T. CRAIG SINCLAIR
I. Constructing Immersion
II. Line, Grid, and Field
III. Other Professional Experience
Museum of American Land........................................6 Philippine Supreme Court Competition.....................18 Architecture of Foam...............................................30 Swale................................................................42 28 Day Sculpture....................................................46 Air Conditioner, Light, Radiator, Elevator.................50
Line, Field, and Slow Food.......................................54 (Non) Figured Housing...........................................70 GAUD++............................................................78
House with Many Moons.........................................86 Master Plan for the Downtown Cultural Corridor.....92 Met Museum Manila Competition Presentation......102
I. Constructing Immersion: The senses, ecology, and infrastructure
Interior render of the “Pacific Northwest Rainforest” ecology Above: interior render of “Northwest forest” environment Constructing Immersion
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Museum of American Land Immersed in the Anthropocene Critic David Ruy, 2015
NATIONAL MALL, WASHINGTON, DC, USA: Alexander de Tocqueville, in his initial gauge of the American experiment, identified an abundance of fertile soil and (relatively) unclaimed land as the enabler of American democracy and liberty. But while Americans have a deep relationship with their land, the two have been considered separate subjects. Today, however, human influence is American land’s defining property, whether through industrial processes, climate change, or even designed acts of conservation. To quote, “Nature as we know it is a concept that belongs to the past. Humanity forms nature. Humanity and nature are one.” In this new paradigm, America is not just possible without its land, its land is not possible without America — the two are inter-reliant. This sentiment is best defined as the ‘Anthropocene,’ a term proposed by Paul Crutzen in 2000, to denote the humancentric contemporary Geologic Period. This project is a Museum of American Land for the National Mall. Capturing not only the most American of subjects, an institution presently absent from the mall, the building will educate and inform an American people who are ill-equipped to handle the challenges posed by the Anthropocene. Acting as a sort of inversion of Superstudio’s Continuous Monument, where modern rationality was extended into traditionally conceived natural space, this museum will subvert the man-nature divide by bringing the “new nature” indoors. Each interior is an environment where Americans can be present within these new ecologies in a tactile, sensory manner. Due to the overwhelming prevalence of modernist notions of interiority, where the haptic is reduced to pleasant absentia (the comfortable temperature room, the quiet space, the sustainable
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building), the visitor will sense and better comprehend the Anthropocene through the disorientation created when the “man-made” is employed to create a “natural.” The Northwest forest ecology (image at left) contains not only Douglas Fir, Sitka Spruce, and Western Hemlock, but the damp and cool air necessary to maintain the flora’s life emanating from HVAC ducts and sprinkler systems. Floors are mossy soil for root growth and light comes from LED lights tuned to a wavelength of 650nm, optimal for plant growth under artificial light and accounts for the pink/red light in renderings. Conversely, the Gulf swamp ecology (page 11, top) requires wading through knee deep water and the air is heated and humidified. Other environments include monoculture farms (page 7, top) fueled by pesticides, freezing Rocky Mountain mountain sides (page 7, bottom), and nine other environments, all housed in same building. To accommodate, the wall section resembles a reverse rainscreen (page 14), keeping each environment inside, instead of keeping the outside out. As most buildings on the National Mall are marble-clad, finelyarticulated rectangular prisms, the Museum of American Land externally presents as a series of stacked marble-clad boxes. The articulation comes not from intricate moulding, but from the engineering systems required to maintain the environments within the boxes, creating a conceptual reminder of the manmade-ness of the ecologies within. Unlike the Pompidou, each pipe and duct is sized according to contemporary efficiency guidelines, providing the public with a meaningful reminder of the human power necessary to maintain nature. In this sense human-centric rationality is not the intruder into nature, but the exterior framework that houses it.
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FLOOR PLAN
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“Everglades” environment hot, humid, wet HVAC systems “Broken Levees” environment cool, humid, wet Air locks Inter-environment stairs Emergency stairs Elevator core
Constructing Immersion
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“Arizona” environment hot, arid, dusty 2.5m interstitial service space Restrooms “Northwest Forest” environment cool, foggy, damp Office spaces Conference rooms
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Internal render of “Monoculture Agriculture” ecology
Internal render of “Rocky Mountains” ecology 9
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Constructing Immersion
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Los Angeles River Environment Rocky Mountain Environment Monoculture Agriculture Environment
Pacific Northwest Forest Environment Everglades Environment Nuclear Test Site Environment
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Elevation/section of maintenance spaces, highlighting the large volume necessary to maintain the internal environments Constructing Immersion
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Internal render of “Everglades” ecology, including standing water
Internal render of “Arizona” ecology, where the dry, arid environment is only accessed by looking out from a moist, cool, air-conditioned container 12
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Oblique exterior render Constructing Immersion
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Elevation render from Madison Drive NW
3D-printed model on site of National Mall 15
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“REVERSE RAINSCREEN” WALL SECTION
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10mm plywood floording finish Steel flooring structure 50mm marble rainscreen Weep and baffle ACM reveal Clip and attachments to wall Concrete wall waterproof membrane type FPO Thermal insulation 75mm low density rockwool Steel flooring structure
Constructing Immersion
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Wastewater piping Freshwater piping Heating brine main pipe 75mm thermal insulation low density rockwool Architectural concrete Active heating brine Waterproof membrane type FPO Water drainage mat Interior soil
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LED lights 650nm wavelength 600mm round ceiling diffusers stainless steel
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Constructing Immersion
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Philippine Supreme Court Competition A Loop of Bubbles Set Within Nature CAZA, 2016 Carlos Arnaiz, Partner-in-charge Lauren Kirk and Jin Yuan, Architectural Team Brian Markham, Arup, Structural Consultant Eugene Prokofiev, Arup, Security Consultant Pallavi Mantha, Arup, Sustainability Consultan
BONIFACIO GLOBAL CITY, PHILIPPINES: The Philippines is in an active process of nation-building: a cultural archipelago with 50 dialects, 30 ethnicities, and a history of being open to trade winds in all directions. Filipinos are a social tapestry of difference; as such, their greatest triumphs derive from the ability to work together and make the most of the country’s heterogeneous reality. In fact, the Filipino word for communal work, bayanihan, also illustrates the story of building a country (derived from the word bayan, referring to nation, country, town or community). The Supreme Court of the Philippines is an institution that helps bring together individuals through the traditions of discourse, reason, and justice. Though it is made up of many distinct entities, the Supreme Court building must perform like one integrated, seamless environment for the delivery of legal wisdom and judicial services. This building encapsulates the spirit of one place made out of an amalgam of unifying elements. To create this, functional requirements of the Supreme Court were analyzed and it was discovered that the courts work as one institution with six
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distinct spatial qualities. As such, program was put into six clusters and arranged around a central vertical courtyard. This enabled a reduction in building footprint and an expansion of green public space. The different divisions of the Supreme Court are all highly linked together, facilitating efficient workflows while making room for a deep connection with the local environment. The buildings acts as a totem of connectivity set within nature. The landscapes represent the diverse geographies of the Philippines from the cordilleras to the lush tropical jungles to the palm shaded beaches. The foundations of a just society can be supported by an architecture that envisions a new way of living on our planet. This is a building that aspires to connect with the legacy and tradition of tribal architectural in the Philippines, while employing new technologies to protect our environment. It is architecture that both responds to the day-to-day service needs of the Courts, and represents the country’s ambitions for a better and more principled future.
Render of lobby Constructing Immersion
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EXECUTIVE OFFICES
ADMINISTRATION
ADJUDICATION
SUPPORT
DISCOURSE
LIFESTYLE
Work environments were clustered into volumes according to the Supreme Court’s organizational chart. The programmatic volumes were then organized based on vital adjacencies, resulting in clear and logical organizations of space where circulation follows work flows and hierarchies.
SUSTAINABILITY
STRUCTURAL ANALYSIS TRANSFER AIR FROM LOWER CHAMBER, PRECONDITIONS FLEXIBLE PV UPPER CHAMBER LOUVERS
OVERHANG SHADING
SOLAR TRACKING LOUVERS
RADIANT FLOOR COOLING
LED LIGHTING
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HIGH PERFORMANCE CHILLED BEAMS ENVELOPE
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TRANSITION COOLING ZONE DISPLACEMENT VENTILATION
Demand placed on mega columns and perimeter truss around court volume
BUILDING-INTEGRATED PHOTOVOLTAICS TIGHTLY CONTROLLED COOLING ZONE
Typical spread of load and efficiency effects of the well-laid out column grid CONSTRUCTION STAGES mega columns, cores, 1 Cast and low-level zones.
ACCESS TO OUTDOOR AREAS
GREEN COVERAGE
Construct mid-level zones.
2 Temporary columns on
AIR INDUCTION UNIT
cantilever
Several demand reduction strategies are used to combat heat, including building orientation and shading to minimize solar gain, cross ventilation in semi-open spaces, a well-insulated thermal envelope, and high-performance windows with a frit pattern that mimics bamboo. Efficient equipment, LED lighting, and use of Air Induction Units (AIUs) also reduce internal heat. Cooling is achieved through displacement ventilation, radiant cooling and chilled beams, in conjunction with energy recovery. 21
Philippine Supreme Court Competition
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C. Security Office D. Medical and Dental Serices (MDS) D1 MDS D2 Ancillary Division D3 Dental Division D4 Medical Division
Constructing Immersion
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A. Entrances and Exits B. Data Center and Business Center C. Office of Administrative Services (OAS) C1 Meeting Room C2 Personnel Division C3 Employee Welfare C4 Property Division C5 Employee Leave Division C6 Employee Training C7 Records Control Division C8 Security Division C9 Maintenance & General Services Division C10 Complaints and Investigation Division
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Interior render of James Turrell-inspired En Banc Session Hall Constructing Immersion
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FLOOR 2 A. Conference Hall A1 500-Seat Auditorium A3 Storage
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B. Philippine Judicial Academy (PHILCA) B1 Conference Room B2 Office of the Chancellor B3 Office of the Vice-Chancellor B4 Office of the Executive Secretary B5 Faculty E3,4
C. Administrative Office (PHILCA) C1 Adminstrative Office C2 Conference Room C3 Corporate Planning Division C4 Administrative Division C5 Information Systems Division D2 Conference Room D4 Accounting Division
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B. Internal Audit Service B1 Conference Room B2 Operations Audit Division B3 Management Audit Division
C. First Division Clerk of Court C1 Conference Room C3 Minutes & Resolution Staff
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D. Second Division Clerk of Court D1 Conference Room D3 Minutes & Resolution Staff
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Interior render of 500-seat auditorium Constructing Immersion
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FLOOR 9 A. Office of Associate Justice of the Supreme Court A1 Chambers of Associate Justice A2 Justice’s Personal Assitant Office
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400mm Diameter Truss
30mm Diameter Aluminium Rod in Bamboo Color
Metal Panel Sidings in Rose Gold Color
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A. Parking B. Lobby C. Judge’s Entrance D.Museum E. Conference Hall/Auditorium F. Office of the Chief Attorney (OCAT) G. Printing Service H. Office of the Reporter I. Fiscal Management and Budget Office (FMBO) J. Office of the Chief Justice K. En Banc Session Hall
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Grotto L. Divisional Courts Session Hall M. Chambers of Associate Justices N. Staffs of Associate Justices O. Clerk of the Court En Banc P. Office of Deputy Court Administrator Q. Office of Administrative Services (OCA) R. Legal Office S. Office of the Hall of Justice T. Philippine Judicial Academy (PHILCA) U. Office of Administrative Services V. Training Center
Aerial render
Exterior render of ‘Arboretum’ garden Constructing Immersion
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Interior render of a Supreme Court Justice’s quarters
Interior render of the Justices’ lounge 29
InPhilippine Supreme Court Competition
Exterior render of Architecture of Foam from the southeast side, on the Hudson River Trail Constructing Immersion
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Architecture of Foam Fluidity in Structure, Envelope, and Site Critic Philip Parker, 2016
CHELSEA, MANHATTAN, NY, USA: The site of the Gansevoort Peninsula, between the Hudson River and the Manhattan neighborhood of Chelsea, lies at the confluence of three systems of fluidity: water, air, and the programmatic system of the city. This meeting point creates an intense moment of perception. The challenge for the site, then, was to architecturally capture the site’s environment and atmosphere in the program of an arts space to create a new mode of being present within the three systems.
unique experiences created by the plasticity of the envelope, this building creates new ways of relating to the world. Undulating surface, changing air pressure, and new perspectives, like being under the Hudson River, offer varying conditions that will result in new modes of behavior and sensory understandings of being immersed within. As this site is programmed for art presentation and art-making, these understandings will also result in new atmospheric artworks, emerging from and responding to these new conditions.
To understand this dynamic between site forces and architectural atmosphere, a series of watercolor experiments were performed (see page 27). Globs of pigment were soaked in standing water, which was then moved by brush around sheets of paper. Overnight, the water evaporated, and a remnant textured stain represented the dynamism of the prior night. However, the water machine was only present through its own basal unrest, the system no longer a system when dried into a static object. To actively capture the water machine, later experiments simulated site forces in a tub of water. Here, micro-atmospheres, housed in an inflatable envelope, were floated and manipulated (page 19, “relationship with site forces”). The plasticity of the inflatable envelope actively responded to the exterior conditions, while still maintaining a separate “inside,” proving to be a non-concretized strategy for deploying atmosphere that actively engages with the water-machine.
A multitude of inflated spaces were necessary because of the varying programmatic needs. To make the individual interiors work cohesively, forms of geometrical packing were explored. Weaire-Phalen geometry was chosen as it most closely resembles the tightest packing found in nature. By arraying a single, human-scaled unit (approximately 7’ in diameter) in three different ways, utilizing air-as-structure differently in each, every programmatic need was accommodated and the relationship between air and water furthered. The studio-scale spaces are packed as a foam field of inhabitable cells and are constantly inflated, achieving the maximum structural support necessary for people to climb on top of the foam in additional studios. A medium scale for group work consists of a hollowed single membrane Weaire-Phalen packing. These volumes are supported by a single, constant air pressure, allowing the membrane to be manipulated and undulate based on the relationship with exterior weather conditions and air pressures. The largest-scale installation spaces, needing the most rigidity, are held up by a connected set of Weaire-Phalen air pillows, acting as a spherical dome structure for interior inhabitation by artwork.
Learning from the tub experiments, this project constitutes a series of foam-like plastic inflatables floating in the Hudson River, offering architecture that mediates the systems of water, air, and program through interiority. Due to differing and
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STRUCTURAL AIR
WEAIRE-PHALEN PACKING
Studio Scale Group Work Scale Installation Scale
ART SPACES
RELATIONSHIP WITH SITE FORCES
Constructing Immersion
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Continual Input The constant fanning of air into the membrane supports the volume despite outside air pressure from weather and people on top. It is buoyant above water.
Consistant Pressure The air-sealed membrane allows for the greatest effect on envelope from changing outside air and water pressures in relation to the interior air pressure.
Air Exoskeleton Each Weaire-Phalen unit is pressurized, using air in each unit to support the weight of the other units. The resulting envelope displaces water and creates a steady volume.
Unit There are two units of identical volume: an irregular dodecahedron with tetrahedral symmetry (shown above) and a truncated hexagonal trapezohedrom.
Packing Lord Kelvin asked how best to divide a volume between cells of equal volume with the minimal surface area. Weaire-Phalen geometry is the best discovered solution.
In Nature Weaire and Phalen looked to nature to discover their structure. The efficiecy found in these foams allow minimal material use for packed geometries for architecture.
Studio Scale Akin to studio space, for artists who need more privacy or intimacy while intimately interacting with water and air.
Group Scale These larger spaces facilitate active performance that is responsive to air and water conditions.
Installation Scale The largest spaces are also the most solid, due to air-filled exoskeleton. Heavier projects can be assembled here.
Current Experiment The first experiment in the tub shows the lateral movement between units when water is moved from side-to--side, mimicking currents through the Hudson.
Tides and Sea Level Rise Experiment Another experiment shows the unit deformations under rising and lowering water levels from moving water in the tub.
Tied to Land Experiment Units move slightly differently when attached to land, in this case clay “islands� in the tub. Their deformations are less even.
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10t hA ven ue Hig hlin e
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Constructing Immersion
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Rendered section of “Installation Scale” Constructing Immersion
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Rendered section of “Studio Scale”
Rendered section of “Group Scale” 37
InArchitecture of Foam
Whitney Museum
Westside Highway
Axial Fan Intake
Anchorage Stucture
Duct
Entrance
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Welded Joints
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PRESSURIZED AIR CUSHION 1 PLY .015mm MYLAR 2 PLY .015mm MYLAR HEAT WELDED JOINT
Constructing Immersion
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Individual Spaces
Manhattan Schist Layer
Basalt Layer
Group Spaces
Passageway
Floating Ballast Anchor
Panel Templates
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AIR CAVITY WATER PUMP WITH1" INTAKE
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Air Pressurized Structural Pillow
Water-filled Ballast Pillow
Pillow Detail Section
Manhattan Schist Layer
Installation Spaces
Clamp Joint
SEE "AIR PRESSURIZATION VALVE"
Silt Layer
Air Pressurization Valve
PLASTIC ROD GALVANIZED METALPLATE
SEE "CLAMP JOINT"
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PRESSURIZED AIR CAVITY APPROX. 220 Pa
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VALVE INTAKE PLASTIC PLATE SILICONE SEALANT .015mm MYLAR MEMBRANE
Constructing Immersion
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Initial watercolor experiments. Globs of watercolor paint were soaked in water overnight, resulting in patterned stains illustrating the slow evaporation of the water. 41
InArchitecture of Foam
Barge render Constructing Immersion
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Swale Floating Food Forest As professional collaborator with artist Mary Mattingly, 2016
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A collaborative floating food project, Swale is dedicated to rethinking and challenging New York City’s connection to our environment. Built on a 130-foot by 40-foot floating platform, Swale contains an edible forest garden. Functioning as both a sculpture and a tool, Swale provides free healthy food at the intersection of public art and service. With Swale, we want to reinforce water as a commons, and work towards fresh food as a commons too. Built on a barge, Swale’s edible forest garden is taken to docking points around New York City, providing fresh fruits and vegetables to food deserts in all five boroughs, including the South Bronx, Goverernor’s Island, and the Super Fund site Newtown Creek. The project was acheived in coordination with several New York City public agencies and other art organizations.
Swale
Swale is an artwork. Art is integral to imagining new worlds. By continuing to create and explore new ways of living, we hope that Swale will strengthen our ways of collaborating, of cooperating, and of supporting one another. At its heart, Swale is a call to action. It asks us to reconsider our food systems, to confirm our belief in food as a human right, and to pave pathways to create public food in public space. My involvement was first to develop several renderings for Swale that could be used in multiple publications prior to construction on the barge. Second, I designed signage labeling each individual edible plant and for donor thank you signs. Lastly, I was involved with the construction of the work and the necessary gardening.
Barge render
Barge render Constructing Immersion
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School group on constructed barge
Image of barge as constucted in Brooklyn 45
Swale
Constructing Immersion
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28 Day Sculpture Building Nature Pratt MFA Sculpture Course Critic Mary Mattingly, 2016
BROOKLYN, NY, USA: 28 Day Sculpture is an exploration of man-made nature through the materials of building apparatus. In this Anthropocenic period, where humans are the most significant emergent property of what was once “nature,� it is important to explore new hybrid relations between humans and other organisms in a flat ontology. This project was achieved by keeping a living organism, in this case a tree, alive using only materials found within contemporary building. The tree was planted in concrete which created an entropic system of moisture, as concrete takes 28 days to dry after mixing, supplying the tree with water and nutrients during
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28 Day Sculpture
that period. 28 Day Sculpture ultimately lies in the relationship between the tree, the concrete, and the surrounding air. Light for photosynthesis was provided by LED grow lights, which are man-made lights meant to mimic the nourishing light of the sun. The sculpture no longer existed 28 days after it was created. The space that housed the work, an unused closet on the top floor of a student building, allowed viewers to be immersed in the work, giving the sense of being in a different world. The air quality, the smell, and the pink lighting created a foreign atmosphere for visitors, heightening the sense of a futuristic, hybrid system.
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Detail of effect of LED lightsW
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28 Day Sculpture
QR code link to binaural recording of piece. Best listened to with headphones. Available at: https://soundcloud.com/t-craig-sinclair/air-conditioner-light-radiator-elevator Constructing Immersion
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Air Conditioner, Light, Radiator, Elevator Soundscape of Infrastructure Critic Sanford Kwinter, 2015
BROOKLYN, NY, USA: The objective of Air Conditioner, Light, Radiator, Elevator was to expose the constant industrial soundscape found within every building. By playing individual industrial pink noises loudly, an alert listening-in-readiness state should be activated in the listener, shifting attention to noise generally blocked by the brain through attenuation. After such a recording fades to silence, the room itself should come to life, as the listener’s newly calibrated attention focuses on the existing soundscape that had always been present in the room, but left unheard. The project was accomplished with speakers placed throughout a gallery space, simultaneously playing a loop of four separate pink noises. Initial recordings were made from within the space on
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Air Conditioner, Light, Radiator, Elevator
contact mics and then arranged digitally. Each noise resonated loudly over all speakers for 30 seconds, followed by a minute and a half of the noise fading, slowly enough that the change in volume was imperceptible. The fade climaxed in 10 seconds of silence before the next noise played. Audience members who experienced the work were unable to identify the silences between noises and the end of the piece. Despite regularly occupying the particular room, the audience confused the building’s soundscape for sound played over speakers, as they had never been aware of the existing sounds before. Their attention had successfully been tuned to the listening-in-readiness state, finally hearing the building infrastructure that is usually silenced by the brain.
II. Line, Grid, and Field: Modernism and its tools
Abstract concept collage for project Above: concept collage Line, Grid, and Field
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Line, Field, and Slow Food Slow Food Grocery Store Critic Alexandra Barker, 2015 Lauren Kirk and Eric Salitsky, Architectural Team Meta Brunzema, Site Consultant Robert Kearns, Mechanical Consultant Sarrah Khan, Structural Consultant Sameer Kumar, Facade Consultant
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EL PASO, TX, USA: This group project was a grocery store on the border between the USA and Mexico, in El Paso. Interested in the slow food movement, this grocery complex explored slow food through the relationship between line and field. Line has implied directionality, so line-based areas of the building track a raw ingredient through its processing. These segments show the evolution that each food product takes from most raw to most processed, ultimately educating the consumer on how their food gets from farm to table. A green roof garden and anaerobic digester heighten this metaphor by showing the entirety of the food process, including grown food and disposed food, all in a sustainable manner.
Line, Field, and Slow Food
When the products combine to make something new, outside of the established line, the building dissolves into a field condition. The field condition is less directional and more atmospheric. The entire perception of the building changes as these moments, as this is where raw ingredients truly begin to become food Individual strands begin to move in the “Z� direction, stacking and diving into the ground. The interior section also changes, as thick, interior hanging gardens alter not only the interior envelope, but the atmospheric conditions within the space. Shoppers will know that the field condition is a special point in food processing because the architectural condition becomes experience-based, instead of diagram-based, in these areas.
Line, Grid, and Field
56
Photo of mixed-media project model
Interior render of “vegetables” department 57
Line, Field, and Slow Food
SANTA FE FREIGHT HOUSE
VILLA MARIA WOMEN’S SHELTER
SILVA’S SUPER MARKET PASO DEL NORTE PORT OF ENTRY
CENTER FOR AGRICULTURAL BORDER WORKERS
STANTON STREET PORT OF ENTRY
STANTON STREET BRIDGE
S TATE ED S T I N U ICO MEX
UNIT
ED S TATE S MEX ICO PASO DEL NORTE BRIDGE
INSTITUTO NACIONAL DE MIGRACIÓN
SITE PLAN (SHOWING BORDER)
RECAUDACIÓN DE RENTAS
Line, Grid, and Field
PRESIDENCIA MUNICIPAL
58
Render of roofscape gardens
Aerial photo of model, from west 59
Line, Field, and Slow Food
1 Loading Dock 2 Meat Freezer 3 Fish Freezer 4 Meat/Fish Curing 5 Butcher 6 Bulk Bins 7 Raw Vegetables
8 Raw Fruit 9 Bakery 10 Prepared Food 11 Salsa Bar 12 Beverage Bar 13 Checkout 14 Mechanical
9
13 14 5
4
6
7 3 2
13
13
13 14
14
14
1
GROUND FLOOR PLAN 1’ : 1/32” Line, Grid, and Field
60
10
12 14
13
11
8
61
Line, Field, and Slow Food
1 Dairy 2 Coffee Roaster 3 Education 4 Offices 5 Anaerobic Digester 6 Grey Water Filtration 7 Restroom
3
1
MEZZANINE FLOOR PLAN 1’ : 1/32” Line, Grid, and Field
62
BASEMENT FLOOR PLAN 1’ : 1/32” 7
5 6
7
2
4
63
Line, Field, and Slow Food
EAST ELEVATION
WEST ELEVATION
Line, Grid, and Field
64
LONGITUDINAL SECTION
CROSS SECTION
65
Line, Field, and Slow Food
3'-0" 7'-0"
DETAIL 1, A401 FLASHING PLANT BED DRAINAGE THERMAL INSULATION MOISTURE BARRIER
FLASHING PAVED WALKWAY DRAINAGE THERMAL INSULATION ROOT BARRIER MOISTURE BARRIER FLAT SLAB CONCRETE
3'-0"
14'-0"
FLAT SLAB CONCRETE
3'-0"
ROOT BARRIER
3 DEGREE TRUCK DECLINE SIDEWALK
15'-0"
MULLIONS CONCRETE COLUMN POLISHED CONCRETE FLOOR
DETAIL 5, A402
1’ : 1/8”
3'-0"
TYPICAL LOADING DOCK WALL SECTION
STEEL FRAMING STRUCTURAL ATTACHMENT PLANTER BOX POTTING PLANT IRRIGATION DRAINAGE DETAIL 4, A402 DETAIL 3, A402
7'-0"
3'-0"
14'-0"
1
PLANT BED STEAL T
FLASHING PLANT BED DRAINAGE THERMAL INSULATION ROOT BARRIER MOISTURE BARRIER 14'-0"
FLAT SLAB CONCRETE CONCRETE COLUMN POLISHED CONCRETE FLOOR DETAIL 2, A401
2
2
TYPICAL CANTILEVER WALL SECTION 1’ : 1/8”
TYPICAL FACADE WALL SECTION 1’ : 1/8”
Line, Grid, and Field
66
3'-0" 2'-0" 2'-0"
FLASHING
DRIP EDGE
PLANT BED
METAL FLASHING
DRAINAGE
CONCRETE PARAPET
THERMAL INSULATION 3'
ROOT BARRIER MOISTURE BARRIER MULLION 5'
13'-0"
FLAT SLAB 2' X 2' CONCRETE TRUSS WEB 3' GLASS BARRIER
PAVERS
CONCRETE TRUSS BOTTOM CHORD 1'
DRAINAGE THERMAL INSULATION ROOT BARRIER
2"
15'
6"
2'-0"
4"
MOISTURE BARRIER
12"
FLAT SLAB
TYPICAL CANTILEVER END WALL SECTION
4
1
TYPICAL PARAPET DETAIL 1’ : 1/2”
1'-0" 9"
2'-0"
1’ : 1/8”
ANCHOR SCREW 4"
DRAIN GRATING
JOINT PROTECTION
SIDEWALK PAVERS
PLATE GLASS
12'-0"
INSULATION
MULLION
1' CONCRETE FLAT SLAB
4' 4"
ASH FILLER
6" POLISHED CONCRETE SLAB
4"
2'-0"
2' FOUNDATION SLAB
5"
2" 8"
5 67
TYPICAL CELLAR WALL SECTION 1’ : 1/8”
2 Line, Field, and Slow Food
TYPICAL GLAZING DETAIL 1’ : 1/2”
VOLUME OF PLANT POT WOOD PLANT STAND
PRECAST CONCRETE TRENCH DRAIN
IRRIGATION
PAVEMENT
STEEL FRAME
2'
SLAB BASE GRATE
CONCRETE COLUMN
SCREW
4
TYPICAL FACADE/GROUND DETAIL
6
1’ : 1/2”
TYPICAL WALL PLANTER DETAIL 1’ : 1/2”
PLANT
2'
SOIL STEEL T SEPARATION
4"
4" DRAINAGE MAT
6"
6" INSULATION
1"
PAVERS
ROOT BARRIER
12"
VAPOR BARRIER
5
1' CONCRETE FLAT SLAB
TYPICAL ROOF GARDEN DETAIL 1’ : 1/2”
Line, Grid, and Field
68
UTILITY CONNECTIONS
UTILITY CONNECTIONS
UTILITY CONNECTIONS
ELE CT RIC AL RO OM
WA TER
UTILITY CONNECTIONS
FIR
E
ZONE 4
GA S
ELECTRICAL ROOM 2
1
ELE CT RIC AL RO OM
ZONE 2 ZONE 3 3
LING COO R E TOW
ELECTRICAL ROOM 4
ELECTRICAL ROOM 5
AHU CHILLER
INTAKE EXHAUST
ZONE 1
ELECTRICAL SYSTEM PLAN
MP 1 EP 1 LP 1 ELECTRICAL ROOM 1
MP 2 EP 2 LP 2 KP 2 ELECTRICAL ROOM 2
SWITCHBOARD
HVAC SYSTEM PLAN
MP 3 EP 3 LP 3 ELECTRICAL ROOM 3
MP 4 EP 4 LP 4 KP 4
MP 5 EP 5 LP 5 KP 5
ELECTRICAL ROOM 4
ELECTRICAL ROOM 5
COOLING CHILLER AHU TOWER ZONE 1
ELECTRICAL RISER DIAGRAM
69
HVAC RISER DIAGRAM
Line, Field, and Slow Food
ZONE 2
ZONE 3
ZONE 4
Above: interior render of a general assembly taking place in auditorium Line, Grid, and Field
70
(Non) Figured Housing Flexibility and Rigidity in Activist Housing Critic Carlos Arnaiz, 2014
SOHO, MANHATTAN, NY, USA: This project considers figured space and non-figured space and the impact of each on contemporary typologies in housing. Both types of space have particular programmatic qualities: figured space is quite rigid, while non-figured space is open and flexible. To push these ideas to a housing polemic, this project explores housing for the activist community. Due to the diversity of needs within the community, where different populations might reside in this building for varying time periods and purposes, there is a great need for flexibility.
71
(Non) Figured Housing
The non-figured, open plan leads to a flexible configuration, with different living arrangements floor to floor, accommodating the community’s range of temporalities and needs. But these groups also share certain values, like open dialogue and intellectual engagement. The figured space, designed around the forum and mediatheque, acts as the rigid, constant public gathering place within the building. The chain link mesh skin, which continues as it gets sucked from the exterior of the non-figured space to the exterior of the figured space, develops the relationship between the two spaces.
Line, Grid, and Field
72
73
(Non) Figured Housing
FLOOR 1
F LO OR 3
FLOOR 4
FLOOR 5
FLOOR 6
FLOOR 7
Line, Grid, and Field
74
FLOOR 8
FLOOR 11
75
FLOOR 9
LOOR 12
(Non) Figured Housing
FLOOR 10
FLOOR 14
SECTION Line, Grid, and Field
76
Activists living in tents on the non-figured open plan
Models from term, left to right, chronologically 77
(Non) Figured Housing
Line, Grid, and Field
78
GAUD++ Attractors and Waves with SOFTLab Critic Mike Szivos, 2015
79
HIGGINS HALL GALLERY, BROOKLYN, NY, USA: This exbibition of displayed works, showcasing GAUD student projects from the previous year, came together in a spatial catalog via precisely rotated, hanging panels. Their orientation revealed and obscured portions of each work, allowing visitors to move freely underneath and around the volume.
GAUD++
The field of panels undulates in a wave creating a series of vaulted cavities. These cavities provided a sense of motion and gave visitors space to venture and view works placed on pedestals below. The gradual rotation of panels towards the apex of each vault produced a visually dynamic filter to frame works in different ways regardless of the spectator’s position. The installation’s 860 panels were kept in line by a simple system of steel ball bearings and string, connected to an organized grid of CNC cut disks above.
Line, Grid, and Field
80
GRID AND ZONES
METAL BALLS
STRINGS
PANELS
PLAN OF PANELS 81
GAUD++
Line, Grid, and Field
82
83
GAUD++
III. Other Professional Experience: SD, DD, CDs, and Master Planning
Other Professional Experience
86
House with Many Moons A Home Facing the Sky CAZA, 2015 Carlos Arnaiz, Partner-in-charge Jessie Yang, Project Lead Agathe Cicaldi Minkyung Song Moritz Lehner
87
SANTA ROSA CITY, PHILIPPINES: A secluded retreat home outside of metro Manila, the home is a meditation on two modes of seeing: telescopic, up to the heavens, and terrascopic, out to the earth. Visitors are presented with two tall and heavy structures, clad in natural stone, registering an image of a new techno-tribalism. The social spaces are organized around a low-slung pentagon with a courtyard in the middle. The bedrooms pivot around a drum-shaped family room, located beneath the courtyard, that serves as a cooling chamber. Each bedroom has enclosed patios with moon-shaped oculi, which offer a distinct view to the sky, while also serving as venting chimneys.
House with Many Moons
The house sets up a counterpoint to its surrounding lush, tropical landscape through a constellation of carefully manicured gardens. This juxtaposition encapsulates the dualities inherent in the home: to be both present and detached from the shifting geographies of our planet. This project was selected as a finalist in the “World Building of the Year� awards for 2015.
Binoculars hang from her neck. She looks up to the heavens. Her conscience explodes with visions of celestial bodies falling in the garden. She is a lady of the stars and of the Earth. This is a home for her. We knew it had to be part ground, part sky. It could not dominate its surroundings with modernist cerntainty. This is a home with two ways of seeing. It looks out timidly with a slanted horizon or gazes upwards with eyelids clipped by the phases of the moon. Its geometry comes from a marriage of these two kinds of spaces. They tunnel down and project up. Intersections are the areas of solidity. The home appears to be excavated from these alien monoliths. She walks through her home both present and detached, measuring herself against this new Earth. Interior renDiagram of telescopic and terrascopic views and the building Other Professional Experience
88
Internal render of “ETS House” guest bedroom
Internal render of “the Oculus” 89
House with Many Moons
CONCRETE SLAB SILICONE SEALANT
CERAMIC TILES MULLIONS
EXTERIOR
INTERIOR
SHORT GLASS WALL 6MM STAINLESS STEEL SCREWS FIXED FRAME SHIM SPACE 19MM ALUMINUM PLATE 1.5MM SILL PLATE PRECAST CONCRETE SILL
WOOD FLOORING PLYWOOD DECKING SUB FLOOR BLOCKING SCREED STRUCTURAL SLAB
OPERATIVE LOUVERS
TYP. SLIDING GLAZING WITH GLASS RAILING EXTERIOR
INTERIOR I BEAM
3MM COMPRESSION VOID POLYRESIN FILLER CONCEALED BOLT 15MM MARBLE PANELS 20MM CAVITY CONCRETE WALL
SHADING
WOOD PANELING SILICONE SEALANT
FIXED FRAME SHIM SPACE 19MM ALUMINUM PLATE 1.5MM SILL PLATE PRECAST CONCRETE SILL GRAVEL
WOOD FLOORING PLYWOOD DECKING SUB FLOOR BLOCKING SCREED STRUCTURAL SLAB
CERAMIC TILE FINISH GROUT 3MM WOOD FLOORING PLYWOOD DECKING SUB FLOOR BLOCK SCREED STRUCTURAL SLAB
TYP. MARBLE & TILE CLAD PARTITION
ETS VILLA GLAZING SYSTEM Other Professional Experience
90
CONCRETE
3
STONEWALL BRONZE-CLAD WOOD FRAMING BRONZE-CLAD DOOR
BLOCK
5 A6.741
CONCRETE WALL BLOCK 20MM MORTAR 80MM STONE 3MM BRONZE CLADDING WOOD DOOR FRAME
WOOD FRAMING 3MM BRONZE SHEET VAPOR BARRIER
1732
RIGID INSULATION LEATHER INSETS LOCKSET 100MM STRUCTURAL WOOD 3MM BRONZE CLADDING PIVOT D25 RIGID INSULATION SCREWS
4
A6.741
2920
WOOD STUCTURE LEATHER INSET HANDLE
HANDLE FRAMING
PLANOMETRIC SECTION
LEATHER INSET LOCKSET
563
LOCKSET
CONCRETE WALL BLOCK 20MM MORTAR
ANGLE FOR RIANGULATION PIVOT AXIS WOOD FLOOR
ELEVATION
810
80MM STONE 3MM BRONZE CLADDING SCREW
PIVOT D25
WOOD DOOR FRAME
FLOOR LOCK HOLE
GASKET
CROSS SECTION
FRAME DETAIL
ETS VILLA ENTRY DOOR
LATCHSET 3MM BRONZE CLADDING BRONZE-CLAD DOOR HANDLES 300MM WOOD CLADDING
CONCRETE WALL 300MM WOOD PANEL CLADDING
CONCRETE WALL WOOD FRAME 300MM WOOD PANEL CLADDING WOOD SUPPORTS
45MM WOOD FRAME BRONZE DOOR HINGE 3MM BRONZE CLADDING WOOD DOOR FRAME
4 A6.761
LATCH HOLE CONCRETE WALL BRONZE WALL CLADDING
PLANOMETRIC SECTION LOCKSET HANDLE FRAME
CONCRETE WALL
DOOR HANDLE 3MM BRONZE CLADDING
INSET WOOD DOOR FRAME LOCKSET GASKET
FLOOR
ANGLE FOR TRIANGULATION FLOOR
3MM BRONZE CLADDING SCREW
ELEVATION
CROSS SECTION
FRAME DETAIL
GUEST 2 BATHROOM DOOR 91
House with Many Moons
5 A6.741
A
MASTER PLAN THE CITY OF REDMOND, WASHINGTON
FOR THE DOWNTOWN CULTURAL CORRIDOR
Document cover Other Professional Experience
92
Master Plan for the Downtown Cultural Corridor Codifying Relational Aesthetic City of Redmond Arts, 2013 Joshua Heim and Lisa Singer, Project Leads Janet Zweig, Artist Consultant John Marchione, Mayor Rob Leavitt, Arts Commission Chair Rob Odle, Planning Erika Vandenbrande, Planning Rebeccaa Borker, Public Works Cath Brunner, 4Culture
CLEVELAND STREET, REDMOND, WA, USA: Redmond is a city in transition. Traditionally an exurban white bedroom community with a ‘grain and feed,’ Redmond is now an edge city and the home of Microsoft’s central campus. As part of this transition, population has boomed, with the number of Downtown residents in 2016 double that of 2005. Newcomers to Redmond are diverse: most are immigrants from around the world arriving to work in the tech industry, all desiring to live close to their jobs and in a major urban hub. To accomodate the desires of the changing demographics, the City government embarked on a large uban development project to change the feel of its downtown from suburban strip malls to a walkable urban ecology. Acknowledging that infrastructure alone was insufficient for this transition, the purpose of the plan was to advance the notion of a “Cultural Corridor” within the emerging
93
Master Plan for the Downtown Cultural Corridor
downtown, activating and vitalizing Redmond’s new urban spaces through art and culture. The City of Redmond Arts Team, working with regional arts organization 4Culture, developed a committee of City employees and resident stakeholders, along with Brooklyn artist Janet Zweig acting as a consultant, to develop specific strategies and approaches that could be practically implemented in the downtown area. This master plan proposed eight goals for the corridor, including “emphasizing diversity through the cultural arts,” “art and culture around every corner at all hours,” and “a downtown that’s home to artists.” Each goal articulated a revolutionary approach to government-led, placemakingfocused public art, emphasizing social justice through relational aesthetic art: prioritizing community building experiences over individual installed pieces. This experiencial take is unique for an urban arts master plan.
B
FUNDAMENTALLY, AS A SPECIES, WE NEED THINGS THAT CAN FIRE OUR IMAGINATION, THAT CAN GET OUR PASSIONS GOING, THAT CAN…GIVE US A SENSE OF MEANING. AND THAT IS NOT A BRICK; IT IS NOT A PIPE; IT IS AN IDEA. THAT’S WHAT DRAWS CITIES FORWARD. –Edgar Pieterse, final words of the film Urbanized, directed by Gary Huswit
CONTENTS 2 LETTER FROM THE MAYOR
60 FIVE YEAR ACTION PLAN FOR IMPLEMENTATION, 2013-2017
6 REDMOND 2013 12 VISION 2030 16 INTRODUCTION TO THE PLAN • Redmond now: a pivotal moment for the arts • The purpose of this plan • Building a legacy through art • How to turn a place around with art • What do Redmond residents want Downtown?
28 GOALS FOR THE CULTURAL CORRIDOR • The cultural arts • A reputation for innovative cultural arts • Artwork around every corner, during all hours • An exceptional built environment • An anchor cultural institution • A downtown that’s home to artists • Destination quality artwork • A place where art can flourish • Becoming an art town • Redmond’s cultural assets
2013 Downtown Cultural Corridor Master Plan • Adopt this plan • Establish an Arts Coordinator • Integrate this plan into the City’s budget cycle • Distribute this plan to developers, businesses, landowners • Incorporate this plan into the City’s Transportation Master Plan 2013-2014 Cleveland Street Main Street • Facilitate the use of vacant retail spaces by artists and cultural groups • Incorporate art into the construction zone • Create street performance guidelines • Create public art guidelines • Complete a demonstration art project on the corridor • Study the feasability of an indoor or outdoor arts center
1
2015-2016 The Couplet Conversion • Develop effective tools to promote the arts Downtown • Celebrate the “festival street” with temporary art • Recruit existing cultural events to Cleveland Street and repeat temporary projects
38 STRATEGIES FOR ART • Connecting residents to the new Downtown through active participation • Listening to diverse voices • Taking advantage of the construction phase • Identifying Redmond-specific themes • Using a mix of permanent and temporary work • Having artists on your teams as idea-generators • Fostering public-private partnerships • Commissioning permanent artwork
2017 After Construction and beyond • Maintain a world class collection • Update this plan and establish periodic reviews
70 RESOURCES • Using vacant spaces for art • Creative placemaking • Public art and placemaking • Funding sources • References
50 ZONES FOR ART • Cleveland Street West (old town zone) for intimate participatory experiences • The Downtown Park for large scale art and performance • Redmond Way for art at transit stops and utility structures • Gateways and transitional spaces for light-based art • Virtual space for promoting connections and cultural events • Commercial empty space for art and experiences • The right-of-way as a platform for street performance • Cleveland Street East for artist studios • Central Connector for north-south connections
Other Professional Experience
72 ABOUT THIS PLAN • The process • The Redmond Arts Commission • The advisory committee • The Redmond City Council • The photographs
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VISION 2030
THE DOWNTOWN CULTURAL CORRIDOR
12
Art and cultural experiences have the power to cultivate a rich quality of life in Downtown Redmond. WE ENVISION Redmond being known as a first rate art town of the 21st century because of its vibrant Downtown Cultural Corridor. WE ENVISION a significant artistic statement in Downtown where people from all over the world come to be inspired and contemplate their humanity and common experience, where they return to in the future to discover new insights. WE ENVISION Redmond strengthening its reputation as an inventive and diverse community because of the ongoing opportunities in the cultural arts. WE ENVISION a successful and vibrant Downtown neighborhood where citizens and visitors have the unique experience of
Crowd at the opening of an Inside Out art installation by John Fleming, 2012, in a vacant storefront at the Veloce Apartments, Redmond. The Inside Out installation was a partnership between the Property Owners, Managers and the City of Redmond. Photo courtesy of City of Redmond.
WE ENVISION an exciting nightlife where the cultural arts such as live music, theatre and changing artworks are available yearround, 18 hours a day. WE ENVISION a Downtown where high quality urban design is achieved through partnership, where aesthetically pleasing streets and architecturally significant buildings make a stroll down Cleveland Street or Redmond Way as interesting when the shops are closed as when they are open. WE ENVISION a Downtown that is home to artists, where art supplies, musical instruments and theatre costumes are regular items carried on and off light rail trains, buses and bikes. WE ENVISION a signature cultural space for people to gather in Downtown that reflects the best of what Redmond has to offer: its history, people and future aspirations.
living with art and having diverse cultural encounters every day.
95
Master Plan for the Downtown Cultural Corridor
13
INTRODUCTION TO THE PLAN
PROJECTED RESIDENTIAL AND EMPLOYEE GROWTH IN REDMOND
Downtown Residents
2005
2016
2020
4,005
7,936
10,439
12,941
11,120
13,615
15,600
Downtown Employees 10,496
16
2030
Total Downtown
14,501
19,056
24,054
28,541
Overlake Residents
6,415
11,455
14,662
17,870
Overlake Employees
45,942
48,720
59,828
68,665
Total Overlake
52,357
60,175
74,490
86,535
City wide Residents
51,133
65,189
74,136
83,082
City wide Employees
85,139
89,599
107,328
121,447
Total Population
136,272 154,788
181,464 204,529
DOWNTOWN REDMOND NOW: A PIVOTAL
corridor will make the Downtown much
Many of the recommendations here,
MOMENT FOR THE ARTS
more appealing to retail, residents, and
especially during the transition, can be
People, in addition to re-designed spaces,
of the city. Public art – sculpture, murals,
visitors. But material changes alone will not activate the Downtown. The arts can play a significant role in turning the new Cleveland
accomplished relatively inexpensively. However, even cost effective strategies require sustainable funding and staff resources to be successful. There needs to be
exhibit spaces, performance, music, art in
Street into a “cultural corridor” that draws
vacant spaces, and cultural enterprises such residents, tourists, new businesses, and res-
residents and tourists. If the City sponsors art and culture at the beginning of this change, the arts can contribute significantly
a commitment to the arts after the Couplet Conversion, so that the arts can get an early foothold in the new urban streetscape, and become an established element in
taurants Downtown.
to the revitalization of Downtown Redmond
Redmond as it moves into its second cen-
mented. The Redmond Arts Commission
The City of Redmond is in transition. New housing is booming, with the number
by creating a stronger sense of identity and meaning, while bringing energy and economic development to the Downtown
tury. This is a pivotal moment for Downtown Redmond to use the arts to create vitality in the Downtown.
produced a Strategic Plan in 2009 that
core. The arts have been proven to jumpstart a city’s revitalization. In The Art of
THE PURPOSE OF THIS PLAN
will make Downtown Redmond vital, and the cultural arts can bring people into the core
as non-profits and creative retail -- will bring
of Downtown residents projected for 2016 to be double that of 2005, and continuing to grow. The City has embarked on a large urban development project that will significantly change the feel of the Downtown core. Greater density, the conversion of Cleveland Street and Redmond Way to two-way streets (the “couplet corridor”), a new pedestrian-friendly streetscape for west Cleveland Street, and significant streetscape changes to the entire couplet
achieve this vision. This strategy includes
economically vibrant and pedestrian supportive streets. The higher purpose of this plan is to advance the notion of a “Cultural Corridor” by recommending specific strategies and approaches that can be practically imple-
formulated a vision of Redmond as “A Community Inspired and Connected by
Regeneration, the authors remark “Artists and cultural organizations are urban agents
One purpose of this plan is to work along-
Arts and Culture.” Two of these strategies include creating a cultural focal point in Downtown by developing the public art
side the Cleveland Streetscape and Couplet
program to provide iconic pieces of art
par excellence, and have always contributed to the vitality and character of cities. In the United States, since the late 1960s,
Conversion projects by suggesting art expe-
they have shown how they can contribute to
the “main street” for Downtown Redmond,
and supporting the creation of a cultural corridor. These concepts were later incorporated into the Urban Centers section of Redmond’s Comprehensive Plan. The vision
urban renewal, often through the creation of studios and cultural quarters …”
and the City has developed a concept of “great streets” as an important strategy to
for Redmond’s urban centers emphasizes the roles for art and culture in creating
riences as key elements of the great streets strategy. Cleveland Street is being designed
Other Professional Experience
17
Downtown streets that contribute to and reinforce the Couplet Corridor as a destination and the heart of Downtown by creating
96
18
WHAT CAN PUBLIC ART ACTUALLY DO FOR A SUBURBAN COMMUNITY? PUBLIC ART CAN BEGIN TO CREATE A MENTAL SHIFT. IT CAN HELP A COMMUNITY BEGIN TO REDEFINE AND REIMAGINE THE NOTION OF SHARED SPACE, SHARED VALUES, AND COLLECTIVE COMMON INTERESTS. IT CAN BE A MEANS FOR RECLAIMING AND REGAINING A STAKE IN A SHARED PUBLIC REALM. MOST IMPORTANTLY, PUBLIC ART CAN ENCOURAGE SHARED RESPONSIBILITY AND STEWARDSHIP WITHIN A COMMUNITY AND HELP ITS MEMBERS CONNECT TO A LARGER SHARED HISTORY AND TO EACH OTHER. –Cynthia Nitikin, The Public Art Review
(Left) Limelight: Saturday Night by Sans Façon, 2010 - ongoing, multiple cities. Theatre spotlights are an invitation for passers-by to temporarily transform the street into a stage. This passer-by activates a London street.
vibrancy. The Downtown Cultural Corridor
creation and placement of public art.” This
Master Plan provides a synergy between these three goals – the great street, cultural
program was adopted in 1991 and designates 1% of the budget for capital facility
corridor and urban center – and suggests how city capital investments and re-devel-
projects (buildings and parks) to be allocated to public art. Since then, 30 permanently
opment of the Downtown can be utilized as a catalyst for both Downtown’s larger vision and change and growth in the cultural arts.
sited outdoor artworks have been commissioned or are maintained through the public art program.
BUILDING A LEGACY THROUGH ART
The City of Redmond began investing in art and culture in 1987 when the City first
of policies in the Comprehensive Plan that build on this legacy of integrating the arts into public places. Arts-related policies in
established the Redmond Arts Commission “to enhance the quality of life available to
the Comprehensive Plan promote the vision of the parks, plazas, art, pathways and open
the Redmond Community.” By 1990, the Arts Commission completed and adopted the city’s first Art Plan. The chief recom-
spaces in the urban centers as being part of a cohesive system of public spaces that is integral to distinguishing the Downtown as
mendation at that time was to create a
“people places.”
As recently as 2011, the City adopted a set
funding mechanism for public art known as the Percent for Art program. The purpose of this program is to “create a variety of cultural opportunities for its citizens and to enhance the cultural environment in the community by engaging and promoting the
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Master Plan for the Downtown Cultural Corridor
19
GOALS FOR THE CULTURAL CORRIDOR
28
Redmond aspires to become an arts desti-
on Redmond’s Downtown City Hall Campus
A REPUTATION FOR INNOVATIVE
nation. But what is Downtown Redmond’s niche? An identity built around the cultural arts is a viable opportunity for the Downtown
blends old to create new for an audience
CULTURAL ARTS
a sense of discovery and delight. Pop-up art in vacant spaces can also bring in pedes-
By 2020, Redmond is known regionally
trians as do arts nonprofits such as music
Cultural Corridor.
of 15,000 people. The festival’s headlining band for the past three years has been Delhi to Dublin, described by the British
as a place where talented people come to exchange ideas, innovate and create new
Redmond is known for its rich history as a logging and agricultural town, beauti-
Broadcasting Corporation BBC as, “The Vancouver-based collective combines dhol,
art and art forms. Visitors from around the Pacific Northwest come to Redmond
halls, theaters and galleries. Artwork that is active and engaging or even functional makes a stroll down Cleveland Street mem-
ful natural beauty, small-town community feel and strong tech sector. Redmond also
fiddle and breakbeats in an Irish/Asian stew that is surprisingly varied, a marvelously
aspires for world-class urban amenities and growth in the digital arts and interactive media sector that is concentrated primar-
wide-ranging and free-thinking concept.” Do festivals like this have to be contained to
from spring to fall expecting to see original artworks or participate in cultural experiences that are new, or, re-interpretations of
ily in Overlake, Redmond’s second urban center. Surrounding Eastside cities have laid claim to art niches including: visual arts and craft in Bellevue; musical theatre and
orable for people of all ages, even at night. AN EXCEPTIONAL BUILT ENVIRONMENT
traditional art and cultural expressions. By
People instinctively know they are in a special place because the streetscape, includ-
THE CULTURAL ARTS
2030, Redmond’s reputation has grown into a year-round destination for the cultural arts. Creativity is not the exception, but the
ing adjacent buildings, is beautiful. Quality materials and the fine-grain details of the sidewalk, building facades and public plazas
The cultural arts encompass all types of
rule in the Downtown Cultural Corridor.
are a source of pride among city employees, residents and property owners.
the City Hall Campus?
creative endeavors and blur the boundaries experiential festivals in Issaquah; music and between them. They exist at the crossroads special events on the waterfront in Kirkland; of creative expression and innovative ideas. and, film and music in Woodinville. Blending object and experience, cultural art What’s left for Downtown Redmond? emphasizes creative thinking and utilizes Downtown has been a place where the both traditional art forms, experimental cultural arts are celebrated with growing
forms, and collaborative ventures to create
popularity. For example, the annual Ananda Mela Joyful Festival of India that takes place
new cultural expressions.
ART AND CULTURE AROUND EVERY CORNER, DURING ALL HOURS Artwork, street performers and creative enterprises encourage people to stroll up and down Cleveland Street and throughout the Couplet Corridor. Episodic artwork, i.e, smaller art elements that repeat along the Couplet Corridor, engage pedestrians with
Other Professional Experience
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A DOWNTOWN THAT’S HOME TO ARTISTS Working artists support themselves by regularly finding opportunities, inspiration and the tools of their craft in and around Downtown. Resident artists are the lifeblood of any vibrant cultural district. Opportunities to make art, perform or contribute to com-
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ART RAISES ALL OUR PROPERTY VALUES. AS IT MAKES THIS AREA A BEAUTIFUL DESTINATION -response to the Redmond Art Survey
mercial products fuel the creative economy
30
experiencing new cultures and making
major goals of the proposed Downtown
art. Above all, it means creating a gathering place specifically designed for art and cultural activities.
Cultural Corridor. The outcomes are expressed as a menu of vibrancy options, each with a different level of vibrancy based on duration (seasonal or year-round) and qual-
THE COST: A MENU OF OPTIONS
ity (local, regional and national). It is impor-
FOR VIBRANCY Culture is an investment. The cost of culture is not precise but it is real and is a function
tant to understand that culture is not all or nothing. That is, for Redmond to be vibrant all year with nationally recognized cultural arts does not require an anchor arts orga-
family photos or corporate communications.
of both healthy patronage and participation. There are startup costs, capital costs and
open onto Cleveland Street, Redmond Way or a connecting street like Leary Way. Year
A PLACE WHERE THE CULTURAL ARTS CAN FLOURISH IN REDMOND
annual costs for the production, marketing and maintenance of artworks and cultural experiences. In a sustainable model, these
nization with a $30 million a year budget, operating in a $130 million dollar facility with a $25 million piece of public art across the street. A vibrant cultural arts scene
round quality programming provides a loyal patrons at home and elsewhere a reason to repeatedly travel to Redmond to experi-
The citizens of Redmond participate in the creative process and have meaningful
costs are shared among many stakehold-
requires touchstones at all levels.
that that will, overtime, keep artists and their energy in Redmond. The streets of Downtown feature artist supply stores, bookstores, fabricators, print shops, multimedia studios and other establishments that allow artists to produce artworks and experiences close to home. AN ANCHOR CULTURAL INSTITUTION An arts organization produces important art in a state-of-the-art facility whose doors
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DESTINATION QUALITY ARTWORK A handful of significant artworks reinforce Downtown Redmond’s image as an international destination for creative people and companies. Civic spaces, such as the future Downtown Park or Light Rail Station, are important gathering places because of the magnetic pull of one-of-a-kind artworks. These artworks are embraced by citizens and companies and are often featured in
ence original artworks. Restaurants, hotels
cultural experiences together in one place. In response to the question, “What kind of
and other businesses cross-promote with this organization that furthers the identity of Redmond as an art town.
art does Redmond need?” respondents of the Redmond Art survey ranked first “an art center for exhibits, classes, and residen-
ers: artists, audiences, government and the private sector both for-profit and nonprofit. No one actor is left holding the bag; rather, each play a role in cultivating a rich cultural arts scene that is dynamic and vibrant.
cies.” Public feedback collected as far back
The table below can be used as a guide for understanding the scale of investment
as 2006 has indicated that Redmond longs for a shared space for exchanging ideas,
required for a desired outcome. It shows estimated capital and annual costs for the
Master Plan for the Downtown Cultural Corridor
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3 4 48
4
49
2 6 1
7 8
6
9
SOME OF THE AVAILABLE SPACES DOWNTOWN
Other Professional Experience
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FIVE YEAR ACTION PLAN FOR IMPLEMENTATION, 2013-2017
2013 DOWNTOWN CULTURAL CORRIDOR MASTER PLAN Critical actions to take in the first years provide the policy direction to implement
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with various departments to prioritize and
partners is needed to lay a sustainable groundwork for the new initiatives and programs recommended in this plan.
ADOPT THIS PLAN
implement public art projects through the Capital Improvement Programs (CIP) process, six year departmental capital programs based on the City’s biennial budget
Redmond has a rare opportunity during
cycle. In addition, the City will evaluate the
the Couplet Conversion to allow the arts to
general fund budget for arts staff to administer these projects.
nate urban design and cultural agendas among local artists and arts organizations, businesses, private-sector developers and
the recommendations in this plan.
help revitalize the Downtown corridor.
This is the moment to begin the work of making Redmond a special place through arts and culture and adopting this plan is the first step. But it will take will, effort, and a sustainable financial strategy by the City to let the arts serve this function at this transitional moment. This opportunity should not be missed!
property owners and managers. In the long ESTABLISH AN ARTS COORDINATOR
The City’s Art Program currently provides and maintains public art, public programs, grant opportunities and cultural planning to artists, citizens and visitors in order to
term, these additional responsibilities can be taken up by a community organization. For example, the City of Tacoma invested in an Arts Coordinator to organize the Spaceworks Tacoma Program during its formative stages. Since then, the Tacoma Chamber of Commerce has stepped in to both fund and house this position.
IMPLEMENT THIS PLAN THROUGH THE
cultivate the arts across the city. To maintain Redmond’s reputation as a culturally vibrant community at the same time
CITY’S BUDGET PROCESS
aid in the development of an exceptional
A dedicated and sustainable funding mecha-
DISTRIBUTE THIS PLAN TO ARTS
Downtown is to become a reality.
Downtown Cultural Corridor will require a fresh approach to how cultural services are delivered both short-term and longterm. An Arts Coordinator housed within
With reliable and predictable yearly budget projections, city staff can coordinate
the Art Program that interfaces across City departments and with community
tion. Current and future developers are and
nism for the arts is essential if the vision for a culturally and economically vibrant
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This includes providing a level of oversight and teambuilding to successfully coordi-
vision for the “great street.” Providing every business owner, developer and landowner
with a copy of this plan is one way to integrate these stakeholders into the City’s vision for a Cultural Corridor. This should include a summary of the vision and opportunities to contribute as well as a schedule for public outreach aimed at developers, property managers and businesses to learn more. Some topics could include how to upgrade groundfloor retail space from business commercial to assembly space conducive to cultural activities, tools for developers to find and work with artists and how to create artist housing.
NONPROFITS, DEVELOPERS, BUSINESSES AND LANDOWNERS The first step in collaboration is communicawill be critical partners in implementing the
Master Plan for the Downtown Cultural Corridor
(Below) Pop-Up Art Loop sign by the Chicago Loop Alliance, 2005.
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THE MET LAB NEEDS A TEAM TO FULLY FACILITATE THE FILIPINO CULTURAL EXPERIMENT
Slide 12
The penultimate slide in presentation Other Professional Experience
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Metropolitan Museum of Manila Competition Presentation Cultural Museum as Laboratory CAZA, 2015 As project lead Carlos Arnaiz, Partner-in-charge
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MANILA, PHILIPPINES: CAZA was invited to be a finalist to design the Metropolitan Museum of Manila in the Philippines. The request was officially for a brief, 15 minute presentation outlining an initial project concept and showing past work. The competition was by invitation, with others including Gensler. CAZA’s approach involved deconstructing the cultural attitudes of the Philippines. The young country has been a colony of several countries over the past centuries, which had profound impact on Filipino culture. The Museum sees its mission as to cultivate a distinct sense of Filipino culture. Traditionally, that has been manifested through shows of historical artifacts, but recently the Met has shifted towards an emphasis on contemporary art in the Philippines.
Metropolitan Museum of Manila Competition Presentation
Our team explored what the Filipino cultural experiment had come to mean and where it might fit within contemporary models of the museum. After deliberation, the CAZA team decided to propose “the Met Museum as a Laboratory,” where the museum is designed around different modes of art- and culture-making, each with distinct infrastructural needs to eventually be addressed by the architecture. These laboratories could feasibly be open to nonartists, as well, adding a layer of transdiciplinary knowledge for culture-making in the institution. At time of printing, CAZA was in contract discussions with the Met Museum as unofficial competition winners.
INTERNATIONAL MODELS FOR THE CONTEMPORARY MUSEUM
DIVERSE WHITNEY MUSEUM
GUGGENHEIM BILBAO
POPULIST
ICONOCLAST
TATE MODERN
INFRASTRUCTURAL
1
4
WHAT IS THE MODEL FOR THE PHILIPPINES?
2
BRICOLEUR
5
GEO-SPECIFIC
GEO-SPECIFIC
DIVERSE
3
BRICOLEUR 6 Other Professional Experience
CUMULATIVE
COLLABORATIVE
ADAPTIVE 104
FILIPINO MODEL FOR THE CONTEMPORARY MUSEUM
CUMULATIVE
COLLABORATIVE
ADAPTIVE
7
THE MET MUSEUM WILL BE ADAPTIVE
BUILD A MUSEUM THAT CAN EVOLVE TO FOSTER THE CHANGING NEEDS OF THE CREATIVE INDUSTRY IN THE PHILLIPINES. 10
THE MET MUSEUM WILL BE CUMULATIVE
THE MET MUSEUM AS LABORATORY DESIGN A MUSEUM WHOSE LAYOUT ENABLES VISITORS TO UNDERSTAND THE RELATIONSHIP BETWEEN GEOGRAPHY AND ART IN THE PHILLIPPINES.
8
11
THE MET MUSEUM WILL BE COLLABORATIVE OUR CAZA TEAM CREATE A MUSEUM WITH SPACES FOR ARTISTS TO WORK WITH EXPERTS AND THE PUBLIC ON PROJECTS THAT ENGAGE THE DIVERSE STORY OF THE PHILLIPINES 9 105
13
Metropolitan Museum of Manila Competition Presentation
T. Craig Sinclair is a Brooklyn-based, Seattle-raised architect, whose practice lies at the intersection of architectural, artistic, and critical thinking. With influences ranging from Buckminster Fuller to Peter Sloterdijk to Robert Smithson, his work explores issues of immersion and interiority through the building technologies and architectural strategies of modernism. Informed by contemporary understandings of perceptual apparatus, building engineering, the city, and Anthropocenic ecologies, Sinclair’s builds relationships between people, ecologies, and being within. Sinclair received a Master of Architecture in May 2016 from Pratt Institute Graduate Architecture and Urban Design in Brooklyn, New York, and holds a Bachelor of Arts in Philosophy and Political Science from Linfield College in McMinnville, Oregon. Thanks to Alexandra Barker, Catherine Ingraham, and Carlos Arnaiz for their feedback on this document. Most important thanks to Tom and Elizabeth Sinclair and Lauren Kirk for their love and support through school and this process. www.tcraigsinclair.net
T. Craig Sinclair
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