GT24 - Austin Neumann - Squares

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“Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order.

Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance-not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any one place is always replete with new improvisations.”

- The Death and Life of Great American Cities, Jane Jacobs, 1961

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“Genuine differences in the city architectural scene express, as Raskin says so excellently, ...the interweaving of human patterns. They are full of people doing different things, with different reasons and different ends in view, and the architecture reflects and expresses this difference -- which is one of content rather than form alone. Being human, human beings are what interest us most. In architecture as in literature and the drama, it is the richness of human variation that gives vitality and color to the human setting...

Considering the hazard of monotony ... the most serious fault in our zoning laws lies in the fact that they permit an entire area to be devoted to a single use.”

- The Death and Life of Great American Cities, Jane Jacobs, 1961

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thesis statement

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This thesis aims to look at what the historic idea of the public square would look like in a contemporary American city in order to place a renewed sense of value on public space, a value that has been lost in contemporary urban organizations. Culturally and historically, the square was understood as a public good; a place of human exchange where ideas and debates around public life took place. The square was produced as a remnant of master-planning logics of a city. In a city like Los Angeles, where public land has been consumed by parking lots, roads, private properties, and gated communities, there is an extreme scarcity of these kinds of public space.

In order to bias public space towards the everyday urban citizens that use the city of Los Angeles, this project is a proposal to place three public squares along Hoover Street in Los Angeles. This street is where the two city grids of Los Angeles meet, the 45-degree grid of the original colonial Spanish settlement, and the contemporary orthogonal grid. Hoover Street is also at the confluence of the Koreatown and Westlake neighborhoods, which are the densest neighborhoods in Los Angeles known to have the least amount of public space.

The design of each of these squares employs a methodical step-by-step zoom-in approach. Starting with the careful and rigorous drawing documentation of all the existing context along Hoover Street from James Wood Blvd. all the way to the 10 freeway. A plan oblique drawing of this stretch of hoover street tries to capture the liveliness of the everyday activities along this street. Picking three intersections where there is leftover space from the two grids intersecting or where the space is awkward or prioritizing car parking, a square grid is placed down onto that intersection irrespective of the surrounding buildings. The square is being introduced into a city grid with concrete, urban logics that are already in place. These squares do not fit into the logic of the city grids, they have their own logics. Each square is pushed uncomfortably to fit into the context, and it must engage with its neighboring buildings and infrastructure.

Pushing a square and dealing with the seams of how it meets the existing urban fabric case-by-case is a way to recapture the city for public good as it negotiates space down on the ground where the urban citizens are at rather than in the offices of city hall. These three squares are attempts at developing truly humanistic public space in the city of Los Angeles.

This thesis aims to embrace the messiness of urban life. Cities are layers upon layers of differing logics intertwined to generate a self-sustained organism that serves all its inhabitants in a unique way.

So, why would we approach the idea of urban planning from a top-down methodology to prescribe a specific way of moving through a city to a large majority of its citizens? This thesis advocates for a bottom-up approach to urban planning by designing public space as-you-go. It is not clean, it is not concise; it is messy, it is human, it is ongoing.

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grids

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“Summer” (1964) Agnes Martin

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Grid drawing by Tineke Bruijnzeels-Verheij

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Grid drawing by Tineke Bruijnzeels-Verheij

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Brazilian Art at MUNAL admagazine.com

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“Set Deco” (1960s) Arne Jacobson

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Jeffersonian Grid Google Maps

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Map of New York City (1851) G. Hayward

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No-Stop City (1969) Archizoom Associati

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Bette Midler in a NYC Gay Batthouse

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Still from Paris is Burning (1990)

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Subway tile apartment Alan Buchsbaum

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Diagram from “Ladders” (1954) Albert Pope

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squares

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Capitoline Hill, Plan, after Michelangelo 1567

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Capitoline Hill. View

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Kalmar Stortoget, Caruso St John Architects, Kalmar, Sweden, 1999-2003

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View of Kalmar Stortoget

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Skanderbeg Square, Tirana, Albania, 51N4E, 2010

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View of Skanderbeg Square

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Qatar Foundation Headquarters, Doha, Qatar, Petra Blaisse, 2007-2016

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View of Qatar Foundation Headquarters

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project

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Grids of LA

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Hoover Street

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Hoover Street existing context

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Project Proposal

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James M Wood Blvd

blue square

Olympic Blvd

Pico Blvd

yellow square

Venice Blvd

Washington Blvd

red square

10 Freeway

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blue square

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yellow square

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73 5’

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Trees

High Shrubs

Low Shrubs Perennials

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red square

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