The Walls We Put Up - Interior Architecture MFA Thesis - Richard Rozewski

THE WALLS WE PUT UP

LONELINESS AND BELONGING IN URBAN CO-LIVING

RICHARD ROZEWSKI, 2019

This thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University.

Richard Rozewski Jr. B.A. Art History, Environmental Studies, John Carroll University, 2011 M.A. Nonprofit Management, John Carroll University, 2013 M.F.A. Interior Environments, Virginia Commonwealth University, 2019 Virginia Commonwealth University, Richmond, VA, May 2019

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What should young people do with their lives today?

Many things, obviously. But the most daring thing is to create stable communities in which the terrible disease of loneliness can be cured.

- Kurt Vonnegut

ABSTRACT

ABSTRACT Concurrent issues of social isolation and loneliness have long been recognized as problems that affect seniors but it is also being proven to affect young people as well, specifically with the rise of new technologies and a perception of connectedness. Co-living provides one alternative design solution to traditional housing models which can unlock a range of social benefits.

MOTIVATION Loneliness is an unfortunate reality of modern life and it is something that most people experience at least once in their life (Cacioppo & Patrick, 2008). A study carried out by Berguno, Leroux McAinsh, Shaikh (2004), showed that 80% of young people and over 40% of adults over the age of 65 experienced loneliness in the course of life.

Good housing plays an important role in building community and strengthening social interaction and bonding. Co-living is a residential structure that accommodates three or more biologically unrelated people (Bothell, 2015; Tummers, 2015). It is commonly contained within a single dwelling, sub-divided into a combination of public and private spaces (Scott-Hanson & Scott-Hanson, 2005). Co-housing, community living, or co-living in particular may be one possible solution for the endemic loneliness and social isolation challenges that we face.

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PROBLEM In many American cities, traditional housing forms are not meeting those needs and as our population increases, it is crucial to find replicable and sustainable methods of creating an inclusive urban fabric that meets the social and physical needs of all inhabitants (Darling, 2017). It is increasingly clear that there is a lack of understanding of the realities of co-living spaces and that this limits the application of the co-living model. While co-housing has traditionally been established in rural or suburban contexts, there are benefits to urban co-living (Kim, 2017). To experience the full ecological, economical and most importantly social benefits of urban co-living, research must be performed to understand how residents share, experience, and inhabit space.

METHODS This project will respond by applying design thinking, a human centered design approach, and collaborative exploration methods to produce case studies for an urban co-living development in the US. Workshops, observations, literature reviews, and interviews will build a foundation of contemporary knowledge. Key themes identified in the literature on social isolation and loneliness will be used to inform a discussion on the potential for housing to help alleviate these problems. There will also be a rigorous case study analysis of recent precedents emerging in the field of collective housing.

PRELIMINARY RESULTS The design of a flexible living space that explores isolation and connection at the scale of the individual and the collective in an existing building is an overarching goal of the design. It offers future users and designers the opportunity to learn and experiment towards a better understanding of how residents use space as well as examining loneliness and isolation as it relates to a design solution.

CONCLUSION The success of the project, and its theoretical outcome, will show the role design can play in contemporary research, positive change, and sustainable development. The result will have implications for co-living providers, researchers, and designers supporting sustainable lifestyle alternatives.

PART 1 - RESEARCH Loneliness and Belonging 17 Beyond Loneliness - Generation Y 20 Shared Living, A History 23 What is Co-living?

26 Case Studies 28

PART 2 - SITE Site Analysis 50 District History 60 Building History 64 Existing Conditions 69

PART 3 - CONCEPTUAL REFLECTION A Pattern Language (Alexander) 88 On Weaving (Albers) 90 Architectural Weaving (Holl) 92

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15 Days 94 Intertwining Stair & Ramp 96

PART 4 - SCHEMATIC DESIGN Programming Studies 102 Public & Private Studies 114

PART 5 - DESIGN DEVELOPMENT Key Area Development 136 Axonometric Overview 138

PART 6 - DESIGN PRESENTATION Programming 162 Design Realization 165

APPENDIX Dedication 189 Selected References & Images 190

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ETHOS

1.1 REFLECTION (Q+A): Q: Reflect on why you are studying design….

A: I am interested in the intersections of design, environmental psychology, social impact, and historical context. I have taken steps to educate myself on the history of art and architecture while trying to understand the broader context of social justice and activism that impact the human experience in the built environment and beyond. As a formative experience, I remember visiting construction sites with my grandfather and father who were masons in Cleveland, Ohio. Ever since, I have been fascinated by the construction of space, and how we as individuals relate to our environment and each other.

Q: What do you believe is important in design? Why? A: It’s not purely aesthetic, nor wholly analytical and functional.

When considering the design of projects, you must think about how everything fits together in harmony - some would call this a holistic approach, but it’s really the only practical way to approach design problems, as I see it.

Q: What ethics should a designer have? Why? A: Design has a huge influence on how people behave and live their lives. As designers, we are trained to solve problems and make people’s lives better. Rarely do we consider what ‘better’ actually is. It is important to understand that what we design is not neutral. In fact design is an inherently ethical activity. That’s why designers should know about ethics and learn to incorporate it in your design work. And for that, you’re in the right place.

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Q: What should the ends of design be? Why? A: From a solely practical perspective, over the last two decades, the construction industry has been subject to dramatic changes, paving the way for a future in which traditional spatial concepts are longer valid. Now, compost is being used for building materials, crowdfunding and collaborative design have become increasingly popular approaches to architectural projects, there is a focus on the importance of green infrastructure and energy efficiency, and the line between private and public space is becoming increasingly blurred.

Q: What compels you in your pursuits of design? Why? A: Through an interdisciplinary approach, in my creative research I attempt to integrate design thinking, Queer theory, and methods of visual communication to explore themes of scale, adaptive reuse, material speculation, human centered design, and the philosophies of aesthetics.

1.2 IDEALS: 01. Self-expression 02. Structural, functional and material honesty 03. Nature and organic design value 04. Human Centered Participatory / 05. Democratic design 06. Re-use and modification 07. Vernacular / Regional Respect 08. Minimalism 09. Modularity 10. Pushing aesthetic pedagogy 1.2 DESIGNERS AND THEORISTS: Norman Potter Marika Shioiri Clark We Should Do it All Bjarke Ingels Robert Venturi Anthony Vidler Aaron Betsky Beatriz Colomina Eva F. i Gilabert Jimenez Lai Teddy Cruz Jeanne Gang Rem Koolhaas Louis Kahn Alvar Aalto Oscar Niemeyer Norman Foster Gut Gut

Fig. 14.1

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Fig. 14.2

Fig. 14.3

PART 1 - RESEARCH

It’s a challenge to develop and design the physical spaces we share.

Although there are a variety of projects that demonstrate how we can share spaces better, there is a real need to build capacity and knowledge among professionals in the world of architecture and construction. By sharing the successful examples and showing what is possible by employing visionary thinking and design, it becomes more within reach for communities, architects, developers and planners to bring more projects to life.

At the heart of human-centred and sustainable shared living is design. Although a community is, in a sense, intangible – and can be facilitated through, for example, activities and online platforms – the physical, practical world of spaces and objects is essential. At the end of the day, the practical layout of a home defines how we live. Are we capable of sharing a meal? Are we naturally inclined to meet people or do we have to make an effort? Can a spatial design balance the need for privacy and the desire to socialize?

The built environment can either support or diminish our everyday sense of well-being. Making well-designed spaces wcan create the framework for a safe, affordable, vibrant, active and healthy community, thus reinforcing the importance of design. How can we bring neighborhoods and buildings into being that are more organic and less machine-like and to what end? In the cases of Songpa Housing in Seoul and R50 in Berlin, people are engaged to finalize parts of the design and construction themselves. This can both reduce construction costs and offer the chance to creatively customize the design for sharing (Szylvian, 2016).

However, the amount of shared-living projects being realized is still very limited in comparison with “standard” housing models.

The current market situation does not produce innovation at scale in the built environment. There is a need to expand the number of architecture and construction professionals who have the knowledge and experience to address this need (Szylvian, 2016).

The result of the last decades’ predominant mode of planning and market-driven developments are generic buildings and urban areas, fit for the (existing) mass market of “standard families” and commercial activities. Many of these have become rather sterile environments, where people are not thriving and communities fail to form.

Not only do we see growing concerns about loneliness and mental health, we are also witnessing an increasing lack of local connectivity and community. Though architecture alone cannot remedy all of society’s pathologies, the design of our everyday surroundings can have a great impact.

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A well-designed, inspiring space is proven to encourage behaviors, where residents are more considerate and committed to their surroundings and the people they share it with. Community living, or co-living in particular may be one possible solution for the endemic loneliness and social isolation challenges that we face.

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PART 1 - LONELINESS AND BELONGING

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The story about loneliness is one we think we know. It revolves around a caricature - older people, often widowed in retirement, often living in houses that were once family homes, and in communities that were once close-knitted where neighborliness is in steady decline. It’s a powerful story – partly because it’s one we fear for ourselves. But it’s not the whole story.

Nationally, it is young people who are more likely to say they are lonely than older people. In many parts of the country the housing market leaves most young adults with limited choices in making a home. As shared homes are losing their living rooms, and prices send millennials to the cheaper and sleepier suburbs, the social life of the city is not what it once was (Ruiu, 2016).

The popular image of the millennial generation is that they are incessantly sociable - Instagramming pictures of their avocado-fueled brunches to their friends. But the visibility of sociability can create a taboo around loneliness. Ipsos Mori data shows 27% of millennials in NYC say they would be embarrassed to admit to feeling lonely – compared to 12% of over 55s, while 68% of millennials in the Washington, D.C.) report they often feel isolated, versus 49% of over 55s (2018).

There have been recently expressed concerns that societies are getting lonelier and that the emphasis placed on individualism within contemporary culture increases people’s sense of insecurity (Hanlon, Carlisle, Hannah, & Lyon, 2012). This is also related to a more general observation that increased wealth has not brought greater happiness to Western societies, but rather an artificial maintenance of happiness has been achieved through prescription drugs (Layard, 2005; Dworkin, 2007). Interest in loneliness also stems from its health consequences, which have been compared to the effects of smoking and aging (Hawkley & Cacioppo, 2007). Loneliness can result in unhealthy behaviors, such as overeating and reliance on alcohol, which cause stress and sleep deprivation and affect the immune and cardiovascular system (Cacioppo & Patrick, 2008; Capiocco et al., 2002).

Two recent studies have reported high, and increasing, levels of loneliness in industrialized countries. A survey by the U.K. Mental Health Foundation (MHF) conducted in 2010 reported that very few U.K. adults were unaffected by loneliness and that the number of people reporting loneliness “often” or “sometimes” was higher among those in their 30s and 40s than among those in their 50s or older. Moreover, nearly half the sample (48%) considered that “society is becoming lonelier in general” (Griffin, 2010). Similarly, Australian research, using a national survey over a 10-year period, reported that the num-

ber of people moving in and out of loneliness had increased over the first decade of the 21st century (Baker, 2012), and that the incidence of episodes of loneliness over time, affecting one-in-three people, was far higher than the prevalence of loneliness at any point in time.

Although the research and policy interest in loneliness among older people continues (Donaldson & Watson, 1996; Cattan, White, Bond, & Learmouth, 2005; Victor & Bowling, 2012; Beaumont, 2013), and there is a growing interest in loneliness among other groups, such as students (Ebesutani et al., 2012; Salami & Bozorgpour, 2012; Binder, Roberts, & Sutcliffe, 2012; Pamukcu & Meydan, 2010) and internet users (Amichai-Hamburger & Ben-Artzi, 2003; Stepanikova, Nie, & Xiaobin, 2010), there has been little research into loneliness among deprived communities, despite evidence that mental health and well-being, variously measured, are worse in poorer populations (McManus, 2011). This may be an important gap given that many of the health consequences of loneliness are also of major concern in deprived areas in particular (Audit Scotland, 2012). Thus, if contextual factors are associated with loneliness among deprived populations, this may be an important addition to our understanding of the constellation of factors that contribute to poor health and unhealthy behaviors in poorer communities.

In their study concerning the question of how the quality of people’s neighborhood affect their feelings of loneliness, Prieto-Flores, Fernandez-Mayoralas, Forjaz, Rojo-Perez, and Martinez-Martin (2011) said that “the influence of residential satisfaction on the experience of loneliness has received little attention.” This is surprising given the extensive research on the relationships between place and health.

Macintyre and others have shown how the characteristics of places can affect both health and health behaviors in several ways: (a) by providing (or not) “opportunity structures” through material infrastructure and resources (Macintyre, Ellaway & Cummins, 2002); (b) through psychosocial characteristics such as area reputations; and (c) through collective social and cultural practices (Macintyre 1997).

Kawachi and Berkman (2003) explain that there are complex interdependencies between compositional and contextual explanations for neighborhood effects on health because the characteristics of individuals and places are partly, and simultaneously, a function of each other; it is, therefore, hard to maintain “that poor people freely choose to behave poorly” ((DePaulo, B. M., 2015)). The same might be said about loneliness, especially if one adopts what Cummins, Curtis, DiezRoux, and Macintyre (2007) call a “relational perspective” on place and health, not only to examine physical health and health behaviors as they do, but also to consider psychological health.

Examining the evidence around mental health and well-being is useful both because we know that loneliness can contribute to mental health problems such as depression (Olds & Schwartz, 2008) and anxiety

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(Cacioppo & Patrick, 2008), and because many of the commonly used measures of mental health include questions about social functioning and connections to other people. Thus, the evidence about mental health and well-being may indicate what aspects of the residential environment may also be worth investigating in relation to loneliness.

PART 1 - BEYOND LONELINESS GENERATION Y Living together is about more than inhabiting the same physical space. According to projections of climate change, humans will need everything in our everyday life to be more efficient, and to use our resources more sensitively. In the wake of the global real estate and financial crisis which led to stalling economies and soaring unemployment, a younger generation called, Generation Y (20 to 37 years old) or Millennials, started to look for alternative ways of life based on sharing goods and services. In a generation of 78.6 million, any preference of even a small percentage constitutes a lot of consumers. Generation Y represents the largest source of new demand for rental housing and first-time home purchases.

Our entrenched housing challenges are a big part of the story. It is the generation currently coming to live on their own for the first time who need new answers to old questions. On a typical college graduate salary the affordable options often boil down to a kitchen-in-thebedroom studio, or having your living companions. No wonder 40% of millennials still live at home (Kim, 2017).

We are sharing more goods and services than ever before and many of us use the sharing economy in our day-to- day lives – from ordering a taxi to finding a room for the night. Subscription models like Spotify, Netflix and SnappCar have also had a massive impact on traditional models of ownership. Instead of owning things, we are now accustomed to subscribing to services that provide us with music, movies and transportation.

Urban life as such is about sharing: we share our streets, restaurants, parks, waste handling and energy systems. But modernist planning, based on industrial production, urban development, infrastructural changes and car transport, has significantly challenged more communal modes of organization. Beyond the practical and economic reasons, the rise of the sharing economy reflects our craving for human connection.

People are brought together through these services, turning digital connections into real meetings and new ways of living together.

Although the first phase of the sharing economy might have started to fizzle out, emerging technologies might soon resurrect it in a more radical form. As you can now easily turn your car into a taxi or your house into a hotel, in the future you might be able to turn any type of asset into a productive piece of capital. Considering the sharing economy’s predicted growth, and the technological advances influencing behavior among young people (where many now value experiences over ownership), the sharing economy could lead to a drastically different housing market.

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New Harmony Indiana, USA

The Asonia New York, USA

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Kibbutz Degania Emek Yaharden, IL

1884 Co-Operative Houskeeping Boston, USA

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1889 Hull House Chicago, USA

1884 Toynbee Hall London, UK

1900 Letchworth London, UK

PART 1 - SHARED LIVING A HISTORY

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Shared living is by no means a new phenomenon; it has been practiced across different cultures throughout history. The single-family one-unit home is a fairly recent phenomenon. Throughout history humans have lived collectively for many reasons and purposes. The American boarding houses of the 19th and 20th centuries were a transitory step between family life and independence. In Japan, the sharing of sanitary facilities has been practiced since the beginning of the 17th century when small-scale, densely populated, mixeduse districts were the center of urban life. Medieval people did not have designated rooms for sleeping, just a single living space for all.

Of course, they put up with a lack of privacy because of a lack of alternatives and a need to preserve vital resources. We saw the reemergence of collective and communal living in the 1960s and 1970s as a way to upend traditional family roles and break with convention (DePaulo, B. M., 2015).

Tens of thousands of years ago, all living was communal, but through the ages, people have been looking for ways to share houses and communities, responding to the societal challenges and needs of the time. It is only relatively recently that we have moved away from communal living. In the last 200 years we have seen new ways of co-housing emerge, from the 19th-century boarding houses to the Kibbutz movement and the more recent co-housing movement of the 1960s. Today, a new co-living movement is developing, with examples of urban cohabitation that are partly driven by rising housing costs in cities, but are also thought to be based around the notion that more sociable living will create better, happier communities (DePaulo, B. M., 2015).

With ordinary people struggling to find affordable accommodation, shared living and co-living spaces have grown in popularity, particularly in cities such as London and New York, where the housing crisis is especially acute. Shared living today comes in many shapes and sizes, from huge collaborative co-housing projects to small-scale community initiatives. The most recent co-living trend started in the US, where startups like WeLive and Common tapped into a market of under-35s who wanted the sociability and convenience of sharing property, but lacked the means to find good-quality accommodation.

Many recent projects are associated with businesses such as cafes, shops, shared cars or co-working spaces. The concept has since spread to many other countries (Friedman, 2017).

This way of living together is changing the way we approach housing.

It can take many forms, from private homes that share services and facilities to a complex of a few hundred, like The Collective Old Oak in London, which is now the world’s largest co-living facility. Shared living is not only practiced in Europe and the US, but also in Asia. In Guangzhou, China, an old Colgate factory has been transformed into an open, airy and well-lit co-living space operated by YouPlus.

There are two notable trends within shared living. On the one hand, there are standardized commercial projects like WeLive, Common and The Collective, which target young creatives and are generally fairly expensive. They tend to offer an “all inclusive” model that sees residents more as passive receivers of services – closer to the idea of serviced apartments, just with shared amenities. This model can be great for some, but it seems limited to a certain demographic and does not offer any real co-creation, ownership or diversity, in terms of its business model, design or management (Kim, 2017).

On the other hand, there are the more community- organized, bottom-up shared-living concepts, notably found in Northern Europe.

These come in many forms and sizes, but are most often initiated by residents themselves. However, the process of bringing a shared-living concept to life is still incredibly complex and hard to realize. Today, most community-initiated shared-living projects fail to materialize because the process can be extremely long and include difficulties such as securing land and financing (Kries, 2017).

While new models of living are seeing a huge interest, shared living is still insignificant compared to standard single-unit housing concepts.

Although we see many interesting experiments, ideas and concepts, bottom-up initiatives have difficulty when it comes to replicating or scaling them up. My research suggests that new models of financing, organization and design could potentially drive sharing forward.

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Amalgamated Houses Bronx, USA

Nakagin Capsule Towe Tokyo, Japan

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Wohlgroth Zurich, Switzerland

Edificio Copan SĂŁo Paulo, Brazil

1930 Kollektivhuset Stockholm, Sweden

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Unite D’ Habitation Nice, France

Wohnpark Alt Vienna, Austria

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Freetown Christiania Copenhagen, Denmark

PART 1 - WHAT IS CO-LIVING? Co-living is a residential structure that accommodates three or more biologically unrelated people (Bothell, 2015; Tummers, 2015). It is commonly contained within a single dwelling, sub-divided into a combination of public and private spaces (Scott-Hanson & Scott-Hanson, 2005). Its practice is built around shared values and objectives, and justifies compromises on some personal freedoms, to accommodate the needs of the group and the rights of others. The “co” has been proposed to mean ‘Collaborative’, ‘Communal’ and ‘Collective’, and thus includes a wide variety of practices (Tummers, 2012; Vestbro, 2010).

Co-living can be traced back to the origins of society as a pragmatic response to a need for safety, security, and social opportunity. As a housing typology, it has been able to respond, over centuries, to cultural and community development, changing economic climates, and increasing global mobility. Despite this, with increasing value placed on individual space, property, and ownership, co-living vastly decreased in popularity.

For a brief time in the second half of the 20th century, co-living reemerged in Denmark and progressed into other western, developed countries, as a way of challenging social norms and actively living out a political agenda (Davis & Warring, 2016). These spaces were created as utopias, built upon the egalitarian principles of sharing, equality, and participation.

These utopian communities referenced the ancient co-living model but with a unique focus on socio-political needs and ecological sustainability. In Sweden, for example, the feminist movement in the 1960s introduced co-living as a way to balance gender roles (Horell & Vestbro, 2011). This period of exploration in housing towards sustainable development is the last successful application of the co-living model (Krokfors, 2012).

Dolores Hayden, in 1979, explored seven utopian communities to observe their use of space and document the built environment. Her findings identified the role of architecture not only as a means to organize physical space, but as way of representing a community attitude and collective identity (Hayden, 1979). At a similar time, Kanter identified physical design as an influential factor in the success and failure of the co-living model in practice (Kanter, 1972).

More recently, Fromm explored the architectural features and planning process of contemporary co-living developments in the USA. His findings showed the value of what he called “intermediate space” in creating active communities (Fromm, 2000). His work, like Kanter’s, found that design plays a vital role in the success, or failure, of a co-living space, and identified a need for further work to understand and map out the realities of resident experience and needs (Fromm, 2000).

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PART 1 - CASE STUDIES

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Carmel Place

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Songpa Micro Housing

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Moriyama House

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r50 Baugruppe

Case Study 1 - CARMEL PLACE

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LOCATION - NEW YORK, NY DENSITY - URBAN YEAR - 2013 DESIGNER - nARCHITECTS UNITS - 55 RESIDENTS - 55 TOTAL UNIT AREA - 35,000 sq ft

nARCHITECTS’ design goals for the unit interiors was to achieve a sense of spaciousness, comfort and efficiency, even while shrinking their footprint. To achieve this goal, the architect-developer team increased the size of everything except the floor area: 9’-8” ceilings result in a volume that is close to or exceeds that of a regulation 400sf apartment, which, coupled with the abundant daylight made possible by 8’ tall sliding windows and Juliet balconies.

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fig 33.1

Each studio residence has been pre-fabricated in the Brooklyn Navy Yard, and assembled on site. The efficiently designed studios include over nine foot ceiling heights, floor-to-ceiling windows, Juliette balconies, and ample storage. Tasteful finishes are complimented by Italian cabinetry, stainless steel appliances, and Hansgrohe fixtures.

fig 33.2

Extra storage space is located in the added height above the bathrooms. nARCHITECTS also worked with Resource Furniture to source flexible built-in furnishings that integrate storage, couch and bed into the layout of almost half of the units. The building’s five basic micro-unit types vary in size and configuration, thereby broadening the spectrum of choice for households.

1ST LEVEL - GROUND

In addition to being the first micro-unit apartment building in New York City, Carmel Place is – at the time of writing – the tallest modular building in Manhattan, and one of the first multi-unit Manhattan buildings using modular construction. Construction of Carmel Place consisted of fabrication, transportation and stacking of 65 individual self-supporting steel framed modules; 55 of which serve as residential micro-units, while the remaining 10 serve as the building’s core.

The modules were pre-fabricated locally in the Brooklyn Navy Yard at the Capsys factory, while the foundation and ground floor were built on site. The completed modules were then transported over 32

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8TH LEVEL

the Manhattan Bridge and stacked on site ready for installation of appliances and interior finishes. Dividing the construction process reduced on-site construction noise and neighborhood disruption, while the controlled environment of the factory allowed the team to control quality and maintain critical interior dimensions. The project completed construction Spring 2016.

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Case Study 2 - Songpa Micro Housing

fig 36.1

LOCATION - SEOUL, SOUTH KOREA DENSITY - URBAN YEAR - 2014 DESIGNER - JINHEE PARK / SSD UNITS - 8 RESIDENTS - 11 TOTAL UNIT AREA - 5543 SQ FT

Songpa Micro-Housing provides a new typology that extends the limits of the housing unit to also include semi-public circulation, balconies, and the thickness of walls. Like the ambiguous gel around a tapioca pearl, this ‘Tapioca Space’ becomes a soft intersection between public/private and interior/exterior, creating social fabrics between neighbors.

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fig 37.1

Fourteen ‘unit blocks’ allow residents to either claim a single space, or in the case where a couple or friends desire to do so, recombine the blocks for larger configurations. This flexibility accommodates changing live and work situations allowing residents to occupy the building longer and therefore more sustainably. Further generating

fig 37.2

the idea of community, exhibition spaces on the ground floor, basement, and second floors are spatially linked to the units as a shared living room. The open ground plan is also used to pull pedestrians in from the street and down a set of auditorium-like steps, connecting city and building residents to the exhibition and cafe spaces below.

1ST LEVEL - GROUND

The ground floor becomes an open-program area that allows gatherings, expansion of interior spaces, and parking. The micro-theater doubles as an entry to the cafe and toy gallery below grade. Micro auditorium and cafe: During the day, the micro-auditorium doubles as a living room/cafe that residents and the public can share. The ‘building blocks’ of units can easily be converted to gallery or other uses. Micro-units are easily converted to galleries to allow for innovative curation as well as extend the life of the living units above. shared

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2ND LEVEL

The 2nd floor can be used as apartments: even though there are only 2 unit types, differing relationships can be set up for differing personalities. The 120sf basic unit allows all aspects of daily life through efficient operable walls. Clerestory windows bring in light and perceptually extends the ceiling plane.

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Case Study 3 - Moriyama House

fig 40.1

LOCATION - TOKYO, JAPAN DENSITY - URBAN YEAR - 2005 DESIGNER - SAANA ARCHITECTS UNITS - 6 RESIDENTS - N/A TOTAL UNIT AREA - 2830 SQ FT

Designed by (SAANA) Ryue Nishizawa, the Moriyama House is one of a series of residential projects by Nishizawa and sometime partner Kazuyo Sejima in which the building is exploded in some fashion – the volume dispersed into small boxes, pasta squiggles or Tetris blocks – to maximise the surface area and allow the intertwining of inside and outside. The Moriyama House resembles a miniaturised section of the city, the boxes separated by little lanes and courtyards.

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fig 41.1

In architecture focused on intertwining interior and exterior. These volumes are independent from one another and are scattered across the site creating a series of connected individual gardens, open to the surroundings. Currently the spaces are rented creating a small community of little dwellings.

fig 41.2

This group of individually proportioned buildings establishes an independent landscape and atmosphere all its own. In this house, the user is given the freedom to decide which part of this cluster of rooms is to be used as residence or as rental rooms. He may switch among the series of living rooms and dining rooms or use several rooms at a time according to the season or other circumstances.

1ST LEVEL - GROUND

The main focus is on the people who live in the city, and the spaces are based on the notion of collective forms for them. A basis for collective living (=the reason for the existence of a city) is something for which there is a serious need in contemporary society. The state of the city’s smallest structural units, the houses which support people’s lives in Tokyo, is undoubtedly changing in order to provide the optimum solutions. Through the small, personal matter of dwelling units, the city, with its dual extremes of massive authority and capital, seems to be undergoing a grand reorganization. shared

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2ND LEVEL

Nishizawa wanted “a house with plasticity, not flexibility (as) the ability to change positively and drastically, rather than simply adapting to environmental changes. A house that fuels “the courage to continue the process of destruction and creation, without compromising to the present situation.” As Nishizawa says, “The structures turn into a cluster and a concept of the environment or landscape begins to emerge.” Writing in The Japanese House, Florence Ostende describes the logic of the Moriyama House in its setting: “Undoing the property generated a form of continuity with the urban fabric rather than a division. The house becomes an environment.”

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Case Study 4 - R50 Baugruppe

fig 44.1

LOCATION - BERLIN, GERMANY DENSITY - URBAN YEAR - 2013 DESIGNER - IFAU ARCHITECTS UNITS - 19 RESIDENTS - 64 TOTAL UNIT AREA - 29,923 SQ FT

R50 – cohousing is a joint building venture project in Berlin-Kreuzberg. It was initiated by the architects during the course of a concept-based award procedure for building plots and implemented in close cooperation with the clients. The building proposal is founded on a clear urban design position, robust and precisely architectural design, and both a collective and individual process of occupancy.

The concept is based on a collective compact and efficient structure with carefully detailed connections on different scales.

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fig 45.1

It is based on a concrete skeleton with one access and two service cores, an independent timber facade and a suspended steel construction for the all around balconies. A sunken basement level provides access to the building and merges private and public spaces.

fig 45.2

Each apartment and additional community spaces were developed by an intensive process of consultations, discussions and design. Based on the structural framework the sizes of apartments could be determined and individual requirements accommodated in the floor plans.

1ST LEVEL - GROUND

R50 – cohousing is a new model typology for low-cost and affordable housing offering a maximum capacity for adaptation and flexibility throughout its lifetime. Social, cultural, economic and ecological aspects have been considered equally to define a contemporary sustainable approach to urban living. A common standard for fixtures and fittings was developed and defined, which has resulted in a collective approach to interior fittings, the use of materials and some surfaces left unfinished, while allowing individual layouts of the apartments. This kind of structured yet open design process has shared

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private

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2ND LEVEL

not only allowed for extensive participation, self-directed design and self-building, but has also led to mutual agreement on the type, location, size and design of spaces shared by residents. This includes the generous urban garden, which naturally blends into the landscape of the surrounding 1960s residential neighborhood, an access ramp leading to a covered area in front of the basement, a laundry, a workshop and a roof terrace with a summer kitchen and a winter garden. The all-around balconies accompany the bright interior spaces and connect the apartments on each floor. shared

private

PART 1 - SHARED V. PRIVATE

shared

46

47

private

PART 2 - SITE WASHINGTON, DC

RICHMOND, VA

48

49

THE FAN

VCU

RICHMOND

PART 2 - SITE ANALYSIS

KEY PLAN

50

51

6 7 8 5

ISO RR

4

SITE STUDIES SIMPLE LINEWORK

10

LEGEND 1 - Site, 923 W Franklin St 2 - VCU Kearney House 3 - VCU Crenshaw House 4 - VCU Bowe House 5 - VCU Raleigh Building 6 - Private Residence 7 - Private Residence 8 - Private Residence 9 - Private Residence 10 - VCU Pollak Building

2 3

HA 9

AN

1

N

ST .

FR

KL

IN

ST .

PART 2 - SITE ANAYLSIS

EXISTING PATHS

52

53

EXISTING AXIS’

PART 2 - SITE ANAYLSIS

SOLAR PATH

54

55

SOUND

PART 2 - SITE ANAYLSIS

VIEWS

56

57

R-6

R-73

B-1

R-53

ZONING

Building Exterior Photo Collage Looking North on Franklin St. 58

59

PART 2 - DISTRICT HISTORY

In 1817, the Fan was plotted as the village of Sydney on land formerly owned by William Byrd II. Primary development of the Fan occurred after the Civil War through about 1920. Streetcar lines leading from downtown influenced development; the nation’s first electric streetcar system was inaugurated in Richmond in 1888. As development increased from downtown at the turn of the 20th century, Franklin street became a fashionable “West End” address (Culhane, 1997).

A desire for a West End address drove rapid real estate development of the area, changing the area from rural tobacco fields in 1880 to being almost fully developed land by the 1920s. As development accelerated, the University of Richmond (then located on Lombardy Street) was moved west to a more rural location (its present Westhampton location). During the Great Depression, many of the single-family homes in the area were converted to apartments. The term “the Fan” was coined in the mid 20th century by a Richmond Times Dispatch editorial, as the appellation “West End” no longer applied (Culhane, 1997).

The Fan is a district of Richmond, Virginia, so named because of the “fan” shape of the array of streets that extend west from Belvidere Street, on the eastern edge of Monroe Park, westward to the Boulevard. However, the streets rapidly resemble a grid after they go through what is now Virginia Commonwealth University. The Fan is one of the easterly points of the city’s West End section, and is bordered to the north by Broad Street and to the south by VA 195, although the Fan District Association considers the southern border to be the properties abutting the south side of Main Street.

60

61

The Fan District Aerial View

Fig. 65.1

62

63

The western side is sometimes called the Upper Fan and the eastern side the Lower Fan, though confusingly the Uptown district is located near VCU in the Lower Fan. Many cafes and locally owned restaurants are located here, as well as historic Monument Avenue, a boulevard featuring enormous equine statuary of Civil War Confederate generals and a statue of tennis icon Arthur Ashe (Culhane, 1997).

Following a succession of owners, an architecture museum, the Virginia Center for Architecture, took occupancy in 2005 of Branch House on Monument Avenue, a residence designed in the Tudor style by the firm of John Russell Pope in 1914. The Fan is often incorrectly described as significant for having one of the longest intact stretches of Victorian architecture in the United States, but most of it was actually built after the end of the Victorian era and is arguably more Edwardian and Revival in style. Almost all of the housing stock was constructed in the first decades of the twentieth century and exhibits the pared back victorianism of Edwardian architecture. Colonial Revival and American Craftsman architecture is common as well, with Revival architectural types arguably the most common (as was common to the time period) Revivalism (architecture) (Culhane, 1997).

PART 2 - BUILDING HISTORY

1909 drawings for the Berkeley Apartments indicate that the original building was only to rise three stories in keeping with the scale of its immediate neighbors. (It is not yet known when or why the plans were modified.) As it was built, the three bay wide, brick Colonial Revival building at 923 West Franklin Street rises five stories at the corner of Franklin and Harrison (Culhane, 1997).

The Berkeley Apartments was the fourth apartment house on West Franklin, following the much larger Chesterfield (901 West Franklin Street; Muhlenberg Brothers with Noland and Baskervill, 1902), Raleigh (1001 West Franklin Street; Aubrey Chesterman, 1907) and Gresham Court Apartments (1030 West Franklin Street; Carneal & Johnston Architects, 1909).

The rusticated first floor is capped with a molded brick belt course, above which rises three floors accented with brick quoins; another belt course runs between the fourth and fifth floors. The 12/1 hung windows are surmounted by keystoned limestone jack arches, and the entablature consists of a dentil frieze and modillion cornice. The portico, with its full entablature and dentil cornice, is supported by four ionic columns and fluted pilasters; A balustrade atop the portico is fashioned out of overlapping circles and square recessed-panel supports. Other notable exterior features are the wrought iron balconies on the west side of the building.

The interior of the building has been entirely “modernized� and retains none of its original character. There are remnants of pilasters in the entry hall, but the ceilings have been lowered cutting off the segmental arches that would have accompanied them. The old elevator cage also remains in its shaft, though it has been welded shut as a precautionary measure.

64

65

Existing Elevator Shaft - Iron Detail

Building Exterior Photo Collage Looking North 66

67

68

PART 2 - EXISTING CONDITIONS

69

The building currently serves as VCU as Scherer Hall houses the academic units of the L. Douglas Wilder School of Government and Public Affairs as well as the VCU Center for Public Policy.

The property class is B- General Office and the Zoning District is classified as R-73 Residential Multi Family. The parcel is .1112 acres or 4,875 square feet. The City of Richmond currently says that the building is in “normal� condition for its age (Richmond.gov).

The majority of the building is office space with lobby and corridor spaces, a break room, conference rooms. Mechanical rooms with air handlers exist on all three floors and on the roof and on the south side of the building.

The following pages document the various features, exterior, views and modernization of the interior of the building

PART 2 - PHOTOGRAPHIC STUDIES

Building Exterior Photo Collage Looking South on Franklin St. 70

71

Building Exterior Photo Looking South on Harrison St.

PART 2 - PHOTOGRAPHIC STUDIES

Exterior Photo West on Harrison St.

Exterior Photo Typical Front Window on Franklin St.

72

73

Exterior Photo Window and Facade Detail on Harrison St.

Exterior Photo Front Lights on Franklin St.

PART 2 - PHOTOGRAPHIC STUDIES

Interior Photo Looking Down Main Corridor on First Level

Interior Photo of Typical Window on Second Level

74

75

Interior Photo of Emergency Stair on First Level

Interior Photo Looking Down Main Corridor on Third Level

PART 2 - PHOTOGRAPHIC STUDIES

Interior Photo of Elevator Shaft on First Level

76

Interior Photo Looking Towards Harrison on Fifth Level

77

Interior Photo of Elevator Shaft on Third Level

Interior Photo of Elevator Shaft on First Level

PART 2 - PHOTOGRAPHIC STUDIES

Interior Photo Looking Towards Harrison on Third Level

Interior Photo Looking Towards Harrison on Fourth Level

78

79

Interior Photo Looking Towards Franklin on Fifth Level

Interior Photo Looking Towards VCU on Fourth Level

ewski 623

traditional housing models which can unlock a range of social benefits.

PART 2 - EXISTING DRAWINGS

BUILDING DATA_

GROUND FLOOR PLAN

0’

10’

20’

East Elevation, Longitudinal Section SECTION EAST ELEVATION - LONGITUDINAL

0’

20’

0’

EAST ELEVATION - LONGITUDINAL SECTION

10’

20’

Ground Floorplan GROUND FLOOR PLAN

80

10’

0’

10’

20’

81

0’ 10’ 20’ ey on land ccurred owntown as the mid tion “West

0’

GROUND FLOOR PLAN

10’

20’

ST ELEVATION - LONGITUDINAL SECTION

West WESTElevation ELEVATION

10’

20’

l of Public ilding was e three er of ed brick s; another indows are consists lature and . Other side of the

0’

South Elevation SOUTH ELEVATION

0’ ADDITIONAL DESIGNERS_ _Norman Potter _Marika Shioiri Clark _We Should Do it All

Nakagin Capsule Tower, by Kisho Kurokawa Tokyo, Japan, 1972 The Nakagin Capsule Tower is a mixeduse residential and office tower designed by architect Kisho Kurokawa and located in Shimbashi, Tokyo, Japan. Completed in just 30 days in 1972, the building is a rare remaining example of Japanese Metabolism, an architectural movement emblematic of Japan’s postwar cultural resurgence.

Peabody Terrace, Harvard, by J. Luís Sert Cambridge, Massachusetts, USA, 1963–4 Variously described as "monstrous," "cold," "uninviting," "overwhelming" and "hostile" by local residents when it opened, Harvard's Peabody Terrace development has been equally lauded by architects and its student residents ever since. It was designed specifically for married graduate students, types cleverly arranged in section to create double-height terraces.

0’

Baker House, MIT, by Alvar Aalto MIT, Cambridge, Massachusetts, USA, 1946

snake of a building, winding its 10’ A slithering 20’

way along the banks of the Charles River in Cambridge, Massachusetts, the Baker House is the work of Finnish architect Alvar Aalto. He devised the serpentine form to provide every student with a view out over the river, while also giving a sense of individuality to each room – there are 22 different-shaped bedrooms per floor.

The Fan District

The Unité d’habitation (French pronunciation: (Housing Unit) is a modernist residential housing design principle developed by Le Corbusier, with the collaboration of painterarchitect Nadir Afonso. The concept formed the basis of several housing developments designed by him throughout Europe with this name. The most famous of these developments is located in south Marseille. Unité d’habitation buildings were designed by French architect Le Corbusier. In 1920, Corbusier started to develop the type apartment which became very influential in 20th century modernism and contemporary residential design in Europe. The first full-scale models were built in Paris and Marseille during the planning of the first high rise concrete structure in the 1940s.

EAST ELEVATION - LONGITUDINAL SECTION

Typical Overall Floorplan

Baker House, MIT, by Le Corbusier

10’

20’

OUND FLOOR PLAN Nantes-Rezé, France, 1955

Richmond, VA

PRECEDENT_

PART 2 - EXISTING STUDIES

Weaving Apertures Collage - Digital 82

Main Threads Collage - Digital

83

Main Threads Collage - Analog

Aprature Lines - Analog

Day Lighting - Evening Sun - Digital 84

Day Lighting - Morning Sun - Digital

85

Day Lighting - Sun Path - Analog

PART 3 - CONCEPTUAL REFLECTION

01

Pattern Language - Alexander

02

On Weaving - Albers

86

87

03

Intertwining - Holl

PART 3 - A PATTERN LANGUAGE

This project relied heavily on the book “A Pattern Language”2 by Christopher Alexander, which outlines a philosophy that, in designing their environments people create ‘languages,’ which allow them to articulate and communicate an infinite variety of designs within a formal system which gives them coherence.

In the book, “patterns,” the units of this language, are answers to design problems: how high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?

Alexander’s world combines psychology, construction materials, and the layout of space. His writing provided a framework for moving from the urban district scale of a street, sidewalk or park and rowhouse to the interior scale of a sill, bench, ledge, or handle.

88

89

Illustrations of Paths

fig 91.1

Illustrations of Commonspace

fig 91.3

Illustrations of Positive Spaces

Illustrations of Public to Private

fig 91.2

fig 91.4

PART 3 - ON WEAVING

Anni Albers (1899–1994) was a textile designer, weaver, writer, and printmaker who inspired a reconsideration of fabrics as an art form, both in their functional roles and as wallhangings.

Albers created a wall covering that behaved like a wall, whose weave of cotton, chenille and Cellophane not merely reflected light but absorbed sound: “textile engineering”, as she said. The odd but brilliant Bauhaus student Siegfried Ebeling had recently rethought the wall as a membrane, “porous… formal, but not substantial” (Darwent, 2018). If male Bauhäusler could make walls membranous, Albers would come at the problem from the other side. She would make membranes that were wall-like.

This idea of building by stealth would stay with her. In the interview mentioned above, she compares weaving not to art but to architecture. “Painting is applied on to something,” Albers reasons.

“Sculpture uses a given material… [Weaving] is closest to architecture because it is a building-up out of a single element, building a whole out of single elements” (Darwent, 2018).

90

91

Albers Make Shift Loom

fig 93.1

Diagrammed Patterns

fig 93.2

Various Interweaving Patterns

fig 93.3

Diagrammed Pattern

fig 93.4

PART 3 - INTERTWINING

Steven Holl has continued to gain international prominence and fame for his architectural ideas. Holl is one of the most important and dynamic architects practicing today.

In his text, Intertwining, the aim is to enlarge the argument for particular architecture that intertwines: idea, phenomena, and site. An individual idea drives the design for each project in a unique way of realizing a building and its site.

“The phenomenal experience of light, overlapping perspectives of space, material textures, or sound; the phenomenology of architecture is worth a reflection in advance of particular sites and ideas that are clarified in each project description” (Holl, 1998).

Holl’s text and diagrams influenced the way I started to think about architectural weaving and creating spaces with these philosophical underpinnings kept in mind.

92

93

Illustration of Intertwining Stair

fig 95.1

Photo of Intertwining Stair

fig 95.2

Intertwining Diagram

fig 95.3

Intertwining Diagram

fig 95.4

PART 3 - 15 DAYS We were asked to develop fifteen conceptual studies in preparation for thesis in 15 days:

DAY 2 -

DAY 1 -

DAY 3 -

DAY 6 -

DAY 4 DAY 5 -

94

95

DAY 7 -

DAY 9 -

DAY 8 -

DAY 12 -

DAY 10 DAY 11 -

DAY 13 DAY 14 DAY 15 -

PART 3 - INTERTWINING STAIR & RAMP

Hand Sketch on Trace Articulating Ramp and Stair

96

97

Stair Study - Hand Sketch

Woven Stair Study - Digital Sketch - Looking South 98

99

Woven Stair Study - Digital Sketch - Entry - Looking West

Woven Stair Study - Digital Sketch - Full - Looking West

Section Perspective Looking West - Circulation & Stair Paths

100

101

PART 4 - SCHEMATIC DESIGN

Section Looking West - Permeable Spaces - Private - Public

102

103

ROZEWSKI RAPHIC PROGRAM

ROOM

WELCOME BAR (1,252 FT)

PODS (1,126 SQ FT)

Schematic Design - Graphic Program - Diagram 104

LOUNGE (1,676 SQ FT)

COMMUNITY KITCHEN (2,496 SQ FT)

TITLE (3,871 SQ

KITCHEN

105

SHARED RESTROOM (450 SQ FT)

Untitled-1 1

2 BED APARTMENTS TITLE (3,871 SQ FT)

MICRO APARTMENTS (4,983 SQ FT)

QUIET REST AREA (1,760 SQ FT)

CIRCULATION (3,840 SQ FT) BASEMENT

WELCOME (1,252 FT)

SHARED RESTROOM (450 SQROZEWSKI FT) RICHARD

WELCOME BAR (1,252 FT)

PODS (1,126 SQ FT)

LOUNGE (1,676 SQ FT)

18-1206 GRAPHIC PROGRAM IDES-623

BASEMENT

Schematic Design - Graphic Program - Diagram 106

1ST FLOOR

2ND FLOOR

COMMUNITY KITCHEN (2,496 SQ FT)

3RD FLOOR

TITLE (3,871 SQ FT)

4TH FLOOR

MICRO APARTMENTS (4,983 SQ FT)

5TH FLOOR

QUIET RE (1,760 SQ

107

BLOCK DIAGRAM: 1 STACKED UNITS + LARGE COMMUNITY SPACE

UNIT

COMMUNIT SPAC

Interior Massing - Stacked Units & Large Community Space 108

109

UNITS WELCOME CENTER BIKE STORAGE FITNESS WELLNESS COMMUNITY SPACE

CAFE

WELCOME

COM

Interior Massing - Stacked Units & Small Community Space

110

111

UNITS WELCOME CENTER

BIKE STORAGE FITNESS WELLNESS

COMMUNITY SPACE

CAFE

WOVEN UNITS INTO COMMUNITY SPACE

WELCOME

Interior Massing - Woven Units Into Small Community Space 112

113

UNITS BIKE STORAGE FITNESS WELLNESS WELCOME CENTER LOUNGE

CAFE

Entry Stair & View Iterations - Drawings

Permeable Pods - Shared Spaces - Drawings 114

115

Organizing Threads - Shared Blocks - Drawings

Program Stacking - Drawings & Notes

Shifting Axis - Drawings & Diagrams 116

117

Weaving Benches - Drawings & Notes

Unit Study - Drawings & Notes

Main Ramp Area - Drawing

Gathering Stair Area - Drawing 118

119

Main Community Kitchen - Drawing

Reception Area & Light Well - Drawing

First Level - Plan & Notes - NTS 120

121

Lower Level - Plan & Notes - NTS

Third Level - Plan & Notes - NTS 122

123

Fifth Level - Plan & Notes - NTS

First Level - Reception - Plan & Notes - NTS

124

125

Main Reception - Drawing

Second Level - Kitchen - Plan & Notes - NTS 126

127

Community Kitchen - Drawing & Notes

Small Unit ADA - Drawing - Plan & Notes - NTS 128

129

Extra Small Unit - Drawing - Plan & Notes - NTS

Large (2 bed) Unit - Plan & Notes - NTS

130

131

Large (2 bed) Unit - Main Living Space - Drawing

Fourth Level - Respite - Plan & Notes - NTS

132

133

Respite - Stair and Bench - Drawing

Ramp - Drawing - Plan & Notes - NTS 134

135

PART 4 - DESIGN DEVELOPMENT

Program and Circulation - Section Perspective Looking South on Harrison St.

136

137

Lower Level Axon Drawing

138

139

Ground Level Axon Drawing

Main Reception - Drawing

140

141

Lower Level - Gathering Stair - Drawing

Main Ramp - Drawing 142

143

Second Level Axon Drawing

144

145

Third Level Axon Drawing

Community Kitchen - Drawing 146

147

Fourth Level Axon Drawing

148

149

Fifth Level Axon Drawing

Roof Level Axon Drawing

150

151

Treehouse - Drawing

Third Level - Corridor Study - Drawing

152

153

Small Unit ADA - Drawing

Extra Small Unit - Drawing

154

155

Large (2 Bed) Unit - Living & Lightwell - Drawing

PART 4 - CODE + PROGRAM

PROGRAM STATS TOTAL COMMON

16,992 sq ft

RESIDENTIAL

5,765 sq ft

COMMUNITY

11,226 sq ft

TOTAL PRIVATE XS UNIT (5) SM UNIT (11) LRG UNIT (3) CORE

7,576 sq ft 2,817 sq ft 3,532 sq ft 1,227 sq ft 7,051 sq ft

GRAPHIC PROGRAM COMMON RESIDENTIAL COMMUNITY

LL

PRIVATE

L1

XS UNIT SM UNIT LRG UNIT

PUBLIC 156

157

CODE CONSTRUCTION TYPE: 2, R-1

CODE: Residential: 200 sq ft gross per occupant

GROSS AREA: Total: 24,612 sq ft Total p. floor: 4,102 sq ft

STAIRS REQUIRED: 2 Egress Stairs

NET AREA: Efficiency Ratio: .7 Total: 16,709 sq ft Total p. floor: 2,849 sq ft

L2

L3

L4

RESIDENTIAL

PLUMBING Unit: 1 p. person: restroom fixture (ADA) Common Space: 1 p. 75 persons: restroom fixture (ADA) 1 p. 75 persons: water fountain

L5

L6

PART 5 - DESIGN PRESENTATION L6

PARTI

L5

L4

L3

INTERTWINING Concept development depicts a moment where public meets private and the two wind together.

The ramp and stair nodding to the axis shift of the urban fabric defines the intertwining of shared and private spaces in through a woven staircase which brings together interior “park� through benches in areas for rest and conversation.

L2

L1

LL

158

159

POCKET PARKS - URBAN BENCHES

A pocket park is a small landscaped space that provides a sitting or recreation area. Usually constructed on a vacant or underutilized lot. Pocket parks, while little and often hidden, can increase surrounding home ownership values, fill in an irregular plot of infrastructure, and provide a convenient solution to finding usable open space in a dense urban area.

Scuffletown Park

Paradise Park

Meadow Park

Lombardy Park

A. VIEW OF MAIN RAMP - GATHERING 160

161

ENTRY RAMP

1. SECTION VIEW OF ENTRY

ENTRY SEQUENCE This co-living space will engage the surrounding community on the street level and continue the sense of neighborhood culture on the residential floors. The public areas of the 1st and lower level start an axis shift which fans a primary circulation ramp past an existing elevator shaft and through the building, establishing a thread in which shared spaces are arranged around and integrated in informal seating arrangements.

162

COMMON RESIDENTIAL COMMUNITY LIGHT WELL BENCH

163

B. VIEW OF RECEPTION

DN

DN DN DN

DN DN

OFFICE

UP

UP UP

2

FRANKLIN STREET

LIBRARY

1

B

HARRISON STREET

GROUND FLOOR PLAN - NTS

164

DN

WORK BAR

DN DN

RECEPTION

165

REST

WORK

A

MAIL

RAMP

DN

DN

UP

COFFEE BAR

RAMP

HARRISON STREET

TOILET

2

C MEETING

UP

UP

LIGHT LOUNGE

UNDER RAMP STORAGE

WORK

STORAGE

ADA

FLEX SPACE

MEETING

MECH

TOILET

MECH

BIKE ROOM

LOWER LEVEL FLOOR PLAN - NTS 166

167

The lower level of the building serves primarily as additional meeting space, work and lounge areas for the greater community. The large gathering stair, which carries the language of the bench studies from surrounding community pocket parks, opens the lower level to sunlight as it is part of the initial start of the six story atrium and light well.

The spaces in the lower level do not have fixed program and are meant to flex as different needs of the community present themselves. The larger meeting rooms can be broken into smaller spaces for conversation or group needs.

VIEW OF LOWER LEVEL BENCH

C. VIEW OF LOWER LEVEL STAIR

BENCH STUDIES

1. RAMP

2. RECEPTION

3. WORK

4. LAUNDRY

5. PORCH

6. CORRIDOR

7. MEDITATION PODS

8. BASEMENT

9. NESTLED

10. LONG

11. STAIR

12. STOOP

1

2. LONG SECTION VIEW & BENCH KEY 168

169

LIVING TOGETHER

INDIVIDUAL SPACES

Living together is about more than inhabiting the same physical space. We need everything in our everyday life to use our resources more sensitively. We are sharing more goods and services than ever before and many of us use the sharing economy in our dayto- day lives – from ordering a taxi to finding a room for the night. Co-living encourages a social lifestyle within the building as a whole, with a larger focus on the shared spaces throughout the building. The shared space gradually becomes more and more intimate in scale as you are moved up the winding staircase.

Floors 2-5 are made up of a series of different suite options for residents. XS micro suites that encourage residents to congregate in a community kitchen; semiprivate SM units feature a kitchenette within the space as well as a more traditional 2 bedroom (LRG unit); allows residents to have choice in their individual living arrangements within the larger shared whole.

Private shared spaces are found on floors 4-5 feature meditation pods and a respite lounge for wellness and shared regeneration.

10

9

7

6

5

4

3

2

8

11

LIGHT WELL

3-AXON - Light Fixture USE Atrium Diagram 170

USE THIS VIEW - SECTION PERS

171

LED LIGHT

EXISTING ELEVATOR CAGE

Light Fixture Detail

The light well was created from an existing elevator shaft that is no longer in use but completely preserved.

The light well acts as a node within the building to connect all six levels through an atrium space that becomes smaller and more private as you move up the building. The light fixture is made up of a series of led lights that engage each level, starting with the brightest at the base of the building and the dimmest at the top of the building where there is more meditative and contemplative space surrounding the light well.

Existing Elevator Shaft

2

2

LOUNGE / LIBRARY LRG UNIT

WORK

REF.DW

TOILET

DINING WORK / LOUNGE UP

KITCHEN

D

UP UP

LAUNDRY

XS UNIT REF.DW

SM UNIT (ADA)

XS UNIT

DWREF.

XS UNIT SM UNIT

XS UNIT SM UNIT

XS UNIT ADA

E

UP

2ND LEVEL FLOOR PLAN - 1/8”=1’ 172

REF.DW

UP

3RD LEVEL FLOOR PLAN - 1/8”=1’

173

D. VIEW OF COMMUNITY KITCHEN

E. VIEW OF CONNECT CORRIDOR

2

2

LRG UNIT

REF.DW

REF.DW

LRG UNIT

MEDITATION PODS DWREF.

SM UNIT

REF.DW

SM UNIT

DWREF.

SM UNIT SM UNIT

REF.DW UP

UP

RESPITE

F DWREF.

DWREF.

SM UNIT

DWREF.

SM UNIT (ADA)

4TH LEVEL FLOOR PLAN - 1/8”=1’ 174

SM UNIT

DWREF.

SM UNIT (ADA)

5TH LEVEL FLOOR PLAN - 1/8”=1’

175

F. VIEW OF WOVEN STAIRCASE

2

MEDITATION GARDEN

G

TREEHOUSE

LOUNGE

LOUNGE

KITCHEN

EVENT TERRACE

TOILET

TOILET

6TH LEVEL FLOOR PLAN - 1/8”=1’ 176

TREEHOUSE

177

G. VIEW OF TREEHOUSE

A rooftop “treehouse� and terrace invites people up to enjoy views of both Downtown Richmond and the Fan District and engage with the community. There are a variety of types of spaces for interaction that range from an indoor meditation space with equipment storage, an outdoor meditation garden, to an event terrace with adjacent kitchen.

VIEW OF XS UNIT

RESIDENT 1

SETH CARTER

- 32 - Bartender - $30,000 p year

UNIT INFO:

- 247 sq ft - 5 units - shared eating - minimalist

AXON OF XS UNIT - NTS

178

179

VIEW OF SM ADA UNIT

RESIDENT 2

JULIA SMITH

- 26 - Designer - $40,000 p year

UNIT INFO: - 300 sq ft - 11 units - private eating - extra storage

AXON OF S UNIT - NTS

VIEW OF 2 BED UNIT LIVING ROOM

RESIDENT 3

RESIDENT 4

JEFF BANKS

AMY MILLENNIAL

- 24 - Teacher - $34,000 p year

- 26 - Nonprofit Prof.

- $32,000 p year

UNIT INFO:

- 929 sq ft - 3 units - extra storage - dining and living room with light well

AXON OF 2 BED UNIT - NTS

180

A PALETTE INSPIRED BY PLACE

Finish inspiration is drawn from the Fan District. Textures emulate the moment of contrast where city sidewalk meets, organic landscapes, and the contrasting vernacular of the densely packed town-homes of the neighborhood meet. On the first floor, a concrete ramp emulates the fanning of the streets in the urban plan, and transitions into textured wood flooring to signify a shift to the social “pocket park� spaces. The color palette is bright with tones to emulate the individuality of the homes found in the residential areas of the district.

Grove Ave

Hanover Ave

Material Study 1

Material Study 2

181

SELECTED FINISHES & FF+E UNITS RECEPTION

SMALL RAMP LOUNGE

TYPICAL ++ LOUNGE CORRIDOR KITCHEN

RECEPTION UNITS

RAMP LOUNGE SMALL

TYPICAL + LOUNGE TYPICAL + RECEPTION LOUNGE + RAMP UNITS SMALL + UNITS + SMALL LOUNGE RAMP UNITS LOUNGE SMALL RECEPTION RAMP LOUNGE MATERIALS: DESIGN COLOR: LOUNGE CORRIDOR KITCHEN CORRIDOR KITCHENSTATEMENT: DESIGN STATEMENT: KITCHEN COLOR: RECEPTION RAMP TREEHOUSE LOUNGE UNITS MATERIALS: COLOR: Co-living is a STATEMENT: concept for urban dwellers that offers COLOR: MATERIALS: DESIGN DESIGN ST DESIGN STATEMENT: COLOR: Co-living is a STATEMENT: concept forCOLOR: urban dwellers that offers COLOR: DESIGN DESIGN STATEMENT: DESIGN STATEMENT: DESIGN STATEMENT: COLOR: COLOR: tenants serviced rooms alongside shared facilities tenants serviced rooms alongside shared facilities

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Product Name 1.2 DALTILE Keystones Teal 1.3 FILZ FELT Red Flet Wallcovering 1.4 FLOS Globe Pendant 1.5 BLU DOT Daily Task Chair

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3.3 BENJAMIN MOORE Beau Green (2054-20) 3.4 MUUTO Multi-Pendant 3.5 WEST ELM Nest Chair

4.3 BENJAMIN MOORE Gardenia (AF-10) 4.4 BLU DOT Hive Pendant 4.5 ALL MODERN Weston Murphy Bed

5.3 BENJAMIN MOORE Metropolitan (AF-690) 5.4 FLOS Firefly Pendants 5.5 BERNHARFT Zip Floor Chair

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KNOBS:

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IDES 626 - Color - Materials - Light RICHARD ROZEWSKI 12-11-18

KNOBS:

12-11-18 Tide- Color Floor-Covering IDES 626 Materials - Light RICHARD 5.2 ROZEWSKI CHILEWICH 12-11-18 Sisal Wallcovering

5.3 BENJAMIN MOORE Metropolitan (AF-690) 5.4 FLOS Firefly Pendants 5.5 BERNHARFT Zip Floor Chair

KNOBS:

12-11-18 12-11-18 IDES 626 - Color 12-11-18 - Materials - Light IDES 626 - Color - Materials - Light IDES 626 - Color - Materials - ROZEWSKI Light RICHARD RICHARD ROZEWSKI RICHARD ROZEWSKI 12-11-18 12-11-18

12-11-18

Z-BAR Gen 3 LED m MultipointGeo Light Geo Series - Small Raident Wall Series - SmallGrapes 12 LED GeoRound Series - Medium GeoSconce Series - Large Grapes 12 LEDGeo Round Z-BARAim GenMultipoint 3 LED 5.5 Talo LED Light- Large Series -6.5 Small Wall Sconce Series - Medium Z-BAR Gen 3 LED Talo LED Light Light Raident WallGeo Sconce Geo Series Pendant Appareil 6.5 Raident SEATING Task Lamp ndant Appareil Atelier Accent Light 4.5 SEATING SEATING SEATING Appareil Atelier Atelier Appareil Atelier Pendant Task Lamp Suspension Appareil Atelier Accent LightAppareil Atelier AccentSuspension Light Task Lamp Pendant Appareil Atelier SONNEMAN Lighting s Rich Brilliant Willing SONNEMANKoncept Lighting Koncept Artimede Rich Brilliant Willing Koncept Artimede Flos Rich Brilliant Willing Series - SmallGrapes 12 LED Geo Round Series - Medium GeoSconce Series - Large Z-BAR Gen 3 LED m MultipointGeo Light Geo Series - Small Wall Grapes 12 LED Round Z-BARAim GenMultipoint 3 LED Raident Geo Series - Small Raident Wall Sconce Series - Medium Z-BAR Gen 3LED LED Talo LED Light Light Raident WallGeo Sconce Geo Series Talo Light- Large Pendant Appareil Appareil Atelier Atelier Appareil Atelier Task Lamp ndant Appareil Atelier Accent Light Pendant - Light Task Lamp Appareil Atelier Accent LightAppareil Atelier AccentSuspension Light Task Lamp PendantIDES 626 - Color - Materials Appareil Atelier SONNEMAN Lighting IDES 626 - Suspension Color - Materials s Rich Brilliant Willing SONNEMANKoncept Lighting RICHARD ROZEWSKI Koncept Brilliant Willing Koncept Artimede Flos Rich Brilliant Willing 6.1Rich METRO 4.1 METRO 5.1 CHILEWICH 6.1 METRO Artimede RICHARD ROZEWSKI

Oak Herringbone Oak Herringbone 6.2 CHILEWICH 4.2 STONESOURCE Plaid Wallcovering Green Firebrick 6.3 B. MOORE 4.3 BENJAMIN MOORE GardeniaGardenia (AF-10) (AF-10) 6.4 MUUTO 4.4 BLU DOT Glow Sconce Hive Pendant 6.5 WEST ELM 4.5 ALL MODERN Jute Cushion Weston Murphy Bed

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Oak Herringbone 6.2 CHILEWICH Plaid Wallcovering 6.3 B. MOORE Gardenia (AF-10) 6.4 MUUTO Glow Sconce 6.5 WEST ELM Jute Cushion

12-11-18 IDES 626 - Colo RICHARD ROZ 12-11-18

Geo Series - Medium Geo Series - Large Grapes 12 LED Aim MultipointGeo Light Series - SmallAtelier GeoRound Series Appareil Atelier Appareil Pendant Appareil Atelier Pendant Appareil Ate SONNEMAN Lighting Flos Geo Series - Medium Geo- Small Series - Large Grapes 12 LED Series Geo Round Series Aim MultipointGeo Light Appareil Atelier Appareil Atelier IDES 626 - Color - Materials Light Ate Pendant - Appareil Appareil Atelier Light Pendant RICHARD ROZEWSKI SONNEMAN Lighting Flos

12-11-18 IDES 626 - Color - Materials - Light RICHARD ROZEWSKI 12-11-18

12-11-18 IDES 626 - Color - Materials - Light RICHARD ROZEWSKI 12-11-18

STUDY MODELS

Looking South On Harrison Street - Facade 184

185

Looking South East On Franklin Street - Woven Stair

Looking East On Harrison Street - Woven Stair

186

187

Section Model of Entry - Ground Level

188

DEDICATION To Jessica Keegan!

To my past design mentors, Paul Cattaneo, Karen Nelson, Eleni Glekas, Dak Kopec, and many others who encouraged me to head back to academia and do this program.

To my family Richard and Susan Rozewski, James Rozewski and Brooklyn Ramos for being amazing and supportive family members and encouraging me to pursue my passions.

To my VCUarts faculty, Roberto Ventura, Sara Reed, Sandy Wheeler, Christiana Lafazani, Camden Whitehead, and Emily Smith.

To my ENV and NBBJ teams, for helping me through the process and giving me some serious skills.

To my VCUarts / academic extended family, Justin Doromal, Thomas Kennedy, Jun Chen, Jason Adkins, Adele Bell, An Liu, Tyler Harris, and Rob Smith, for alumni and outside of studio design support and guidance.

To my classmates, Abby Barras, Maggie Davids, Tia Goode, Tashi Scott, and Angiline Troilo for all the growth, hard times, healing, learning, fun, and joking; I am so grateful for you all.

Thank you, thank you, thank you!

Bench Studies

189

SELECTED REFERENCES Albers, A. (1965) On Weaving. 1st ed. Middletown, Conn.: Wesleyan, UP. Print.

Alexander, C. (1977). A pattern language : Towns, buildings, construction (Center for Environmental Structure series ; v. 2).

Allderdice, J. (2016). The Cohousing Option. The Canadian Architect; Toronto, 61(4), 29031. Retrieved from https://search.proquest.com/ docview/1783998991/abstract/AB7BA11355B24F55PQ/1 Aune, E. E. (2013). Architecture of Connection: A Mixed-Use Housing Strategy for Building Urban Community (Master’s). University of Washington, United States -- Washington. Retrieved from https://search.proquest.com/ docview/1497013564/abstract/B9359E1F4C624A2BPQ/1 Boyer, R. H. W., & Leland, S. (2018). Cohousing For Whom? Survey Evidence to Support the Diffusion of Socially and Spatially Integrated Housing in the United States. Housing Policy Debate, 0(0), 1015. https://doi.org/10.1080/1 0511482.2018.1424724 DePaulo, B. M. (2015). How we live now: redefining home and family in the 21st century. Hillsboro, Oregon: Atria Books/Beyond Words.

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IMAGE CREDITS Unless noted below, all photos and drawings are by Richard Rozewski.

14.1 https://www.fastcompany. com/40413748/are-dorms-foradults-the-solution-to-the-lonelinessepidemic 14.2 https://notablelife.com/ cohousing-communities-canada-realestate/ 14.3 https://grist.org/cities/imsurrounded-by-people-why-do-i-feelso-alone/ 23.1 https://www.newyorker.com/ magazine/2016/05/16/the-rise-ofthe-co-living-startup 23.2 https://www.newyorker.com/ magazine/2016/05/16/the-rise-ofthe-co-living-startup 29.1 https://www.fastcompany. com/40413748/are-dorms-foradults-the-solution-to-the-lonelinessepidemic 29.2 https://www.newyorker.com/ magazine/2016/05/16/the-rise-ofthe-co-living-startup 32.1 Kedan, E., Dreyfous, Jon, & Mutter, Craig. (2010). Provisional : Emerging modes of architectural practice USA. New York: Princeton Architectural Press.

33.1 Kedan, E., Dreyfous, Jon, & Mutter, Craig. (2010). Provisional : Emerging modes of architectural practice USA. New York: Princeton Architectural Press.

33.2 Kedan, E., Dreyfous, Jon, & Mutter, Craig. (2010). Provisional : Emerging modes of architectural practice USA. New York: Princeton Architectural Press.

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45.1 Kries, M., Müller, Mathias, editor, Niggli, Daniel, editor, Ruby, Andreas, editor, & Vitra Design Museum, host institution. (2017).

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37.1 Kries, M., Müller, Mathias, editor, Niggli, Daniel, editor, Ruby, Andreas, editor, & Vitra Design Museum, host institution. (2017).

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37.2 Kries, M., Müller, Mathias, editor, Niggli, Daniel, editor, Ruby, Andreas, editor, & Vitra Design Museum, host institution. (2017).

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45.2 Kries, M., Müller, Mathias, editor, Niggli, Daniel, editor, Ruby, Andreas, editor, & Vitra Design Museum, host institution. (2017).

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95.1 Steven Holl, Intertwining (New York: Princeton Architectural Press, 1998) 95.2 Steven Holl, Intertwining (New York: Princeton Architectural Press, 1998) 95.3 Steven Holl, Intertwining (New York: Princeton Architectural Press, 1998) 95.4 Steven Holl, Intertwining (New York: Princeton Architectural Press, 1998)