruin . According to Berger development such as a museum like Steamtown is more successful compared to a large park because this program is immediately occupiable, thus creating human activity within the site.7 Similarly the proposed train station due to its program becomes a node within the city at its inception. Programs like this are infrastructural and can be defined as places people must go to. Alternatively in lower density cities such as Scranton a large park can be classified as a place people may go to. Must go places are the types of program needed to link “in between” sites in lower density cities

Olympic Sculpture Park

Seattle, Washington | Weiss/Manfredi

This technique of connecting isolated spaces is shown in the development of the Olympic Sculpture Park by Weiss/Manfredi. This project connects Seattle’s Contemporary Art Museum to a waterfront property via a sculpture garden. The main issue was that the site purchased was divided into three parcels due to a large arterial street and a Rail line passing through the site. To circumnavigate these barriers, the designers forecasted a meander from the city to the water derived from initial flow studies. Instead of a series of rudimentary bridges, the site utilizes a larger “constructed landscape” to traverse and expose these infrastructures simultaneously.7 These methods of connection are helpful in configuring pedestrian paths due to both ease of circulation and weather patterns. Paths during rainy seasons require shelter and more direct connections to program. Ideal weather conditions can reveal meandering paths along the periphery of the site that aid in access to recreational spaces.

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

TERMS OF CRITICISM

METHODS OF INQUIRY

+ Q1: How can the design of a Train Station and its approaches (infrastructure, landscape, and architecture) become a viable method for the programmatic reuse of waste landscapes (Drosscape)?

+MoI1: Axonometric diagrams of the different types of surfaces on site and there relation to typography, weather, and movement becomes site analysis.

+ Q2: How can new materiality and program placed into a Post-Industrial setting retain the spirit of place that has developed through time and weathering? + Q3: Can new architecture be derived by studying the dominant weather patterns on site and their effects on local building? + Q4: Can atmosphere be both experiential and performative in terms of mood and its ability to physically affect the site? + Q5: in amplifying certain weather effects does the architecture become a catalog for these events or a lens to view weathering? Or both? + Q6: how can current architectural design be less hermetic and more in tune with nature and natural processes in relation to time and space? + Q7: How can site and landscape conditions be translated into architectural conditions? + Q8: How can looking at time and users through the lens of cyclical seasonal processes become a productive method of designing architecture that evolves in step with these processes? + Q9: What material dialogues best expose the nature of weathering? Which counterpoints (non-weather- able) materials best frame these? +Q10: Does architecture react to events in weather and process them into conditions and outcomes?

+MoI2: Spatial Analysis of historical and contemporary Train Stations. This will be diagramed to define what causes certain traffic and circulation flows when the train is arriving or departing. This will become the starting and ending points to measure and observe traffic patterns in both plan and section +MoI3: Cataloging a history of weather (in plan and section) for the site is required. This will configure which occurrences happen most often. +MoI4: By documenting previous trends in the weathering of local structures new constructions details and material adjacencies can anticipate weathering in a more controlled manner. Tests of these in relation to actual weather conditions will be conducted to more accurately gauge the material connection. +MoI5: Create designed weathering experiments with materials local to and proposed for the site in the form of full scale material studies. +MoI6: On Site research is required. Drawings, maps, geological surveys gathered on 9|16|2011 from Steamtown National Historic Site. Meeting at Anthracite Heritage Museum on 10|15|2011. Sketching of early diagrams for movement patterns to be performed then. +MoI7: Remediation research is required to discover what types of remediation are appropriate for both the site and the project. +MoI8: Typological research of sites in Post-Industrial Seattle to be conducted over winter break.

DESIGN SPECULATION SITE

PROGRAM

REMEDIATION

The site becomes the primary driver of the project.

Investigations of the site will occur periodically in relation to season, climate, time, and event. Additional site research is the first step to understanding the circulation flows of people and climate. Identifying the different types of surfaces, how people move on them, and how this changes in different weather conditions becomes the preliminary site analysis. This data forms the foundation for predictions.

This dialog between weather, movement and infrastructure all intersect within the typology of the train station. This is where a sequence of spaces, schedules, performance of materials and growth can overlap and possibly be noticed by the user while they are waiting for a train. The commuter who uses this train for years has the opportunity to notice these changes over a longer period of time. The ability to engage landscape and the play between inside and outside are important tools to influence this experience. The progression from the city to the ticket booth, the platform, the train, the departure along Roaring Brook, past the Nay Aug Waterfalls, and into the wilderness that precedes the Delaware Water Gap becomes a sequence of framed experiences. These threads can come together in this sequential.

Rain, wind, snow, and temperature fluctuations become the forces to create material effects and cleanse the site simultaneously. Remediation with plantings becomes a method to clean the site and reveal seasonal shifts and variaitons across the landscape. The un-remediated sites can be planted and used later in a built phasing process. This speaks to the importance of building over time. The station could become a series of additions where each phase remediates the site for the next phase.

This gradual building form can symbolically develop the palimpsest on site further into the future.

A series of movement-weather drawings will be created that will chart relationships of seasonal user movement.

Case studies of train stations will also be performed in plan and section to create maps of how people “arrive then diffuse” or “gather to board”. Combined, these diagrams overlaid with the current flow of the city (site analysis in relation to existing surfaces and topography) will become the data for a series of spatial uncertainty forecastings with respect to weather.

Material Forecasting of weathering parallels the movement diagrams. Although at different speeds, these forces are similar will be drawn in similar fashions. Full scale detail studies (operating as drawings simultaneously) will be performed to understand the way certain material connections erode. This will lead to a continued series of studies that will form the building’s materiality.

Gauging and drawing erosion will be an important tool in understanding how these studies can fit into a larger scaled (regional, architectural) setting. This tactility also ties the studies back to the user. Blending the two, how User+ Material soaks or absorbs rain, collects snow, or protects oneself in wind becomes another intersection between architecture and occupant.

A New Jersey Transit line from New York City to Scranton is being planned for 2025. The train station that is currently proposed is located at the edge of downtown amidst a sea of parking lots and vacant buildings far from the street. This Thesis proposes moving the station five blocks (approximately 2000 feet before the NJT site) to the southeast behind the original 1920s Neoclassic Lackawanna Station (now a hotel). This site is better suited to connect to the surrounding neighborhoods and institutions. In this setting the program with respect to time, movement, and weathering synthesize to produce a situation where designing for uncertainty is possible.

The site can further engage remediation through the use of the river. The river can be syphoned to cleanse the land and accelerate the remediation process. This speaks to the fact that the river was both a catalyst for industry and a healer of industry’s waste. It also discusses another method to influence flows of people and sediments.

All of these variables, weather, movement, time, the dismantling of drosscapes, and new transit infrastructures combine to create a situation showing how designing for chance is realizable.

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Part Two: Thesis Proposal Theory to Project Link Site Information

Scranton’s Development

Site Conditions

Program

Programming

User Groups Program Cycles

Design and Research methodologies

Weather, time, and Cycle Experiments

Material Dialogues Landscape Connections

Relevant Case Studies

Sundial Bridge

Gas Works Park Andy Goldsworthy: Clay Wall Tribune Campus Center and Noise Tube 18 | 19

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

SCRANTON

DELAWARE WATER GAP

NEW YORK Active Rail Right-of-Way Abandoned Rail Right-of-Way

12.Steam Locomotive leaving National Historical Site and passing through site.

13. Map of Current progress of developing the Lackawanna Cutoff.

THEORY TO PROJECT LINK The now obsolete Rail Yards and Iron Furnaces of Scranton, Pennsylvania become the grounds to investigate how forecasting the processes of chance can create an architecture that is interconnected with the city and responsive to both site and time. The site maintains features of its industrial past (used and unused rail lines, the river, Iron Blast Furnaces, Textile Mills) that can become opportunities to reconnect the space with the city’s population. This can also create a new infrastructure for the city without compromising its historical, ephemeral or material nature.

past, present, and future user movement to create connections to the city (flows) and the other is within material weathering over time (weathering). Time, movement, and weather all intersect in multiple ways within the typology of the train station. This archetype is conscious of multiple scales (Regional, Architectural, and Detail) that can discuss where movement and weathering interact. This new train station also predicts infrastructure projects proposed by the federal government since their interest in new rail projects will require the navigation of postindustrial landscapes of abandoned space.

This Thesis tackles two time based ideas where forecasting chance may be possible. One is in predicting

These predictions become a methodology of designing for uncertainty. By analyzing accelerated material

reactions the architecture can embed itself with the knowledge of its local weather. Investigations into detail scaled materiality and site scaled flows can combine within the architectural scale to create future intersections where forecasting uncertainty occurs. These can then become the key moments for maximizing chance.

14. Existing Site Conditions at Lackawanna and Cedar avenues

20 | 21

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

SITE In searching for the appropriate site and program for the processes of weathering to be sustained, it makes sense to find site conditions that already allow weathering to remain, places where constant cleaning is absent. These places are typically marginalized places or spaces of neglect.

The site is bounded by Roaring Brook, Lackawanna Avenue, and a downtown shopping mall. These boundaries cut off the street grid at Lackawanna Avenue, one block away from the site. This isolates the site in all directions and creates a wasted space in between the downtown and its neighborhoods.5 According to Alan Berger, a place that possesses these conditions is considered a Drosscape. Drosscapes in architecture are the leftover isolated spaces that are rendered useless due to deindustrialization. To integrate this Drosscape back into the city network connections will be made to active areas nearby. Transit, pedestrian, and visual connections can work in unison to bridge the gap between the two populated areas (downtown and university) that this site exists between.

Drosscape (draws-skeyp)1.noun. a waste landscape, a byproduct of deindustrialization, that falls in between a commercial corridor and a residential periphery.6

15. Scranton Skyline.

RAIL YARDS

DOWNTOWN SCRANTON N

LA

CK

AW

AN

NA

LACKAWANNA RIVER

16. Site Map | Extent of site analysis shown in yellow

TO NEW YORK CITY

The Scranton Rail Yards and Iron Furnaces are places of industrial ruin. The site is characterized through its materiality. As a place for Iron Forging, the landscape is wrought with ruins of this industry. These ruins have become a collection of obsolete objects; referred to as dross by Alan Berger and Lars Lerup.8 The effect of time and weathering has allowed these objects to corrode and rust. Retaining this character while still redeveloping and remediating the site is planned within the new architecture as a means to explore the latent potential of constructing atmosphere with industrial spaces.

AV

E.

ROARING BROOK

17. The Scranton Rail Yards

18. Dross found within The Scranton Rail Yards

Existing Train Overhang

Proposed Station Site

19. Former Lackawanna Station at Left (now a Hotel) | The viaduct for the proposed terminal station at top center

Proposed Pedestrian Bridge

Existing Pedestrian Connection

20. Scranton, Pennsylvania (41°24’38”N 75°40’03”W) | Corner of 600 Lackawanna Avenue and 100 Cedar Avenue

22 | 23

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

21. Roaring Brook and Iron Furnaces in c.1845

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

22. Bridges over Roaring Brook in c.1865

23. Iron Furnaces in c.1892

The chosen site, the Scranton Iron Furnaces, is located at the historic birthplace of the city. The growth, prosperity, and eventual decline of the city of Scranton is characteristic of most rust belt, industrial cities.

anthracite coal for the same trains allowed Scranton to become a wealthy city of over 200,000 people. In time the Lackawanna Iron Works would become the second largest in the nation.15

Founded as Slocum Hollow along the Roaring Brook near its confluence with the Lackawanna River, the small mill town would eventually discover several commodities of massive wealth to the nation.

With this increased wealth the city would establish an interurban railway connecting Scranton to nearby Wilkes-Barre, known as the Laurel Line. The main station for the Laurel Line is also located within the chosen site, near the original Delaware, Lackawanna, and Western Railroad Viaduct. The DL&W would begin construction on a new main Rail terminal in Scranton that would be the primary hub between New York City and Buffalo.

this the city rarely saw new development. The two train companies would eventually close, leaving the Rail Yards and Iron Furnaces sites abandoned. They would remain untouched for another century. 100 years of weather, erosion, and decay have erased most traces of the Lackawanna Iron and Coal Company, but the massive stone furnaces remain as they were in 1902.16

SCRANTON’S DEVELOPMENT

With the discovery of iron ore and anthracite coal in the Lackawanna Valley, Slocum Hollow would soon be descended upon by pioneers looking to harvest its riches.

Two brothers, Selden and George Scranton founded the Lackawanna steel Company and would begin constructing the Iron Furnaces along Roaring Brook in 1841.

Through the development of the Bessemer process, iron smelting became a lucrative business in the production of “T rails” in the valley. The steel rail manufacturing center combined with the abundance of hotter burning

In fifty years the Iron works would exhaust the iron ore reserves, and in 1902 the company would relocate, founding Lackawanna, New York leaving behind the imposing series of Iron Furnaces along with several other ruins. The site, heavily polluted, and the city without its primary industries, lay stagnant. The city would take generations to rebuild its local economy, and due to

What remains of the iron furnaces are the four main stone blast furnaces at the edge of Roaring Brook near Cedar Avenue. Up river from the Iron Furnaces, Nay Aug Park (Lenepe Indian for “noisy water” hence the name Roaring Brook) provides a substantial Riparian zone for the waterway. Yet with a buildup of several industrial sites that once used the river for power, the river has be severely polluted due to these industrial processes. Over the past half a century the waterway has recovered considerably, yet a long range plan for processing the city’s storm water runoff is a key component to the safety of the river.

24. Iron Furnaces Left Abandoned c.1902

25. Scranton Rail Yards. c.1910

The Lackawanna Heritage Valley Authority has begun to successfully stabilize the water quality and the riparian zone of the river for which Roaring Brook is a tributary, The Lackawanna River. A network of over twenty miles of parks, trails, and flood zones with the intention of completing the entire seventy mile stretch will secure a clean waterway for the people of the Lackawanna Valley.

Roaring Brook will eventually have to do the same. This Thesis project takes these variables into consideration given the site, but also the process of filtering street runoff to be experiential instead of being merely infrastructural.18 With plans underway to construct a new railroad terminal and to condense the regional and city bus companies under one roof an opportunity exists to reimagining this site.

26. Views from inside and outside the Scranton Iron Furnaces | Potential Station Platform Location c.2012

24 | 25

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

LACKAWANNA RIVER

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

PASSENGER RAIL LINE I-81 NORTH

DOWNTOWN SCRANTON NUMBER SEVEN RESERVOIR UNIVERSITY

RAIL YARDS

ROARING BROOK

SITE NAY AUG PARK HILL SECTION

SOUTH SIDE

IRON FURNACES NAY AUG GORGE to WILKES-BARRE

I-81 SOUTH

27. Roaring Brook Watershed, Riparian Zone, and water levels at different times

to NEW YORK CITY

28. Historic map detailing mining conditions beneath the site and the former rail lines through out the site

26 | 27

REGIONAL LINE

LOCAL LINE

29. Site Map showing the locations of existing active rail tracks.

28

N

30. Aerial View and Section of Existing Site Conditions

28 | 29

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

SITE CONDITIONS The mapping of existing site conditions became the first step in describing how to insert new architecture into the site. The drawing works to find points of intersection between the existing fabric of the city and a rich concentration of the climate’s weather phenomena The collection of data, maps, sections, property boundaries, flood information, and site permeability were all collapsed into one drawing. This drawing locates and visualizes this raw data into a working map at a regional scale. This drawing will become the base map for all regional scale representations. This drawing locates the key players in studying past weathering on site.

Pooling: These conditions exist in low lying areas during wet seasons. Condition becomes the result of high rain,

melt, or overly saturated conditions.

Preceded by: Rain, Snow, Warmth Followed by: Varies, Cracks floods etc.

Filter: Pervious surfaces that are able to absorb and disperse large amounts of water runoff. Antithesis to pooling.

Seep: Partially pervious surface that can absorb and disperse small amounts of rain water. Conducive to pooling during high rain.

Soak: Areas characterized by efficient ability to absorb high amounts of water. Lush plants, dense root systems, and very pervious surfaces.

Stain: surfaces in situations to catch material displace-

ment. Certain materials erode or leech material as the weather. This material does not disappear; it transfers to the materials along the path of flow. These other materials catch sediment and staining occurs.

Pool |Crack: In the expansion and contraction of water laying on an impervious surface cracking occurs. due to the erosive qualities of water movement materials under such conditions can become unstable.

Freeze| Crack: Specific conditions where high seasonal temperature fluctuations occur and the capacity of the expansion contraction of a material is overstretched.

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31. Map of existing site conditions. | Red grid relates to permeable surfaces across site

30 | 31

SITE CONDITIONS

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

PROGRAM CYCLES User and experience is tied to a cyclical process. The specific atmosphere or mood of a space is tied to the relations of time, season, and weather. These processes work in a looping pattern where certain uses change hourly, daily, seasonally, and annually as shown in the drawing on the opposite page.

Hourly: Based on the train schedule the train can fluctuate between isolation and high activity within the hour.

Hourly occurrences solely tackle the train as an event and densities of people in transit.

Daily: The transformation between night and day drastically changes the atmosphere of the space. Effects of brightness and darkness change the experience of wait-

ing and viewing. Viewing from the platform to the river at night and day is different and the viewer could be made aware of this occurrence.

Seasonally: Seasonal change being temperature fluctuations, humidity shifts, and precipitation factors greatly influence weathering. This cyclical process possesses the power to affect materials and material connections.

This in terms of the viewer is most easily recognizable. Seasonal shifts alter sunrise and sunset times and because of this the design of any daily occurrence will come after the design of seasonal occurrences.

Annually: These three cycles are contained within a year.

Four seasons, 365 days, and 8766 hours. Although

exponentially different, the Thesis will treat them as equal experiential opportunities. Seasonal cycles will inform the development of both Hourly and Daily cycles. The progression of annual cycles results in the exposing of weathering, and this thesis will work towards representing annual transformations in a manner that does not undermine the qualities of erosion.

Users experience these cycles based on their routine.

Users who visit the site daily have the most exposure to these cycles. While seasonal users potentially miss daily cycles because these transitions are more subtle and take more time and exposure to notice.

HUMID

SH

P1

ER OD E

CO LD

Atmosphere: Warm, Humid, Light High activity, Slow movment (meander) Collection at open spaces, building as shade Drought studies: Cracking, Peeling, Melting

E AD RK DA

(2 TRACKS) Built atop Laurel Line Viaduct southwest of Lackawanna Station. Builds initial connections to city by eroding portions of viaduct to accommodate terminal at track level 9 trains/ day 30 passengers from Scranton

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Atmosphere: Cool, Damp, Bright Low activity, Slow movment Collection at enclosures and sun, building as shelter Snow |Ice studies: Collection, Drifting, Dripping, Staining

SL OW

2009 Study: Cost to revive Laruel Line as Transit System (22 miles)$400 million Cost to widen I-81 to three lanes in Lackawanna County (13 miles) $1.2 billion Creates dense rail network between city and on to other cities. leaves western portion of site untouched

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(1 TRACK, ALREADY OPERATIONAL) Built on grounds of former Laurel Line Terminal. Site is 20 feet below existing and on the opposite side of tracks

DISCLAIMER: The Thesis looks into this one particular intersection of these systems. The Thesis looks into catching and sheltering these infrastructures for a certain instance in time and space. This thesis will not design the transportation system nor will it masterplan a network of these rails. This intersection is a point of interest and the rest of a fully integrated system will be assumed in the loose ends of the tracks in all models, drawings, diagrams, collages, montages, and anything else created during the Spring Thesis Semester of 2012

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DAILY

SEASONALLY

ANNUALLY

Transition of Day to Night (Light Qualities) Sundial: Sun shift and the reveal LIGHT | DARK

Weather Temperature Fluctuations Humidity Shifts Precipitation FREEZE | THAW WET | DRY

Repeated Seaosnal Cycles reveal weathering Surface Material Design COLLECT | ERODE

2050 Constructed Landscape and Land bridge between Station and Roaring Brook Approximately 500 yards.

70’ grade change total.

30’ drop between Viaduct and Furnaces 40’ drop between Furnaces and River

2050 Pedestrian Bridge over Adams Avenue Approximately 50 feet length by 30 feet width.

Allows for connections to existing Viaduct Park and the Exit Stairs and Exterior that access the park. Tranforms park from dead end into directional bypass

32 | 33

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C. Pedestrian Bridge On viaduct and over Adams Avenue to connect to existing park, stair, and elevator (50 feet x 30 feet) D. Constructed Landscape Designed to mediate the grade change between furnaces and terminal station. The landscape also organizes the remaining abandoned structures on the site (Iron Furnaces, rail shed, switching tower, and diesel tanks) into a cohesive and seemingly intentional composition through the integration of pathways, clearings for recreation and planting beds for remediation.

33. Semi-enclosed form of train station becomes the ideal program to investigate weather and its effect on architectural and experience

Walking Trails. Space between Iron Furnaces and Terminal Station E. Linear Park and Trail. Connection to existing linear park behind 500 block of Lackawanna Ave. along Former Viaduct to University of Scranton) Ice Rink. The frozen over retention pond that funnels water to cleanse the site becomes an ice rink once frozen over during the winter.

34. Sundial Bridge | Santiago Calatrava

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Time Marker Positions embedded into Platform: (6am, 6pm – 90 degrees) (7am, 5pm- 67.9 degrees) (8am, 4pm- 48.8 degrees) (9am, 3pm- 33.4 degrees) (10 am, 2pm- 20.8 degrees) (11am, 1pm- 10 degrees)

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A. Train Terminal 20 Train Platforms with semi enclosed roof system (3) 1500sf Ticket Booths (4) 200sf Offices | Back of House | Mechanical 600sf Interior Waiting Area (30 people) 600sf Restrooms (as required by code) Parking Garage (140 Cars to replace spaces displaced from station construction)

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The site is vast. The program is minimal. This lack of program allows much of the site to be left untouched.

Minimal programming does suggest a landscape approach to enriching the site. These landscape processes work two-fold to remediate the site until development is required and creates opportunities for exterior temporal weathering conditions to occur.

Vehicular Pick up / Drop off point Stair Connections (3) from viaduct to street level

6

Alan Berger hypothesizes that Drosscapes were conceived due to the deindustrialization of highly industrial cities. He further states that as Drosscapes are redeveloped new ones will form.19 This appears true in Scranton where the infusion of mixed use programs on the site would only cause other established business nearby to close because a small city such as Scranton could not yet support that level of development.

776

764

PROGRAM Due to a train station’s need for semi-enclosed spaces to move passengers from the train to the station it becomes the perfect setting to deploy moments of atmospheric quality. Coincidently a new Scranton-New York City train terminal is already being proposed. The thesis proposes relocating this train station from a surface parking lot on the fringe of the downtown, to the Iron Furnaces site.

This creates a more centrally located station for both pedestrians and motorists due to it adjacency to the downtown and Interstate 81. It also becomes a fitting way to insert new architecture into the dross of the Iron Furnaces.

8

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8

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Cultural Remediation

35. Retention Pond in spring becomes an ice rink in winter

36. Arts on Fire event at the iron Furnaces | Preparing Kilns for iron pouring

USER GROUPS Users in Transit Spaces of transit are often characterized as being in between two places, two destinations. These spaces are often criticized as being “non-places” or spaces that are merely used for routing between destinations. Due to the fact that weather and atmosphere reveal the local climate of a place, folding this into the train station can possibly create a transportation space rooted in its location. This can therefore create a “place” without using iconography or signage but by using the true embodiment of a location, its weather.

Daily Users Commuters. Users who utilize the train terminal on a daily basis. They have the opportunity to experience the site at specific times of the day for longer durations of time. This constant use of the station over time creates a moment of opportunity to reveal weathering processes to the user.

Site Traversers. Users who typically live or park in the adjacent neighborhood and work downtown cross the

site are considered daily users. The new landscape acknowledges their path and seeks to provide a degree of shelter.

Seasonal Users Occasional travelers. Users who use the train for leisurely travel to New York City or University students who have connections to either The University of Scranton or schools east of Scranton are the types of people who use the train seasonally.

Recreation. Users who typically play sports or exercise outdoors do this in relation the seasons. Seasonal programs exist to accommodate ice skating, fishing, exploring, and running. Clearings exist to accommodate larger group activities.

Festival| Events. These types of occasions create a high concentration of activity on the site for short moments.

These occur seasonally and annually based on certain celebrations. People gather and move in all directions wandering, meandering, and collecting across the landscape.

Gas Works Park

Seattle, Washington | Richard Haag Associates

Situated atop an abandoned Gasification Plant the park seeks to retain the spirit of the site’s industrial past while incorporating a new park. Haag refurbished some of the old gas plant into new recreational structures. Others remain a modern ruin that alludes to the previous use of the site.8 The site utilized a phytoremediation scheme to cleanse the land that had been scarred by the previous plant. This technique of leaving components of the site alone while reusing others is a productive method of preservation. Some things should be left to continually weather, further cataloging the history of the site.9 A series of seasonal programs for recreation exist at the park. A sundial, a “great mound”, and a dock area become different types of program where seasonal activities can occur in and around the Gas Work Plant.

34 | 35

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

Weather as Medium

DESIGN METHODOLOGIES Weather | Time | Cycle Experiments Weathering is visualized through a series of processes instead of a singular moment. Documentation of effect requires a counterpoint to remind us what was originally there. In layered relationships, both in addition and subtraction the architecture will show how these processes are what create weathering. Cycles of Freeze|Thaw, Wet|Dry, Collect|Erode, and Light|Dark create atmosphere within the architecture.

In studying Freeze|Thaw cycles (model below) it becomes clear that the architect can influence outcomes in the assembly of different materials. Certain portions of the model cracked due to a materials inability to expand and contract in relation to the material it was attached to as in the case of the wax and the plaster. This also has to do with each material’s durability. In the case of the applied material (spray paint) to the plaster base the applied material erodes quickly. This is due to the manner of material connection.

The plaster base becomes the stable counterpoint to the weathered wax and spray paint. This creates a basic strategy for architectural applications. The manner in which applied materials erode versus the way bolted connections erode or the way melded connections react to the Freeze|Thaw cycle is different. In thinking about the method of attachment instead of it in actuality the thesis can create a series of accelerated model studies that catalog How real materials may react to the specific cycle.

Counterpoint (koun-ter-point) 1.noun. A contrasting or interacting element; foil 2.noun. A component utilized to distinguish between two qualitative elements.

Clay Wall

(and other works from Time) Dumfriesshire, Scotland | Andy Goldsworthy The works of Andy Goldsworthy become very useful examples in visualizing how to create with materials that are responsive to temperature, climate, and season. In his book, Time, several art installations show methods to both create and document objects in space over an extended period of time.

37. Freeze Thaw cycles are studied using a layered material connection model. Certain portions crack, erode, or wear away based on material dialogues.

Material Effects Through Composition

DESIGN METHODOLOGIES Weathering | Material Dialogues The way materials connect reveals how weathering can become intentional. Weathered objects framed by more resilient materials create a field for the erodible surface to be effected.

Freeze|Thaw = Expand or Contract Wet|Dry = Pool or Crack Collect|Erode = Layer or Peel Light|Dark = Sun or Shade, Day or Night

Fountain | Therme Vals

Vals, Switzerland | Peter Zumthor

Peter Zumthor utilizes the forecasting of weathering as a medium in the composition of his fountains in the entrance hallway to the Thermal Baths. Zumthor applies less control over the fall of the water as it stains the wall by moving from the top of the wall down the formerly pristine concrete to the floor. There is still a degree of influence due to the placement of the metal panels where the water picks up the sediment, yet with less control the effects of the accumulation can be teased out naturally.

Combined with programmatic needs these will become the polar conditions that decide what surfaces become what occurrences. As specific surfaces erode more durable surfaces with both provide structure and become the place for material erosions to displace.

These models are studies is configuring where eroding materials and non-eroding materials are positioned. The relationship between the two is crucial in making weath-

ering appear intentional. The models look into transitions from ceiling, to wall, to floor and how water would move down each surface and stain the surface below. This aids in locating overhangs and places where surfaces can controllably erode.

In continuing to work in model form designs can be quickly tested in relation to how weather would affect certain surfaces. This becomes an efficient method of working to ensure that all architectural forms are performative in funneling water, light, or wind. Further studies into materiality and their configuration with other materials will continue to build up a dialog between weather and architecture.

Dialogue (dahy-uh-lawg) 1.noun. The conversation between two characters, 2.noun. In architecture the material relationships between components in their detailing

The dialogue between materials is seen by placing a weather-able surface next to a non-weathering surface and having it react with water and stain the non-weathering surface. This is a means to reveal the intention within weathered occurrences by having a degree of control implanted within the material connection.

38. Earlier tests reveal that material dialogues embody the architect’s potential in controlling weathering

36 | 37

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

Connections to Infrastructure

DESIGN METHODOLOGIES Landscape Connections The site, being an expansive field with little program blends into the site and its infrastructure. This blending melds the new construction into the existing ruin while at the same time providing the necessary circulation between programs. This creates a space that can control larger weather occurrences while still providing people moving across the site with necessary shelter.

As shelter follow paths and other paths branch away from the shelters the language of the architecture and the surface create a smooth transition into the language of the landscape. Although the architecture mirrors the processes of the landscape and vice versa the two react to weather differently in their detailing traditionally. To counteract this the thesis looks to utilize the verticality

of the architecture to accelerate and amplify weathering of the landscape by channeling water to specific points instead of diffusing it across the site.

The models begin to find methods to create a cohesive transition between architecture, infrastructure, and landscape. In thinking about the processes of weathering and how water travels from roof to wall and then to earth the design melds the three into a series of gradients instead of three different constructions.

In Combining this study with the weather experiments it is possible to find material dialogues that blur the seams between architecture and landscape.

McCormick Tribune Campus Center and Noise Tube Chicago illinois | OMA This noise tube acts as method to block noise created from Chicago’s Elevated rail system from the IIT campus in Chicago. The Concrete Tube with a corrugated metal veneer acts as a sound barrier directing the noise up and away from the campus center below. This method for catching the tracks, enclosing them, and letting them go again shows a method for how the architecture and infrastructure can join.

The importance for understanding where the architecture starts and ends becomes an important point for finding out how architecture engages with infrastructural systems.

40. Seamless connections between building and landscape work to integrate site, building, and infrastructure

Temple University | Tyler School of Art | Architecture

WORK PLAN + SCHEDULE Timothy Nawrocki | Forecasting Chance

FALL 2011 ARCH 4671_Thesis Preparation | THESIS PROPOSAL

Pre-Wk1: Mock-up of Weathering (detail scale) Allow Models to undergo weather processes (build some before Christmas, let weather for January) Wk1:__________________________ M: Stewardson Competition W: Stewardson Competition F: Stewardson Competition WK2: __________________________ M: Mock-up of Weathering (detail scale) W: Mock-up of Weathering (detail scale) F: weathering relating to program spatial specifics (model studies) (architectural scale) | Allow models to weather WK3: __________________________ M: Site Diagrams (Park, Funnel, Bridge) (regional scale) W: Site Diagrams (Park, Funnel, Bridge) (regional scale) Th: Review 1. Show different site strategies and model progress WK4: __________________________ M: Mock-up of Weathering (detail scale) W: Site Diagrams (Park, Funnel, Bridge) (regional scale) F: synthesize relationships (architectural scale) WK5: __________________________ M: Movement Diagram Weather (regional scale) W: Movement Diagram Weather (architectural scale) F: Movement Diagram Atmosphere (architectural scale) WK6: __________________________ M: Site Mapping for Weather (Station\ Landscape planning finalized) (regional scale) (arch layout completed, floor plans in working stage) T: Peer Pinups. Weather Mock-ups/ Map/ Diagrams F: Combine Movement Diagrams and Site Map (architectural scale) WK7: __________________________ M: Synthesize site readings into specific spaces W: Combine Movement Diagrams and Site Map (architectural scale) T: Review 2. One Final Weather Model / with Mock-Ups/ Mappings with all supposed details. (regional/ arch/ detail in one drawing)

WK8: __________________________ M: Spring Break W: Weathering Connections begun in Final Model Form (detail scale) F: Final drawings planned and sketched to relate them to models in presentation (regional/ arch/ detail in series) WK9: __________________________ M: Final drawings (regional/ arch/ detail in series designed to complement each detail model) W: Final Detail Mock Ups Completed (detail scale) Th: pin up with advisor to find out of total work needed for final WK10: __________________________ M: Final drawings (regional/ arch/ detail in series designed to complement each detail model) W: Final Detail Mock Ups Completed (detail scale) (allow time to weather until wk14) F: Final drawings (specific arch layouts completed and drawn) WK11: __________________________ M: material studies for final model (gestural models) W: model Final Model begun (Arch Scale with portions of large landscape) F: Final Model (architectural scale) WK12: __________________________ M: Final Model (architectural scale) T: Silent PinUp F: Final Model (architectural scale) WK13: __________________________ M: Final Presentation Work (drawings and composing of weather detail models) W: Final Presentation Work (drawings) F: Practice PinUp (practice pinup and advisor talk about what to talk about at final) WK14: __________________________ M: Stop Weathering processes on models (finalize them for presentation) W: Final Drawing finishing touches F: Sleep‌ WK15:_____________________________ S: Final Review

38 | 39

Part Three: Typology and On-Site Research Vals

Therme Vals Chicago

Seattle

Tribune Campus Center and Noise Tube Art Institute of Chicago Pedestrian Bridge Olympic Sculpture Park Gas Works Park

40 | 41

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

41. Entrance to Baths at Vals

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

42. Planted roof and outdoor bath at Vals

THERME VALS

Vals, Switzerland 3.1.2011-3.4.2011 Peter Zumthor utilizes the weathering as a design medium in the composition of his fountains at the entrance hallway to the Thermal Baths. Zumthor applies less control over the fall of the sediment as it falls from the top of the fountains down the formerly pristine concrete walls and finally settling on the floor. There is still a degree of influence due to the placement of the metal panels where the water picks up the sediment, yet with less control the effects of the accumulation can be teased out naturally.

Methods for catching sediment (weather-able material) and displacing it onto a solid surface (non-weathering surface) as a means to reveal the intention and effects

within weathered occurrences by having a degree of control implanted within the material connection.

The planted roof, designed to allude to an ancient ruin, becomes a key point of literal and ephemeral connection between landscape and architecture. The sensitivity to site and the creation of a place heavily rooted in its context becomes a strategic method to designing in highly charged site conditions. The acts of progression and movement through the site along with the catchment and celebration of water flow directs the way the architect cerographs the spaces. Although the Therme is sited in a small hill town, this method of connection between

natural systems and natural circulation flows of people can be useful in an urban condition.

Although Vals does not have to relate to a network as complex as a city, the structure is very sympathetic to its existing conditions and neighbors. By embedding the baths into the side of the hill, the building not only becomes part of the landscape, it also does not block the views of the neighboring hotels.

43. Sound Barrier at IIT

44. Collection detail at end of bridge

NOISE TUBE

PEDESTRIAN BRIDGE

This noise tube acts as method to block noise created from Chicago’s Elevated rail system from the IIT campus in Chicago. The Concrete Tube with a corrugated metal veneer acts as a sound barrier directing the noise up and away from the campus center below.

A pedestrian bridge linking the new addtion to the Art Institute of Chicago with Millenium Park doubles as a massive rain gutter to funnel rain water to Millenium Park. Although the water simply diverts to a small retention pond, this can become something more experiential in Scranton. The overlaying of pedestrian movement and water movement becomes a method make the experience of weather more ogbvious to the users traversing the site.

IIT Tribune Campus Center and Noise Tube Chicago, Illinois 11.5.2011

The importance for understanding where the architecture starts and ends becomes an important point for finding out how architecture engages with infrastructural systems.

45. Landscape meeting built form

Art Institute of Chicago Pedestrian Bridge Chicago, Illinois 11.4.2011 The logic of containing flows and manipulating them to create zones of retention, filtration, and recreation defines the project. These systems can be overlain upon one another to create a dynamic landscape that changes with the seasons. The proposed architecture, similar to the pedestrian bridge becomes the director for where the filtration and pooling of water should being. The roof structure becomes key for influencing how rain is controlled and concentrated.

42 | 43

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

OLYMPIC SCULPTURE PARK Seattle, Washington 1.3.2012-1.6.2012

The Olympic Sculpture Park, a sculpture garden for the Seattle Art Museum is a unique site describing methods to connect a city back to its waterfront over existing industrial infrastructure. This project connects Seattle’s Contemporary Art Museum to a waterfront property via a sculpture garden. The main issue was that the site purchased was divided into three parcels of land due to a large arterial street and a Rail line passing through the site. To circumnavigate these barriers, the designers created a meandering walk from the museum to the water derived from initial flow studies. Instead of a series of rudimentary bridges, the site utilizes a larger

“constructed landscape” to traverse and expose these infrastructures simultaneously.

The Olympic Sculpture Park seeks to mediate interior and exterior spaces while still highlighting the connections and the site’s industrial past. These constraints allowed for a landscape to be created that both celebrated industry and art while still looking forward to create topographies that blend the site with the waterfront and allow the museum to open its doors to a more public setting. This new park provides us with a forward thinking approach to what the new type of Sculpture will look like.

Upon visiting the site, the connection points from the existing urban fabric of the city create a highly accessible public space. This high degree of accessibility at the periphery of the landscape is key to stitching the city precincts together. The “pocket beach” to activate the shore and the various sculptures within the park provide key moments within the site while the larger network of pathways allows these moments to play out sequentially.

The development of the site is designed to to accommodate expansive views both into the and towards these ocean, these vantage points choreograph the movement from city to waterfront

44 | 45

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

GAS WORKS PARK

Seattle, Washington 1.3.2012-1.5.2012 Situated atop an abandoned Gasification Plant, Richard Haag, Landscape Architect, sought to retain the spirit of the site’s industrial past while incorporating a new park that looked the future of healing highly contaminated sites such as this. Haag refurbished some of the old gas plant into new recreational structures. This method of reuse and the celebration of industry becomes a precursor to such seminal works as Renzo Piano and Richard Rogers’ Pompidou Centre and Peter Latz’s Landschaftspark Duisburg-Nord. The site accommodates these new uses while other portions remain a modern ruin that alludes to the previous use of the site.8

The site utilized a phytoremediation scheme to cleanse the land that had been scarred by the previous plant.

This technique of leaving components of the site alone while reusing others is a productive method of preservation. Some things should be left to continually weather, further cataloging the history of the site.

Upon visiting the site, the park provided several hints to programming a park, staging choreography for play, and what it means to embark upon developing a rather highly charged site. Seeing and experiencing these parks first hand enabled the design to be richly merged with landscape in systemic ways rather than merely formal ways.

A series of seasonal programs for recreation exist at the park. A sundial, a “great mound”, and a dock area become different types of program where seasonal activities can occur in and around the Gas Work Plant.

The great mound doubles as a place to fly kites, capture a view of the Seattle skyline, and provides a cap for the contaminated soil to exist under.

These techniques reveal a strong sensitivity to site and place while not allowing those same things to limit the potential future of modern Seattle. In visiting both Gas Works Park and the Olympic Sculpture park in Seattle it became apparent that these types of projects become a sort of connective tissue that stitches points of the city together.

46 | 47

Part Four: Design Design Process Development Resolution Final Review Reflection Concluding Remarks Endnotes, Bibliography, Image References

48 | 49

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

UNIVERSITY OF SCRANTON

SITE DEVELOPMENT

Alternatively it makes more sense for the tracks to be separated to encourage people transferring train exposure to the elements of the site as they pass between stations. This also deters unwanted future development by creating a larger landscape in between the two. This scheme can also retain street water runoff within these edge conditions. Through development of this path an accordion style walkway develops in order to accommodate the grade change between the two stations, but also to overlap the movement of water and the circulation of people. This creates series of points where user and weather meet, enabled and protected by the landscape and the architecture.

The iterative process of developing the path reflects the logic of connections back to the city, university, and adjacent neighborhoods while allowing for derivations that intersect with weather patterns. After a series of studies an accordion like walkway develops that creates an accessible ramp and a meandering path that highlights both city and weather conditions.

N

TO RAIL YARDS

UNIVERSITY OF SCRANTON

ROARING BROOK

TO NEW YORK N

DOWNTOWN SCRANTON

By keeping the two train tracks in their original location, the new train station stretches across this field as a series of shelters and exposures. The site is a gradation of completely enclosed and completely exposed as a means to heighten the experience of local weather patterns.

TO NEW YORK

DOWNTOWN SCRANTON

In utilizing the existing viaduct, the new terminal station and the new linear park can create connectivity between the university and the downtown. Also, The tracks can be pushed together along the street to concentrate activity against the city network. The implementation of a trail from the university to the north, cutting through the station itself and connecting to an existing park becomes a method to both blur inside and outside while still being efficient

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

TO RAIL YARDS 46. Development of Rail lines across site

ROARING BROOK

47. Development of pedestrian walkway across site

50 | 51

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

BETWEEN ARCHITECTURE AND LANDSCAPE The development of the site consisted of a series of fragmented moments stitched together with larger planning studies and sketches. These well-defined moments became nodes of which to organize the experience of the site in different weather conditions. Ideas of directing water through the use of the terminal shed roofs, topography, and retaining walls became a useful method of organizing the entire site. The addition of a sundial and water level gauge to directly measure the site allowed for these strategies to be visible to the user.

Architectural strategies often made more sense to deploy within the landscape, while the opposite occurred

often in the detailing of the train terminal. Further site strategies developed in an iterative process of collaged imagery to suggest how certain site conditions would be experienced. These composites coupled with the larger site plans and material studies began to describe the architecture and the landscape at multiple scales.

The architecture and the landscape are not stitched together formally, but ecologically by the forces of weather.

Weather patterns become not only a binding agent between the two, but also the catalyst of activation. Activation being how the sundial directly translates the moving sun onto the architecture reinforces this dialogue at a

daily scale. Seasonally the retention pond freezing over to become an ice rink or the native deciduous plantings shedding their leaves reflect time at a seasonal scale.

These juxtapositions between landscape and architecture with weather blur them all together.

48. Development of particular moments on-site

52 | 53

48. Aerial view of site

PEDESTRIAN BRIDGE OVER CEDAR AVE. SLOPED COPPER ROOF 10 O’CLOCK MARKER 9 O’CLOCK MARKER 8 O’CLOCK MARKER

PERFORATED COPPER PANELS IRON CAP ATOP CONCRETE WALL SCRANTON 2

EASTBOUND TRAINS

1

PLATFORM

PLATFORM

LACKAWANNA AVE. 11 O’CLOCK MARKER 12 O’CLOCK MARKER TICKETS AND CIRCULATION DIVERT TO RAIN GARDEN 49. Section at Lackawanna Avenue

LAUREL LINE ELEVATED PARK

DIVERT CITY STORM WATER

54 | 55

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

50. Time elapsed shadow of sundial across site

ARCHITECTURE + WEATHER The station offers the necessary protection while not sealing itself off from the site’s evolving context. The perforated cor-ten steel panels allow a diffused version of the outside weather and temperature conditions into the station. The diameter of the perforations along with the placement of them reflects seasonal comfort. The walls of the station sink into the ground and the perforations get smaller at the southwest side of the station to protect from winter winds while the east/west axis of the site remains fairly open to allow for warmer weather breezes to penetrate the interior of the station and keep it cooler.

The cor-ten steel skin of the station allows the architecture, not just the landscape the ability to evolve in time.

The design of the station is directed by the movement of water from the top to bottom of the site and in time this will reflect in the steel skin. It may take several visits to the site to notice the evolution of the architecture and the landscape along with their eventual blurring together.

The user groups common to the program of the site are ideal for experiencing this. Commuters for New York City will spend every morning at the same time waiting for the train for years. This sets a datum where the this constant exposure to the site will allow people to notice

these nuances. Similar to the commuter the other user group people coming to the site for recreation will see the site seasonally. People returning each spring to run or people who play sports returning for each athletic season creates a different scenario where longer range shifts become noticeable.

51. View from viaduct walking trail

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

52. Build up of icicles at rain scupper in winter

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

53. A place to watch lightning storms in summer

SEASONAL EXPERIENCE Programmatically, the site follows a series of daily, seasonal, and annual looping patterns that occur in nature. These patterns are tracked by the design of the station as a means to highlight what is occurring in real time. For the daily cycle a sundial is utilized to track time across the site. The shadows fall directly on the path between stations. In waiting an hour for the next train the experience of seeing the shadows shift becomes a clue as to how the daily cycle operates.

Seasonally the site contains a series of weather conditions that were initially mapped. Conditions of pooling, filtering, cracking, staining, and eroding were tracked to

discover what weather conditions were most prominent in Scranton. These findings were then manipulated over the path to provide a series of conditions where the subtleties of weather can be amplified to call attention to the site’s ever evolving condition.

Conditions such as the formation of icicles in the way the train shed’s eaves are detailed, or in the way the sundial doubles as a space that allows for lightning storms to be viewed. In winter the pooling of the retention pond creates an ice rink. These changes across the site in both landscape and architecture activate the site’s local conditions.

Annually the site accommodates the processes of staining and overgrowth. The detailing of the floor tiles in the station platforms allows the seasonal freezing and thawing to crack the tiles, thus allowing the pedestrian trail and planters along the periphery to slowly invade the transitional between spaces of inside and outside

54. Growth entering periphery of station in spring

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

54. Material section across site

LANDSCAPE PROCESSES The Conditions originally found on site were manipulated to retain more water on site and process it on its way to the river. The path of the water, from the top of the train shed to Roaring Brook overlaps several times with the accordion path of the train users. This allows for a dynamic intersection between infrastructure weather and experience.

Pooling: Rain is caught and funneled by the train shed to one point, as a means to amplify the sound of rain, this water then intersects with the path in the form of a grated floor allowing the user to pass over the water.

The water then reaches the collecting pool where it can wait to be absorbed into the site. This collection pond becomes the ice rink in winter, and water level markers are etched into the sundial that record mud marks of more severe times of pooling.

Filter: The site collects and redistributes rain water runoff from the city. This excess water allows for the retention pool to fluctuate in real time, but also processes the runoff of the city that currently pollutes roaring brook.

Then in looking at filtering through a different lens the pourus skin of the stations allow for a diffused version of the exterior weather to come through.

soot from the still operational steam locomotives that traverse the site from the national rail park.

Growth: The detailing of the concrete floors allows for channels of growth to consume the hardscape of the site which in term begins to blend the inside and outside along with further blending architecture and landscape, allowing for more permeable spaces.

The combination of all of these conditions allows for the user moving through the site to experience how natural weathering processes can develop an architecture that both reacts to the latent history of a post-industrial site and the future needs of the city.

Staining: The textured surfaces of the concrete columns become polished by the oils of human hands leaning against them, while also grabbing particulate matter and

In considering weather as the catalyst of change, architecture, although stationary, can be dynamic rather than static and evolve rather than simply exist. Thus becoming more similar to the landscape.

Erosion: The accordion style walkway allows for desire paths to open up during more ideal weather conditions, this provides different experiences of traversing the city in different weather conditions.

A. POOL ABSORB RAIN

POOL RUN OFF PUDDLE

ARCHITECTURE

GROW STAIN

COLLECT ERODE

55. Site map and Concrete detail directing water and sediment movement

60 | 61

B. FILTER ABSORB POOL PUDDLE

RAIN

RUN OFF ARCHITECTURE

GROW COLLECT ERODE

56. Site map and Concrete detail showing how site filters water

C. GROWTH ABSORB POOL PUDDLE RUN OFF

RAIN

x 5 yrs ARCHITECTURE

57. Site map and Concrete detail demonstrating growth patterns

GROW STAIN COLLECT

62 | 63

D. STAIN LEACH

DROUGHT RAIN

POOL

x 25 yrs ARCHITECTURE

PUDDLE RUN OFF

STAIN COLLECT ERODE

59. Site map and Concrete detail showing texture of columns and moments of extreme staining over time

E. ERODE HEAT WAVE DROUGHT

CRACK

x 3 mos ARCHITECTURE

DEHYDRATE

ERODE SHADE

FOOT TRAFFIC

60. Site map and Concrete detail highlighting key moments of erosion

64 | 65

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

FINAL REVIEW The comments from the final jury reflect the ideas from the inception of the project along with some other points.

The spirit of place, the character of postindustrial cities, and the relationship of landscape and architecture were all critical talking points from the jury and to have these points be the main discussion was ideal and very productive in thinking about where to go next.

The relationship of architecture and landscape to the city was convincing aside from the design of the sundial. The verticality along with its loose association to landscape (shadows upon site itself) did not seem to be enough to justify the iconography of the object. Through the discussion of the sundial it began to make more sense

that the shadows of the landscape and architecture could have become a sundial in themselves with markers being placed radically throughout the site due to the shape of these elements. This seems to be a more convincing link between site, building, and the cosmos.

After clarifying the notion that the architecture will first direct weather to the landscape where it will be processed, the conversation shifted to talking about how this can be developed further. Where instead of simply staging the site, it can be scripted where the choreography and procession could be more linearly played out as a series of events in themselves. This discussion of animating the space with weather is very intriguing and I

think given the time the playing out of these things would have visualized the experience of the site more than it is in its current state.

In the end, the project obviously raises more questions and trajectories than it answers or takes. At the same time the project having an incredibly charged site it not necessarily a charged debate. At the same time having everyone agree that, yes, this is what architecture should be and this is how it should relate to the city is encouraging. If thesis is essentially ones view on what architecture should be then I am happy that I am on the right track.

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Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

61. Lower station at Iron Furnaces

CONCLUDING REMARKS In the end this thesis seeks to create spaces that seek to answer the question of designing for uncertainty or chance occurrences. The belief that iconsidering weather as the catalyst of change, means that architecture can be dynamic rather than static and evolving rather than existing.

In harnessing the immense embodied energy within weather events the architecture becomes a construction that relates to its environment instead of resisting it. The understanding that change and aging occurs in all things is an important step in creating spaces that age and weather with intentional refinement over time. In utilizing weathering as a design medium architecture can more closely communicate to its site and its inhabitants by being in tune with the actions of place.

62. Fabric punch cards at Scranton Lace Factory

In thinking about how architecture can be more responsive in using the same static building materials, weather becomes a variable character that derives architectural from. With weathering and site conditions being remediated by the architecture, spaces become more adaptive to larger weather events. In the managing of water runoff and snow drifts the architecture becomes a productively contributing addition to the site while further joining architecture and landscape into a cohesive network for the benefit of the city. At the same time less hermetic spaces heighten experience for the user. This creates spaces that although stationary change with respect to the surrounding environment.

This thesis creates architecture that embodies the spirit of the site’s industrial past while simultaneously responding to the future ecological needs of the city it inhabits. While being a responsible and sensitive addition

to the site the architecture also embraces weathering as a way of cultivating what is truly moving about architecture, experience. A heightened awareness of space, of the real, of tactility and the creation of these things is what truly captivates the architect who designs them.

To poetically, ecologically, and structurally articulate these notions of architecture, landscape, and weather into a built work would undeniably take a lifetime to master. These preliminary explorations into this have yielded some very surprising and fruitful results far beyond the expectations and scope of this thesis.

In time further exploration and further experience may alter the goals, but the fascination and preoccupation with these ideas will only grow.

63. Station integrating into landscape

64. Abandoned power loom at Scranton Lace Factory

ENDNOTES 1. Leatherbarrow, David and Moshen Mostafavi. On Weathering: The Life of Buildings in Time (MIT Press.

Cambridge, MA. 2001) 98 2. Zumthor, Peter. Atmospheres (Birkhauser. Boston 2006), 13 3. Berger, Alan. Drosscape. (Princeton Architectural Press. New York, 2006) 236 4. Berger, Alan. Drosscape. The Landscape Urbanism Reader. New York. Princeton Architectural Press. 2006.

Print.

5. Kashuba Cheryl A. Images of America: Scranton.

(Arcadia Publishing. Charlestown SC, 2005) 38 6. Data received from Steamtown National Historic Site 7. Berger, Drosscape, 237.

8. Weiss, Marion. Michael Manfredi, Surface/ Subsurface. (Princeton Architectural Press. New York, 2008) 20

9. Haag, Richard. Bloedel Reserve and Gas Works Park. (Harvard University Graduate School of Design Cambridge, Ma. 1998) 23 10. Haag, Richard. Bloedel Reserve and Gas Works Park. (Harvard University Graduate School of Design Cambridge, Ma. 1998) 35 11. Leatherbarrow, David and Moshen Mostafavi. On Weathering: The Life of Buildings in Time (MIT Press.

Cambridge, MA. 2001) 98 Berger, Alan. Drosscape. 234 12. Berger, Alan. Drosscape. The Landscape Urbanism Reader. New York. Princeton Architectural Press. 2006.

Print. 236 13. Berger, Alan. Drosscape.234 14. Berger, Alan. Drosscape.236 15. Perry, Daniel K. “A Fine Substantial Piece of Masonry” Scranton’s Historic Furnaces. (Pennsylvania:

Pennsylvania Historical and Museum Commission).

1994, 20 16. Perry, Daniel K. “A Fine Substantial Piece of Masonry” Scranton’s Historic Furnaces, 28 17. Lackawanna Heritage Valley Authority. Website information overview. http://www.lhva.org/heritage-trail. html . 29 Apr 2012.

18. Lackawanna Cut-Off Passenger Rail service Restoration Project, 50 19. Berger, Alan. Drosscape. The Landscape Urbanism Reader. New York. Princeton Architectural Press.

2006. Print. 236 20. Lackawanna Cut-Off Passenger Rail service Restoration Project, 50 21. Lackawanna Cut-Off Passenger Rail service Restoration Project, 52 68 | 69

Temple University | Tyler School of Art | Architecture

Timothy Nawrocki | Forecasting Chance

Fall 2011- Spring 2012 ARCH 4699 ARCH 4791_Architectural Thesis | THESIS DOCUMENT

IMAGE REFERENCES 1. Scranton Rail Yards. . By: Joe Fontana (Porcelain Monkey Studios, Scranton) 2006 http://www.flickr.com/photos/ckrofone/5274675969/ 2. Vals Fountain. Own Photograph -Rain. http://www.flickr.com/photos/21644167@ N04/2104372715/ -Puddle http://www.flickr.com/photos/216f67167@ N04/2104376902715/ -Pothole. http://www.google.com/imgres?imgurl=http:// ribike.org -From Leatherbarrow, David and Moshen Mostafavi. On Weathering: The Life of Buildings in Time (MIT Press.

Cambridge, MA. 2001) -From Leatherbarrow, David and Moshen Mostafavi. On Weathering: The Life of Buildings in Time (MIT Press.

Cambridge, MA. 2001) -The Weather Project. Olafur Eliasson. http://www.tate. org.uk/modern/exhibitions/eliasson/default.htm 11. Source: Lackawanna Historical Society, Scranton Iron Furnaces, Bessemer process.

-Seattle Sculpture Park. From “Surface/Subsurface” Weiss/Manfredi Architects 2008 12. Steam Locomotive. From “History of Locomotives in the Lackawanna Valley” 13. Lackawanna Cut-Off Passenger Rail service Restoration Project, 52 14. Viaduct Crossing Cedar Ave. Own Photograph, 9.15. Scranton Skyline. http://ronsaari.com/stockImages/ pennsylvania/ScrantonSkylineAtDuskPanoramic.jpg 17-19. Scranton Rail Yards. . By: Joe Fontana (Porcelain Monkey Studios, Scranton) 2006 21-24. From: Perry, Daniel K. “A Fine Substantial Piece of Masonry” Scranton’s Historic Furnaces.

25 http://www.shorpy.com/files/images/1900-ca_Pennsylvania_Scranton_DLWRR_yards_panorama.preview. jpg 28. .Scranton Rail Map. From: Mining Conditions under the city of Scranton Pennsylvania. Temple University Law Library. Print 1912 31 Aerial map. Bing maps.

33. Train Shed in winter. ttp://www.flickr.com/photos/326501467@A03/3264372125/ 34. Sundial Bridge. Santiago Calatrava. Google Maps 35. Ice Skaters. ttp://www.flickr.com/photos/416501467@A05/2242672239/ 36. Arts on Fire at the Iron Furnaces in Scranton http:// jillybeanstalk.blogspot.com/2011/10/scranton-ironfurnaces-celtic-samhain.html -Gas Works Park. http://www.google.com/imgres/gasworkspark//?200915 -Gas Works Park Winter. http://www.seattlephotographs. com/photos/gasworks_park/Gasworks_Park_photo_gallery.htm -From Andy Goldsworthy Time 62. http://aransomephoto.com/blog/wp-content/uploads/2011/10/Scranton-Lace-Factory_-3.jpg 64. http://aransomephoto.com/blog/wp-content/uploads/2011/10/Scranton-Lace-Factory_-12.jpg

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