DODGERTOWN | Rensselaer Architecture Final Project

Shelley J. Warner

DODGERTOWN

Final Project Sequence F19-S20

A Look at the City and Stadium Under the Transformations of the 21st Century

Shelley J. Warner Chris Perry Rensselaer School of Architecture May 2020 Bachelor of Architecture

Table of Contents Abstract Thesis Statement History/Precedent

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Ludwig Hilberseimer | Highrise City O.M. Ungers | Green Archipelago Rem Koolhaas | EXODUS and Delirious New York Urban-Nomadism | A Growing Lifestyle Krysztof Wodiczko | Homeless Vehicle Étienne-Louis Boullée’s Coliseum Design Precedent | LOT-EK Design Opportunity | Autonomous Vehicles

Research & Working Methodology

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Chavez Ravine | Site Condition Formal Building Logic Spatial Use Schematic

Project Development

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Plan Logic Application Development | User Interface Financial Strategy | Private and Public Synthesis Archipelago Logic | A City within a City

Conclusion/Future Work

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Bibliography Image Citations

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1. Rem Koolhaas and Madelon Vriesendorp, City of the Captive Globe, 1972

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Abstract During the 20th century both Ludwig Hilberseimer and O. M. Ungers were wrestling with the transformations of their respective cities. Hilberseimer was concerned with the impact of capitalism on the city, and the live/ work relationship under this condition – as it is intimately connected to architecture. Ungers was intrigued by West Berlin’s depopulation – seeing this as an opportunity for architectural intervention.

Pier Vittorio Aureli expanded upon the work of these two figures by discussing urbanism as it related to the duality of modern day economic markets and cultural needs within the public. He framed the argument in terms of a “city within a city” – forseeing a new urbanism in the wake of the rapid transformations of the city – as a means to understand and respond to such changes.

2. Ludwig Karl Hilberseimer, Friedrichstadt Highrise City, 1928

At its core this project questions: How might we see cities under transformation in the 21st century and what are the current challenges for navigating the needs of private and public interest? And are these interests mutually exclusive, or as Aureli suggests, can we see a mutually inclusive relationship that may also engage architecture as a medium to facilitate this synthesis?

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Thesis Statement There is an opportunity to create a new architectural typology that responds to both the needs of the private and public sectors by merging the stadium and it’s site with new paradigms for dwelling and living accommodations.

The stadium sits at an intersection between social gathering and profit through sales/advertising, while the mobility of the urban-nomad questions an evolution to society and how we define “housing”. Both of these ideas blur the boundary between private and public. Furthermore, the employment of autonomous vehicles can provide us with new sites for architectural intervention at these stadia: the parking lots. With car sharing used by the financially stable population we can free up a myriad of sites across cities to engage this series of design challenges and opportunities.

Is there a typology of architecture that can emerge in order to connect and further blur the lines between the conditions of private and public?

In response, this new typology will begin to activate space that is mutually beneficial to both the private and public sectors within the 21st century city.

Los Angeles is the epitome of the 21st century city – defined by its urban sprawl and dependence on the car. With many stadia built and owned exclusively by the private sector, LA offers a myriad of sites for intervention.

LA’s Dodger Stadium offers a prime site with 16,000 parking spaces available. With the newly vacant lots, a new community center can be developed for the urban-nomadic population that creates an archipelagolike urban condition: a city within a city. Discarded methods of transportation – such as shipping containers – can be used as building materials that can be easily reconfigured into community centers to meet the needs of the urban-nomad.

3. (upper image) Aerial view of LA’s Dodger Stadium’s parking lot full on a game day 4. (lower image) Port of Los Angeles showing shipping containers stacked along the coast

This new typology of community center can provide them with basic essentials, such as: a place to eat, bathe, work, and leave their belongings safely. The cost will be funded through advertisement models that benefit the LA Dodgers team owners. The advertising will be both a branding and way-finding technique employed on the site. The project is cognizant of LA’s billboard culture, maintaining a connection to the city and its history, but also strives to develop a new paradigm for how it can be employed. The advertising will allow for the development of the project, funding to keep the site open for urban-nomadic living, and allow for their companies to play a role in this altruistic condition.

In turn, the LA Dodger’s will benefit from the profit and readaptation of their site, the businesses will benefit from new iconogrphic advertising,

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and the local population will have an affordable and safe place to live.

DODGERTOWN is a synthesis of both private and public interests coming together in order to innovate architecture that responds to the future living conditions of the 21st century city.

5. Sunset Strip at night displaying the billboard culture of LA

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6. Ludwig Karl Hilberseimer, Highrise City (Hochhausstadt), 1924

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History/Precedent At the turn of the 20th century new forces hit the city – generating a wave of transformation amidst forces of urbanization. In Pier Vittorio Aureli’s book, The Possibility of an Absolute Architecture, he broaches the idea of an “absolute architecture” in order to rectify the challenges the contemporary city faces with these new changes emerging.

By “absolute”, Aureli means that the architecture can be separated from its context and stand “resolutely itself”. It is a unique idea that looks to the larger context created by architectural monuments. He addresses core works that reflect his idea of an absolute architecture. He even addresses the idea of an archipelago-like condition, where the architecture acts as islands in a sea of structures.1

7. Elia Zenghelis, Hotel Sphinx in Times Square, 1975.

Axonometric view (painting by Zoe Zenghelis). The hotel block as the ideal form for social housing.

Aureli’s readings of 20th century projects from Hilberseimer, Ungers, and Koolhaas directly inform how one can interpret the transformations of the 21st century city. His ideas and the projects he is interested in help frame the discourse in terms of the urbanized center vs. the polis. Furthermore, he offers the archipelago as a potential scheme to bridge the two, which grew out of Ungers’s work for West Berlin in a time of great change, crisis, and instability.2

1. Pier Vittorio Aureli, The Possibility of an Absolute Architecture (Cambridge, MA: MIT Pr., 2011), ix-46.

2. Pier Vittorio Aureli, The Possibility of an Absolute Architecture (Cambridge, MA: MIT Pr., 2011), 2015), 177-227.

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3. Richard Anderson, Horizontal/Vertical: Ludwig Hilberseimer Confronts the Metropolis, in OASE #97 (Rotterdam Netherlands: NAi Publishers, 2016), 43-52.

4. Pier Vittorio Aureli, The Possibility of an Absolute Architecture (Cambridge, MA: MIT Pr., 2011), 2015), 177-227.

5. Rem Koolhaas, Delirious New York: a Retroactive Manifesto for Manhattan (New York: The Monacelli Press, 1994) 29-79.

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8. (top left image) O.M. Ungers, Green Archipelago Project: The within a City, 1977. Manifesto drawing done with Rem Koolhaas, Pieter Riemann, Hans Kollhoff, and Arthur Ovaska.

9. (upper image) O.M. Ungers, Neue Stadt Housing Complex, 1961-1964. Spatial parti diagram conveying the positive and negative “void-space”.

10. (lower image) O.M. Ungers, Neue Stadt Housing Complex, 1961-1964. Coined a “City of Rooms”.

DODGERTOWN | Shelley J. Warner Ludwig Hilberseimer | Highrise City Hilberseimer’s 1924 scheme entitled “Highrise City” was looking at ways to combat the forces of capitalism amidst the desire for a new cultural city center. In this project, he sought to address the live/work relationship, claiming one could move through a city vertically between home and office.

Horizontal platforms united the separated volumes – uniting the space between.3 While Hilberseimer’s approach is not suitable for today’s city’s social and economic climate, it can teach us how to think critically of their relationship.

As cities expand outward and upward, we must think of how they can still maintain a sense of identity and freedom of circulation for the individual.

Oswald Mathias Ungers | Green Archipelago Project In the same vein, Pier Vittorio Aureli analyzes O.M. Ungers’s Green Archipelago project for West Berlin by claiming that it too unites the space between separated structures of West Berlin, creating a ‘city within a city’.

Amidst the city’s depopulation following WW2, Ungers began to notice that remnants of the city were left idle, claiming that each structure acted as an: “island in an archipelago of large-scale artifacts.”4 He saw the depopulation as an opportunity for design to unite the autonomous parts into a whole through the “void space”. It became an opportunity to find a relationship between urbanism and the city. In his Neue Stadt Complex in Cologne he looks at the positive and negative space – or the “void space” – as a means for uniting the separate parts.4 Rem Koolhaas and OMA | EXODUS and Delirious New York Koolhaas, after working with Ungers on his Green Archipelago project, became aware of the “splintering effect” that was dividing various parts of London. He began to employ a literal expression of this with his project titled, “EXODUS, or the voluntary prisoners of Architecture”.4

11. (upper image) Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis, EXODUS, or the voluntary prisoners of Architecture, 1972.

This is not unlike the mass exodus from Manhattan to Coney Island that Koolhaas describes in his book, Delirious New York, in which people are seeking refuge from the urbanistic Manhattan - as it is overrun by a notion of “progress”. Instead, Coney Island is a place of escape, concerned with experimentation, fantasy and “pleasure”.5

12. (lower image) Coney Island’s Luna Park at night, the fantastical world comes to life at night, creating a new, second daylight.

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“The tent life, forget it,” said Chris Eakin, standing along Evans Avenue in San Francisco.

Eakin was soaking some dishes with soapy water on the pavement next to his faded orange-andyellow RV. “My sink|broke down in there, so I got to do it out here,” he explained. Inside his DODGERTOWN Shelley J. Warner vehicle, his “babies”, a yellow labrador named Blondie and a brown-and-white mutt named Mimi, barked at the approach of a stranger.

Urban-Nomadism | A Growing Lifestyle Design Problem Urban-nomads are considered to be people drawn to, or thrust into, a mobile lifestyle, bound to their cars for their place of residence. With ownership and permanence moving out of favor, are subscription models becoming a more desirable form of dwelling?

On the other hand , roughly 16,000 people live out of their cars in the city of Los Angeles – a city plagued by a high cost housing market. The average person would need to make $50/hr to afford median house prices. Many living out of their cars have no safe place to park their vehicles at night.

While some people choose this lifestyle, many do not. This project is interested in both parties. What they appreciate is the experience of community and freedom generated through this lifestyle. Are there clues that we can take thelife. urban-nomad about more ways of life and dwelling?

Eakin moved into his first RV at one of the lowest pointsfrom of his He had been living in a adaptable tent on

Chris Eakin with his dogs Mimi, left, and Blondie, right, inside his RV parked on Toland Avenue in San Francisco, California. Photograph: Jason Henry/The Guardian

the streets after losing his work in flooring following a back injury.Wodiczko One day, he|left his camping Krysztof Homeless Vehicle Project

Design Precedent

https://www.theguardian.com/us-news/2019/aug/05/california-housing-homeless-rv-cars-bay-area

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Can we begin to change the narrative of what we consider “dwelling” for the homeless and semi-homeless? This is a question at the forefront of Krysztof Wodiczko’s Homeless Vehicle project. He is not proposing a permanent, nor temporary solution, but a means of opening up a discussion about alternate forms of dwelling.6

13. (upper image) Image of a semi-homeless man, Chris Eakin, living out of his RV after losing his job due to a disability and having no place to live with his two dogs, without the fear of theft and danger.

14. (lower image) Anonymous tiny home. A staple of the urban-nomadic lifestyle. People can keep a smaller residence and travel without the burden of upkeep and cost.

6. Dick Hebdidge, The Machine Is Unheimlich: Krzysztof Wodiczko’s Homeless Vehicle Project (Walker Art Center.

Walker Sightlines, 2012), 1-12.

7. Pier Vittorio Aureli, The Possibility of an Absolute Architecture (Cambridge, MA: MIT Pr., 2011), 2015), 141-176.

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Wodiczko’s project provides a sheltered space to sleep, “private” space to use the toilet, a wash basin/bbq, and storage locker to hold belongings or plastic bottles – a common trade of the urban-nomad as a source of income. While the piece stands in art galleries, rather than the street, it offers us a clue about the lifestyle and daily needs these people possess.6 Boullée’s Coliseum | A Space for the Free Individual Historical Precedent A key idea of the urban-nomad is the freedom he/she enjoys. Aureli argues that Étienne-Louis Boullée’s design for a coliseum in France employs symmetry as an expression of equality. He claims Boullée is also exploring how freedom of accessibility and circulation can impact the experience for an individual within a large-scale public space. In this way, the monolithic stadium, becomes a space for freedom and the individual through tactics of circulation and connectivity to the city.7

DODGERTOWN | Shelley J. Warner

Krysztof Wodiczko’s Hom Design Precedent

Can we begin to change th consider “dwelling” for the hom This is a question at the forefro Homeless Vehicle project. H permanent, nor temporary so opening up a discussion about 18. Krzysztof Wodiczko, Homeless Vehicle, 1988-1989. Art piece being used by an anonymous homeless man while folded up into its mobile position.

Krzysztof Wodiczko’s Homeless Vehicle project, part of image)Krzysztof a 1980’s Wodiczko, exhibition shedding 15. (top Homeless Vehicle, light on this 1988-1989. Art installation. growing cocnern. The project is meant to 16. (middle image) Krzysztof Wodiczko, Homeless Vehicle, 1988-1989.

Artist sketches.wash basin, toilet, and storage provide refuge, 17. (lower image) Étienne-Louis Boullée, Coliseum for France, Cutaway section and elevation. for the1782. homeless.

Wodiczko’sWodiczko’s project provides Krzysztof Hoa “private” to use the toilet part of aspace 1980’s exhibitio storage locker to hold belong growing cocnern.

The common trade of the homeless provide refuge, washWhile ba small source of income. galleries, rather than the street, it for the homeless. lifestyle and daily needs these

10 | Hebdidge, Dick. “The Machine Is Unheimlich: Krzysztof Wodiczko’s Homeless Vehicle Project.” Walker Art Center. Walker Sightlines, Augus https://walkerart.org/magazine/krzysztof-wodiczkos-homeless-vehicle-project.

11 | “16,000 People in L.A. Now Live in Cars, Vans and RVs. But Safe Parking Remains Elusive.” Los Angeles Times. Los Angeles Times, June 10, 20 13 https://www.latimes.com/local/lanow/la-me-homeless-safe-parking-los-angeles-20190610-story.html.

10 | Hebdidge, Dick. “The Machin https://walkerart.org/magazine/k

DODGERTOWN | Shelley J. Warner Design Precedent LOT-EK Architects New York City based firm and partnership, founded by Italain couple, Ada Tolla and Giuseppe Lignano, LOT-EK is an architectural practice that utilizes the shipping container as an opportunity to create architecture out of seemingly discarded and unusable industrial pieces.

The Italian couple left their home country for America and fell in love with the industrial textures of NYC, Las Vegas, and LA. They saw rusted pieces of scrap metal and shipping containers as an opportunity to brand a name for themselves.

They use stacking, cutting, slicing, slipping, sliding, contorting, etc. as a means to alter the containers into new and imaginable forms. They use the facade as an opportunity for contrast, exploration, and iconography, with each project taking on its own unique personality.

For this project, we are interested in the shipping container because is explores ideas of mobility and stasis. Once on the back of flat-bed trucks, the shipping container is a low cost, high impact space making device. At the liberty of the architect, they can be altered and combined into new spaces for inhabitants to enjoy. Furthermore, the shipping container speaks to the simplicity and mobility of the urban-nomad concerned with this project.

LOT-EK’s practice provides clues into how one can not only design with shipping containers, but brand a space with them as well. As real estate is fixed to the container’s predetermined dimensions, the exterior walls become an activated fifth facade. They are as much a part of the project, as the spaces within. LOT-EK also proves that architecture can engage space of change and dynamism in this new contemporary moment.

19. (upper image) LOT-EK, Puma City, 2008. This pop-up shop for Puma allows for retail space, party decks, and the ability to compact itself into 24 shipping containers for mobile transport across the globe.

20. (lower image) LOT-EK, Drivelines Studios, 2017. The 75,000 sqft housing and retail project utilizes upcycled ISO shipping containers in a V-shape in order to create a dynamic living space mixed with exterior program.

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DODGERTOWN | Shelley J. Warner Design Opportunity Potential with Autonomous Vehicles Where can we find land to design safe structures for the urban-nomad to park their cars in the evening?

Autonomous vehicles have been growing in interest and potential. They offer a new means of transportation with a wide array of versatility. MIT Media Lab has proposed the integration of car sharing as a means to reduce congestion caused by car traffic, perform tasks for users, and move onto a new job quickly.

This model is also being adapted to air traffic with Uber Elevate, which is expected to take shape by 2023. It will move travelers between cities like Dallas and Los Angeles. With this, the paradigm of transportation can evolve.

Considering this, how can parking lots around car-dependent cities evolve to actively engage this new land potential?

21. (upper image) Work from MIT Media Lab Smart City and their studies into autonomous vehicles.

22. (lower image) Uber Elevate is a new initiative for travel by 2023.

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Research and Working Methodology My personal interest and passion for stadia led me to LA’s Dodger Stadium.

The site was both provocative and full of potential to serve a larger public and private use. After visiting the stadium in December of 2019, I was able to see it under construction for the All-Star Game of 2020. Touring a majority of the stadium, both grounds and offices, allowed me to see how the space is configured and used. It gave me a deeper understanding of Walter O’Malley’s original vision for the ballpark to be deeply connected to the beautiful, natural ladnscape surrounding the site. The key idea of the site: the love of an American pastime in the sunny city of LA. My site research and working methodology was to look into the team’s history. I spoke with the team historian, Mark Langill, read written correspondence between Walter O’Malley and his hired architects (such as Buckminster Fuller and Emil Praeger, an RPI alum), and spoke with local fans. The goal was to learn as much about the history of the site and its people, so that the thesis project can address real concerns. It was important to understand the context surrounding the stadium, and its history because it led me to design a project that speaks to the larger demographic of the city: the urban-nomad.

23. Dodger Stadium main parking lot.

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24. Ink wood block print of Dodger Stadium and the rolling hills of LA’s Chavez Ravine.

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Chavez Ravine | Site Condition Chavez Ravine is an L-shaped canyon in Elysian Park, Los Angeles.

Originally named for an LA councilman, Julian Chavez who purchased the land in the 19th century, Chavez Ravine is now home to the LA Dodgers and their baseball stadium. The site was once considered prime land, but was left underdeveloped. Sold by the city to Walter O’Malley, the original owner of the Dodgers, in order to develop one of the first stadia in LA to be entirely funded by the private sector, Chavez Ravine took on a new relationship between landscape, architecture, and city.

The site overlooks the financial district of Downtown LA, with views of the Hollywood sign, and the local flora and fauna. O’Malley felt the site would assert a connection between the stadium, the city of LA, and his team. He used blue (ocean), yellow (sun), dusty orange (dirt), and green (foliage)as the colors of the seats in the stands, with each tier depicting to a different aspect of the local landscape. Chavez Ravine is a site not only rooted in LA’s history, but the breadth and depth of the California hills.

25. Chavez Ravine before construction 26. Chavez Ravine during construction of Dodger Stadium

Built by Emil Praeger, a Rensselaer Polytechnic Institute alumnus, architect, and civil engineer, the stadium is highly engineered to survive the many earthquakes of California. It’s famous cantilevered design help root it structurally into the ground, which is unique compared to other stadia.

Dodger Stadium is dug into the hillside, whereas many other ballparks sit of flat ground and emerge prominently, rather than tucking and hiding in the landscape. Furthermore, the design O’Malley envisioned was for a perfectly symmetrical park. Dodger Stadium is currently the only ballpark that possesses a perfectly symmetrical set of dimensions. It is the third oldest major league baseball stadium left in the U.S., and it is considered to be one of the most beautiful. Dodger Stadium is a site for a true baseball fan, and lover of nature.

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27. (above images) Photograph of Dodger Stadium from the upper deck stands.

28. (right images) Series of photographs as one progresses through the various decks of Dodger Stadium and the field.

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Formal Building Logic This project utilizes the shipping container and the dimensions of a standard parking space to generate both the formal logic, and it’s ability to propagate across a myriad of parking lot sites throughout the city of LA. Level 3 - Most Public

8.5’

Level 2 - Semi-Private 9.5’ 40’

Level 1 - Most Essential 8.5’

8.5’ 8.5’

8.5’

The Parking Space Level 3 - Most Public Outdoor Terrace Bathrooms Acting as the set dimension of roughly 9’ wide by 18-20’ deep, the parking Restaurants - Sponsor Companies x3 40’ Pods = 1000sqft space becomes the initial module. The shipping container can consume the 2 - Semi-Private space of either one orLevel two parking spaces, and they can be organized Shared Office/Reading Space Outdoor Terrace according to various programs: interior space, exterior parking, or exterior Bathrooms Kitchens 4-6 Parking Spaces green space.

PRIVATE VS. PUBLIC

x6 20’ Pods = 1000sqft

4-6 Parking Spaces

A new architectural typology is generated by synthesizing the private and public sectors in order to respond to the current and quickly evolving urbanism of LA. Much like the work of Hilberseimer, my project looks at how the society can inform architectural methodologies in 21st century cities amidst forces of campitalism, stasis, and dynamism.

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Three-Tier Stacked Approach The project seeks to utilize simple maneuvers of rotation and stacking in order to create formal interest and spaces for light to filter down to the lower levels. There will be no more than three floors, designated by local ordinances and the limitation of elevators for low-cost/low-maintenance building. With that being said, the primary program is located exclusively on the first floor; which also designates the quantity of people using each pod. This will also allow for full accessibility to those with a disability.

FORMAL BUILDING LOGIC

ORGANIZED PARKING AND MODULES OF SHIPPING CONTAINERS 8.5’

Level 3 - Most Public Level 2 - Semi-Private

8.5’

9.5’

9.5’

40’ 8.5’

20’ 8.5’

Level 1 - Most Essential 8.5’

8.5’ “POD” COMMUNITY CENTERS

x6 20’ Pods = 1000sqft

x3 40’ Pods = 1000sqft

4-6 Parking Spaces

4-6 Parking Spaces

Micro-Community Clusters Each pod will be able to house between 15-20 inhabitants. Either six 20’ containers, or three 40’ long containers (about 1000 sqft for either Level 3 - Most Public Outdoor Terrace Bathroomswill be allocated for 4-6 inhabitants. This is the quantity of space scenario) Restaurants - Sponsor Companies determined to meet needs of function and comfort. They will have a Level 2 - Semi-Private Shared Office/Reading Space Outdoor Terrace designated parking space, lockable storage locker, respective kitchen, and Bathrooms Kitchens bathroom spaces. There will also be office and lounge spaces, but these Level 1 - Most Essential programs will Outdoor Park Space be primarily located on upper floors. Each pod will act like DODGER ORGANIZED PARKING AND CoveredSTADIUM Seating Bathrooms a micro-urban condition: a city within a city.CONTAINERS they will propagate across the PRIVATELY OWNED LAND MODULES OF SHIPPING Kitchens

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Shared Office/Reading Space Lockers

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Level 1 - Most Essential

Outdoor Park Space The POD Covered Seating Bathrooms the project to designate a collection of shipping A “pod” is a term used within Kitchens ADVERTISING Spacegreen space and parking allocated container volumes andShared theOffice/Reading respective Lockers to each cluster. Across one parking lot there will be a series of pods. In the PUBLIC IN NEED OF SAFE parking lot developed throughout the project, there are 11 pods. Each pod LIVING ACCOMODATIONS will be named after a Dodgers team member and their respective jersey number.

MONETARY SCHEME

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ENCLOSURE VS. POROSITY

20’

The Shipping Container Starting with 4 sizes varying in height and length, the shipping container allows for: structural rigidity, ease of fitting into the parking lot grid, and plays off of the ideas relating to mobility/stasis.

9.5’

ENCLOSURE VS. POROSITY

8.5’

PRIVATE VS. PUBLIC

M AND

PUBLIC IN NEED OF SAFE LIVING ACCOMODATIONS FORMAL BUILDING LOGIC

DODGERTOWN | Shelley J. Warner

Level 3 - Most Public

DODGERTOWN | Shelley J. Warner

Level 2 - Semi-Private Level 1 - Most Essential

entirety of the parking lot and spread across the site as a field. This creates a series of islands within a sea of parking, which generates “the archipelagolike effect of large scale artifacts”.

LOGIC

PRIVATE VS. PUBLIC

0’ Pods = 1000sqft

6 Parking Spaces 40’

9.5’

8.5’ 8.5’

ENCLOSURE VS. POROSITY

Level 3 - Most Public Outdoor Terrace Bathrooms Restaurants - Sponsor Companies

Level 2 -Public Semi-Private Level 3 - Most

Shared Office/Reading Space Outdoor Terrace Bathrooms

Level 2 - Semi-Private Kitchens

Level 1 - Most Essential

Outdoor Space Level 1 - MostPark Essential

Covered Seating Bathrooms Kitchens Shared Office/Reading Space Lockers

x3 40’ Pods = 1000sqft

ces

4-6 Parking Spaces

Unger’s Spatial Parti Diagram of 61-1964 Neue Stadt Housing ex in, Cologne. Conveying the e and negative “void-space”. ger’s Spatial Parti Diagram of 1-1964 Neue Stadt Housing x in, Cologne. Conveying the and negative “void-space”.

ER

53 DRYSDALE PRIVATE VS. PUBLIC

0sqft

ENCLOSURE VS. POROSITY

53 DRYSDALE

2 LASORDA

Level 3 - Most Public Outdoor Terrace Bathrooms Restaurants - Sponsor Companies

Level 2 - Semi-Private Shared Office/Reading Space Outdoor Terrace Bathrooms Kitchens

Level 1 - Most Essential Outdoor Park Space Covered Seating Bathrooms Kitchens Shared Office/Reading Space Lockers

2 LASORDA

32 KOUFAX 32 KOUFAX

ULLY

LY N

N

29. Series of diagrams depicting formal development and building logic.

Porosity and Privacy The containers will possess the most private spaces on the first floor. As one moves up in the facility, they will find more flexible and public programs.

This will be reflected in the facade condition, with more light and outdoor terraces on the upper floors. The idea is that as you move up in the building, you are still connected between the separated volumes, creating a vertical community. The porosity of the facade will connote this change in spatial program and use.

The Void-Space As each pod is distinct in it’s siting and layout, they are still connected to one another through the void space. The third floor is reserved for more cafelike public space rented out by local businesses. It is these spaces where one can bridge between each pod community. The idea is that one larger urban condition is created: the entire parking lot acting as a city. This also happens within the scale of each pod on the second floor. In this region we see internal bridging between the distinct shipping containers of each pod cluster through roof terraces that link up the various volumes. The idea is that the space between the architecture is equally as active in the project as the interior volumes.

Branding Creative advertising permeates the project as a way-finding tactic, monetary platform to reduce inhabitants costs, and to generate unique opportunities for branding and artwork. Each pod is designated a player with their jersey number for nomenclature, but they are also assigned a sponsoring business and their logo. This enhances way-finding by allowing people to locate their respective pod more easily. It also creates opportunities to activate the shipping container facades to play off of the billboard culture of LA. The terraces are a space where the advertisements become a backdrop to daily life. In addition, they are not merely slapped on, but tailored in how apertures are cut, and transitions emerge between tiers and volumes.

The branding becomes an iconic piece of each pod. With Dodger Stadium primarily devoid of advertising, it allows the team owners a great platform to make money with their parking lot. More importantly, it helps to fund the project with little to no cost for the inhabitants.

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Spatial Use Schematic

30. (left image) Schematic spatial diagram of a pod.

Developed using the formal building logic and modularized grid of a parking lot.

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Spatial Use Schematic As a new urban condition, the project is seeking to set up a series of social spaces that are intimately woven into private program, parking, and outdoor space. The idea is that the shipping containers are not put into a previously developed site, but instead create their own urban fabric within a more desolate parking lot. It takes the module of the parking space as the basis for the grid it will propagate along.

Considering this logic, the program can be maximized into each module.

The spaces between each shipping container become public volumes, either green space or terraces. Either way, the spaces are interconnected.

Each pod possesses a series of programs and each can be used by the people temporarily staying within each cluster. The goal is to create microcommunities that become part of a whole, while still maintaining their own individual identity. Each spatial cluster will take on its own brand and identity through it’s nomenclature and corresponding sponsor. This will play off of the type of community each pod possesses.

You can see here a series of three-dimensional schematics of how the scheme will propagate. Currently, the site is somewhat imagined, but as a specific lot at Dodger Stadium is chosen, the scheme will work specifically to its pattern and grid of parking to allow for minimal intrusion to traffic flow.

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DODGERTOWN | Shelley J. Warner

Project Development LA’s Dodger Stadium sits as a prominent site in the city, overlooking the downtown area and local Chavez Ravine. It is host to 16,000 parking spaces, amongst a series of parking lots on the site. Parking lot F, highlighted by the brighter blue hatch, is the particular lot of interest to display how the scheme will work on the site.

After speaking with the LA Dodgers Team Historian, Mark Langill, I was able to gain a deeper understanding of the ballpark, major landmarks, and general team history. Lot F is situated along the principle entry axis to the stadium: Vin Scully Avenue. It is a major processional site, and it is along the ring-road-like system that surrounds the ballpark and reserved parking lots immediate to the stadium.

Considering each lot, the site plan reveals each region for parking is relatively flat, with opportunity to build where the asphalt surface is a dominant force. The future of the LA Dodgers and the interest for a new dwelling typology in the city for urban-nomads can be united with the proposed scheme. Both private and public institutions can benefit from this project, fostering a productive use of rendered useless sites as technology advances and needs change. Furthermore, one can begin to tackle the idea of blurring between private and public interests. Dodger Stadium is a privately owned site, but has the ability to benefit the city (once the need for consistent parking lot use has changed); therefore, there is great potential to create a synthesis scheme using the design tactics outlined for the project.

N

31. Site Plan of Dodger Stadium and its parking complex as a site for a proposal of DODGERTOWN.

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DODGERTOWN | Shelley J. Warner

ans | Zoomed-in to One POD Sequential Plans | Zoomed-in to One POD

Ground Floor | POD 2 LASORDA

Ground Floor Plan | Detail Ground Floor | POD 2 LASORDA

Floor39 Plan | Detail Third Floor | POD 2 LASORDAThird + POD CAMPY Third Floor | POD 2 LASORDA + POD 39 CAMPY

Ground Floo

Ground Floor Context Ground Floor Plan|| Zoomed-in Detail - Lasorda 2 Pod

32. (above right images) Ground level plan zoomed into one pod.

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DODGERTOWN | Shelley J. Warner

Plan Logic The plan works in a few key ways at each level. The logic of the first floor is to allow for open access and ease of mobility, derived from Aureli’s reading of Boullée’s coliseum. In addition, it blurs between each pod cluster to generate a micro-urbanism: a new dwelling and city typology. The second floor acts to define each pod as it’s own artifact: the island. The floor is meant to increase public and office program, as well as introduce the roof terrace to connect each shipping container. The third floor begins to unite each pod island into a collection: the archipelago. The clusters are united through cafe-like spaces that increase public activity and openness of the facade.

The plan works to develop the entirety of the parking lot site, while engaging the ideas of the discourse rigorously. Each maneuver considers the impact upon both private and public interests – always striving for a balance, harmony, and synthesis. The plan helps to bring a modularized clarity to the site in order to have both equity and efficiency.

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Scheme in Parking Lot F

DODGERTOWN | Shelley J. Warner

AA

BB

Ground Floor Plan | Scale 1’-0” = 1/16”

33. Ground level plan of DODGERTOWN proposal on the site of parking lot F at Dodger Stadium.

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N

Ground Floor Plan | Parking Lot F

DODGERTOWN | Shelley J. Warner

Ground Floor Plan | Scale 1’-0” = 1/16”

N

31

DODGERTOWN | Shelley J. Warner

Ground Floor Plan | Scale 1’-0” = 1/16”

34. Second level plan of DODGERTOWN proposal on the site of parking lot F at Dodger Stadium.

32

N

Second Floor Plan | Parking Lot F

DODGERTOWN | Shelley J. Warner

Second Floor Plan | Scale 1’-0” = 1/16”

N

33

DODGERTOWN | Shelley J. Warner

Ground Floor Plan | Scale 1’-0” = 1/16”

35. Third level plan of DODGERTOWN proposal on the site of parking lot F at Dodger Stadium.

34

N

Third Floor Plan | Parking Lot F

DODGERTOWN | Shelley J. Warner

Third Floor Plan | Scale 1’-0” = 1/16”

N

35

DODGERTOWN | Shelley J. Warner

Ground Floor Plan | Scale 1’-0” = 1/16”

36. Roof level plan of DODGERTOWN proposal on the site of parking lot F at Dodger Stadium.

37. (pg. 36-37 ) Cross section of DODGERTOWN proposal on parking lot F site.

38. (pg. 38-39) Longitudinal section of DODGERTOWN proposal on parking lot F site with details of each pod.

36

N

Roof Floor Plan | Parking Lot F

DODGERTOWN | Shelley J. Warner

Roof Plan | Scale 1’-0” = 1/16”

N

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DODGERTOWN | Shelley J. Warner

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DODGERTOWN | Shelley J. Warner

Cross Section AA | Full

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DODGERTOWN | Shelley J. Warner

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DODGERTOWN | Shelley J. Warner

Longitudinal Section BB | Full

Longitudinal Section BB | Detail 1- Left Half

Longitudinal Section BB | Detail 2 - Right Half 41

DODGERTOWN | Shelley J. Warner

User Interface | Digital Application Design

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DODGERTOWN | Shelley J. Warner

Application Development | User Interface For a user to visit the site there is a design opportunity to create a digital application that can connect a potential urban-nomadic user to the services and spaces provided to them by the scheme. One can simply make a profile on their phone or tablet and select the necessary accommodations and services they desire.

They will be matched with a pod and corresponding unit that meets their needs and is available for the length of time desired. They can then book the reservation for little to no cost, as the bill is mostly footed through advertisements from sponsoring companies.

The technology acts as a support to the way-finding tactics employed on the site. It highlights the reserved pod and respective facilities available to the user. It directs their route on a map of the site for ease of access, and provides them with a list of other services found in each pod. The main goal is functionality that is also fun and interactive. The design for the app will use the Dodgers's colors and logo as a connection to the site and it’s importance in helping facilitate the project. It would be no different than looking for a game day ticket on stubhub.com or the team website. The idea would be to also see an interface between tickets and use of the parking lots for those that want to make more of an event out of their day.

39. Collection of drawings for DODGERTOWN proposal depicting a user interface app for a cell phone. Three drawings display an map with marked site, reservation/ profile page, and general pod information respectively.

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DODGERTOWN | Shelley J. Warner

40. Digital app design featuring aerial rendering of parking lot F for DODGERTOWN proposal.

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DODGERTOWN | Shelley J. Warner

41. Digital app design featuring aerial rendering of parking lot F zoomed in for DODGERTOWN proposal.

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DODGERTOWN | Shelley J. Warner

tegy

ology is zing the ctors in e current anism of work of looks at inform ogies in st forces s, and

PRIVATE Guggenheim Baseball Management (Team Owner) developable land

PUBLIC

Private Businesses

capital investment

The City of LA tax incentives for affordable housing

Urban-Nomads

temporary use

developed temporary dwellings mobility

affordable dwelling

ow how involved ute both into the der to ationship l. In turn, scheme a new re that is e private

less burden on the tax payer to develop affordable housing

platform for income private ownership economically vital - easily propagated

incentive to maintain quality

BLURRING

46

subscription reservation site becomes active throughout the day iconographic culture

DODGERTOWN | Shelley J. Warner

Financial Strategy | Private and Public Synthesis A new architectural typology is generated by synthesizing the private and public sectors in order to respond to the current and quickly evolving urbanism of LA. Much like the work of Hilberseimer, my project looks at how the society can inform architectural methodologies in 21st century cities amidst forces of capitalism, stasis, and dynamism.

This diagram seeks to show how each of the four parties involved in my project contribute both resources and needs into the larger system in order to facilitate a symbiotic relationship that is economically vital. In turn, the economic system the scheme demands is informing a new paradigm for architecture that is concerned with both the private and public interests.

The organizational chart displays the interconnected nature of the proposed financial strategy – both the private and public institutions and parties involved are woven together. They are not only mutually benefitting from the scheme, but their synthesis is the vital component that makes the strategy feasible.

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DODGERTOWN | Shelley J. Warner

Archipelago Logic | A City within a City The connection with Ungers’s Green Archipelago project relates at 4 different scales: 1) The individual “POD” groups 2) Each individual parking lot 3) The larger site of Dodger Stadium 4) Propagation of the model to all stadia in LA At the city scale the scheme can propagate across LA to other athletic venues with large quantities of parking to fulfill need – generating a series of “cities within the city of LA”. Thus the island-like stadia become linked through the “void-space” and take on an archipelago-like quality as shown by the drawing.

At the scale of the parking lot and pod there is a notion of complexity with each collection of volumes. They nest into one another and alter as you move up through the project. There is also a clarity of a micro-urban condition in the ground floor plan of the entire parking lot. Each pod is somewhat indecipherable between the mix of parking and green space. It is not until you look at the poche diagrams that you begin to break down each cluster.

42. (right image) Series of diagrams depicting the archipelago logic at the four scales (individual pods, individual parking lot, Dodger Stadium site, city of LA stadia) for DODGERTOWN proposal.

43. (pg. 50-51) Graphic rendering depicting use, advertising, and activity for DODGERTOWN proposal in parking lot F at Dodger Stadium.

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The archipelago condition at each of the four scales is a response to the typology of urbanity created amidst these new transformations to the 21st century city. This connection with Ungers’s work is a core idea that helped develop the project, and reinformed how effective it can be for 21st century cities.

DODGERTOWN | Shelley J. Warner

Interior Space Asphalt/Parking Space Ground Floor Plan | Archipelago Detail Green Space + Unused Roofs Roof Space - Usable

Second Floor Plan | Archipelago Detail

2 LASORDA

1 “PEEW WEE” Reese

42 RO

BINSO

N

39 “CAMPY” Campanella

4 SNID

ER

32 KOUFAX

53 DRY SDALE

19 GILLIAM

24 ALSTON

20 SU

TTON 0 SCU

LLY

N

49

DODGERTOWN | Shelley J. Warner

50

DODGERTOWN | Shelley J. Warner

51

DODGERTOWN | Shelley J. Warner

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DODGERTOWN | Shelley J. Warner

Conclusion/Future Work The excitement of the project is seeing how it directly addresses and combats new, and emerging forms of urbanism in order to unite the private and public sectors. It has become clear that our 21st century cities can not exist exclusively with one or the other, but must find an architecture that unite the two. It is with Ungers’s and Aureli’s work and belief in the archipelago typology that opportunities can be explored for this contemporary society.

The scale of the stadium offers a unique opportunity for employing such notions.

It is possible to see this scheme taking hold with the development of autonomous vehicles. As technology advances, our notions and paradigms for spaces we take for granted, such as parking lots, can be altered in order to produce architecture that looks forward to the future and the everchanging environment of 21st century cities and their populations.

44. Dodger Stadium main parking lot.

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DODGERTOWN | Shelley J. Warner

Bibliography

Image Citations

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Cambridge, MA: MIT Pr., 2011.

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Richard Anderson. “Horizontal/Vertical: Ludwig Hilberseimer Confronts the Metropolis,” in OASE #97: Action and Reaction in Architecture: Actie En Reactie In Architecture (Rotterdam Netherlands: NAi Publishers, 2016), 43-52.

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“Walter O’Malley : Official Website.” Championship Rings.

Accessed January 12, 2020. https://www.walteromalley.com/.

“16,000 People in L.A. Now Live in Cars, Vans and RVs. But Safe Parking Remains Elusive.” Los Angeles Times. Los Angeles Times, June 10, 2019. https://www.latimes.com/local/lanow/la-mehomeless-safe-parking-los-angeles-20190610-story.html.

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10. O.M. Ungers , A City Made of Rooms : The “Neue Stadt” of Köln, model photo, Cologne, online source image, accessed 11.7.2019, <http://socks-studio.com/2014/02/05/the-neuestadt-of-koln-1961-1964-by-o-m-ungers/>.

11. Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp, Zoe Zenghelis, Exodus, or the Voluntary Prisoners of Architecture, collage with watercolor, ink, gouache, and color pencil on gelatin

DODGERTOWN | Shelley J. Warner

silver photograph, online source image, accessed 10.15.2019, <https:// www.moma.org/collection/works/104692>.

12. Online source image, Night in Coney Island’s Luna Park, accessed 10.15.2019, <https://mg.wikipedia.org/wiki/Wikipedia:Sary/*/ Herinandro_10_2015#/media/Sary:Night_in_Luna_Park,_Coney_ Island_(1905).jpg>.

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14. Online source image, Tiny home, accessed 4.1.2020, <https://www. sacurrent.com/sanantonio/7-gorgeous-tiny-houseglamping-spots-withindriving-distance-of-san-antonio/Slideshow/21742791>.

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17. Etienne-Louis Boullée, Plan for a Cirque, Elevation and cross-section drawing, (Bibliothèque Nationale de Paris), Estampes (Photo: B.N. Service Photographique).

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21. Online source image, Work from Will Lark and MIT Media Lab: Smart Cities Group, accessed 10.21.2020, <https://www.sacurrent.com/ sanantonio/7-gorgeous-tiny-houseglamping-spots-within-drivingdistance-of-san-antonio/Slideshow/21742791>.

22. Online source image, uber elevate, accessed 10.25.2020, <https:// allianzpartners-bi.com/news/flying-taxis-uber-elevate-aiming-to-launchfirst-commercial-flights-in-2023-0cb1-333d4.html>.

23, 27-28, 44. Shelley Warner, DODGERTOWN, 2019-2020, photograph.

24. Shelley Warner, DODGERTOWN, 2019-2020, ink wood block print.

25. Online source image, Chavez Ravine, accessed 11.21.2019, <https:// blog.barrystickets.com/chavez-ravine-dodger-stadium/>.

26. Online source image, Dodger Stadium under construction in Chavez Ravine, accessed 11.21.2019, <https://blog.barrystickets.com/chavezravine-dodger-stadium/>.

29-43. Shelley Warner, DODGERTOWN, 2019-2020, Digitial drawings and graphics.

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Final Project Sequence F19-S20