AIA Arizona Forum No. 3

Spring 2014

identity

A Publication of AIA Arizona + AIA Phoenix Metro

mission The Arizona Forum is the semi-annual peer-reviewed journal of the American Institute of Architects Arizona and AIA Phoenix Metro. AzF will advocate for contemporary design issues through critical discourse, address design excellence, quality of life, and urban design throughout the state of Arizona. AzF invites AIA members and authors to share their expertise, practice experience, visions and theories with the profession and the community in general. The Forum challenges authors and readers to solve prescient issues, provide insight into contemporary architectural practice, contemplate architectural theory, and thoughtfully consider architectural design, urbanism, sustainability and technology. The Forum is open to contributions from AIA Members and community leaders. Its roots are based in the AIA Arizona Communications Committee and it is a tool intended to increase dialogue, communication, and involvement on multiple levels. The Forum will foster interaction and discussion that will cultivate relationships between members and the broader community while also encouraging critical analysis and proactive thinking.

Submissions The Arizona Forum welcomes the submission of essays, projects and responses to articles. Submitted materials are subject to peer and editorial review. All Forum issues are themed, so articles and projects are selected relative to the issue’s specific subject.

Please contact the AIA Forum Arizona Editor-in-Chief, Christina Noble, at Christina.Noble@gmail.com if you are interested in contributing.

Peer Reviewers We are looking for experts in all areas of architecture and design to serve as peer reviewers for future issues. Past authors are also invited to serve as peer reviewers.

AIA Phoenix Metro Jack DeBartolo 3, AIA Mark Ryan, AIA Christina Noble, AIA Matthew Salenger, AIA

President President Elect Secretary Treasurer

AIA Arizona Diane Jacobs, AIA Phil Weddle, AIA W.Brent Armstrong, AIA Patrick Panetta, AIA

President President Elect Secretary Treasurer

The American Institute Of Architects: Arizona 30 N 3Rd Ave, Ste 200, Phoenix, Az 85003 P: 602.252.4200

table of contents Letter from the Editor Christina Noble AIA page 1

Civic Solar Jack DeBartolo 3 AIA page 5

Adaptive Reuse Kimber Lanning page 11

gc1.60 Douglas B. Sydnor FAIA page 17

Net Strength Aaron Herring Assoc. AIA page 27

Yavapai County Courthouse William Otwell AIA page 37

Identity, Anxiety & Rediscovery Wellington Reiter FAIA page 45

Hance Park Philip Weddle FAIA + Jerry van Eyck ASLA + Kris Floor ASLA page 53

cover image by Craig Randock

letter from the editor Christina Noble AIA

Modernism has shaped Phoenix’s history. Our land area swelled as 20th century modern architecture came into its own. Modernism’s suburban slant condoned a frenetic grab for land on the periphery while simultaneously inspiring individual buildings influenced and surrounded by nature. In contrast, as we enter the next century, tastes and development patterns are changing and for the first time since the 1920s growth inside US cities will outpace growth outside them. As Phoenicians look forward to a growth cycle refocused on infill many are wondering what our next transformation will be - how we choose to preserve and celebrate our unique identity, understand modern architecture’s forms and materials in the desert, and reexamine modernism’s

sprawling urban form will define our future city. What can we learn from our past to define the future?

I am a native Arizonan, proud of my family’s pioneering move to the Valley decades before Arizona became a state. My Arizona family tree stretches back to the 1890s when my great-great-grandfather Smith moved to Glendale as a blacksmith. He came to the Sonoran Desert shortly after the Arizona Canal Project brought water in 1885 and as Glendale’s first residential neighborhoods were taking shape. When he arrived he likely found what a visitor in 1905 described:

Wright at the wheel of a Packard at an Arizona camp in 1929.

Photo: The Frank Lloyd Wright Foundation

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“Everywhere there is shade and plenty of it. The entire valley, from Mesa into Phoenix, is one solid mass of green, and every road is a perfect avenue. Chinaberry trees, palm, and cottonwoods line the driveway, or lanes as they call them, and the entire distance from Mesa to Phoenix can be driven under an almost unbroken arch of shade.”

Investments still relevant today attracted Great-great grandpa Smith to the Valley: land newly platted for sale, made usable with water and promises of opportunity. His profession added the final necessary piece to a functioning community – transportation – in those days mainly horses. His son, Seth, translated his father’s profession of forging horseshoes into forging car parts, working for a Mesa Buick body shop until WWII. Both men’s professions were signs of the times they lived and reflective of the transformations occurring in only one generation’s time.

Park Central Shopping Center opened in 1957 Photo: Photographer Unknown

Modernity was hitting Phoenix at a rapid pace.

Although my great-great grandfather was the first in the family to move to the Valley, it was his son’s generation that witnessed our city’s booming growth, combined with the 1930-adopted euclidean zoning code, transform a walkable and shaded urban core surrounded by farms into an auto-dependent metropolis.

In 1938 Seth and his wife Maude purchased a home in the first Phoenix suburbs, now Willo, within a short walk to the trolley car line where they could easily access a thriving downtown filled with shade, shops, cars and people. Only a decade later, in 1948, busses had replaced the trolley and new residences leaped to Camelback with the first Haver neighborhood committed to bringing midcentury modern design to the masses. In 1957 Seth and Maude witnessed the dairy where they pastured their cow develop into the first suburban mall, Park Central Shopping City, the beginning of the end of Downtown.

I’d like to highlight here that my family was already leaping between Glendale, Mesa and Phoenix, which when viewed in an aerial, were connected by farms with no noticeable desert between. It is also interesting that the trolley line (before its demise to busses) stretched to Glendale and had plans to extend to Mesa, Tempe, and Scottsdale. Valley residents already viewed the region as a series of economically and spatially interconnected nodes. Perhaps it is because of this interconnectedness and already growing competition between cities that local leaders felt compelled to incorporate the expanse between the city centers in an effort to win the land grab.

We can witness the dramatic growth of Phoenix and the Valley – most of it initially between the various cities of the region – when we look at the increasing square footages of incorporated land over time. In 1940 the City of Phoenix had grown from its original half-square-mile to 9.6 square miles. By 1960, rapid annexation took hold and Phoenix bloated to 185 square miles. Today Phoenix proper sprawls across 518 square miles and the metro region spreads over 16,573 square miles. Maintaining a solid center in such a vast area gridded with streets – well, the center couldn’t hold.

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Interestingly, as Frank Lloyd Wright dreamed of a Broadacre City where every household had an acre farm and a car to speed around in, Phoenix started its still current trend of subdividisions swallowing farms. Wright developed these visions as he established his western desert camp, Taliesin West, twenty miles outside the city. In contrast to working farms or the bustle of Downtown, Wright was drawn to the isola-

tion and the abstracted qualities of the desert’s rugged terrain and vast skies. He was developing an artists’ enclave where he could create an architecture that speaks to and with the desert landscape.

Wright’s expression – and Modern architecture in general – was contingent upon space, lots of space. Space has remained one of Phoenix’s exploited assets and the element that draws much of this story together. Midcentury modern architecture, including Wright’s regional spin, Haver’s homes for the masses, and Sarmiento’s Phoenix Financial Center in Uptown consider architecture as a sculptural object. The projects are to be seen from a distant angle or on the oblique view. This is in contrast to previous architectural expressions that focused on the façade as a decorative element within the larger city fabric, such as Louis Sullivan’s Guaranty Building with its intricate textures waiting to be intimately touched. Sculptural qualities in Sullivan’s Guaranty Building occur within the first few inches or feet of the building facade rather than the building’s overall massing as evidenced in Wright’s Taliesin West.

The Arizona School – or Desert Modern – has followed in the Wright tradition within the context of a city content with large lots and vast space. We have learned valuable lessons from Wright and the successive Desert Modern movement regarding building in the desert while establishing a strong architectural vocabulary and identity.

Courtyards, patios, layered shade, materials reflective of the desert, and views of the landscape and sky typify Desert Modernism as the contemporary continuation of modern architecture in Arizona. My hope is to retain those lessons as we return to our origins as a shaded and walkable urban city. I propose we translate these features from a suburban mode of development into a more urban attitude as we look to the future of Phoenix. We can return our focus to early modernists such as Sullivan for inspiration while continuing the work of the Arizona School in creating an evolving Desert Modern architectural sensibility.

In 1934 Phoenix changed its nickname from ‘The Garden City’ to ‘The Valley of the Sun’ – perhaps now its time to reconsider ourselves as ‘The Shaded Desert City.’

Christina Noble AIA

Frank Lloyd Wright Sketches for Broadacre City Photo: The Frank Lloyd Wright Foundation

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forum team Editor-In-Chief Christina Noble AIA, founder of Contour Architecture, has a special affection for projects focused on revitalizing communities through sensitive, inclusive and sustainable design. Her past experience has been with community focused and environmentally responsible projects ranging across a broad spectrum of building types including high-profile collegiate, mixed-use, government, and private development projects. Christina is a fifth-generation Arizona native who feels passionately about making a difference in her local community – through the projects she completes as well as through active engagement with community groups and organizations including serving on the City of Phoenix Historic Preservation Commission, Development Advisory Board and Rehabilitation Appeals Board.

Senior Editor Abigal Hoover RA, A native New Mexican, Abby moved to the Valley in 2004 after completing her Master’s in Architecture at Harvard’s GSD. There she worked for editors Amanda Reeser Lawrence and Ashley Schafer on the Issue 3: Housing Tactics issue of Praxis: Journal of Writing + Building. Since moving to Phoenix, she had the good fortune to work with and learn from creative, talented individuals at Marlene Imirzian & Associates, Smithgroup, Gould Evans, and Architekton.

Senior Editor Yumiko Ishida AIA, Yumiko is owner of Athena Architecture in Phoenix, Arizona, with a practice focused on sustainable multifamily developments. Born and raised in Tokyo, Japan, Yumiko earned her A.B. from Bryn Mawr Collage and M.Arch. from University of California, Berkeley. The story of her post-disaster assistance work, Lessons from Haiti, was published in the inaugural issue of AIA Forum | Arizona.

Senior Editor Betsy Lynch RA, Betsy, an Arizona native, grew up in central Phoenix, received her Bachelor of Architecture from University of Arizona and has been practicing locally for the last 17 years. As a project manager at GouldEvans, she has focused the last 13 years of her career on public sector architecture, including the award winning ASU Polytechnic Union and the Arizona Western College Community Center. Beyond architecture, she is a wife, mother, avid photographer, competitive swimmer and outdoor enthusiast.

AIA Forum Graphic Support

AIA Forum Arizona Editorial Board

AIA Forum Arizona Associate Editors

Morgan Pakula

Tina Litteral Diana Smith John Kane, AIA Phil Weddle, FAIA Nick Tsontakis, AIA

Mark Patterson, AIA Chris Knorr, AIA James Trahan, AIA Russ Sanders, AIA Cindy Louie, Associate AIA Karla Grijalva, Associate AIA

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civic solar Jack DeBartolo 3 AIA + J. Eric Huffman RA

Nearly 93 million miles away, the sun’s light and heat takes about eight minutes to reach Earth. Though the sun technically makes human existence on planet earth possible, here in Phoenix, a sunbelt city that typically receives over 85% of possible sunshine during a large portion of the year,1 it certainly can seem to have the opposite effect.

For decades many have been experimenting with harnessing the energy of the sun.

The inevitability of our solar-rich weather coupled with a burgeoning desire to utilize alternative means for producing energy has led to the proliferation of the ubiquitous collection of solar modules peaking above roof lines all over the Phoenix area. While the emergence is not new, the speed of infill has increased seemingly exponentially.

It would be accurate to think of this platform as a new form or branch of civic infrastructure, as there is so much political, economic, and environmental energy and investment being spent on its implementation and expansion.

1 “Extremes in U.S. Climate� https://www.ncdc. noaa.gov/extremes/extreme-us-climates.php

Though people have a variety of reasons, large and small, for being interested in giving solar energy a try, at this time serious pursuits are generally in the purvey of developers. Over the last several years, with the help of federal funding and increasing pressure upon utility companies to seek alternative means of energy production, it was the developers who had the capital in hand and the savvy to realize that subsidies could equate to potentially sizeable profits, both economic and social. As this scenario

Who is going to take responsibility for shaping a welldesigned quality of living and beauty for this emerging infrastructure? unfolded, it was natural for the developers to directly incorporate the necessary skills of engineers who specialize in this unique form of energy to best utilize the most efficient use of ever-changing equipment, technology and techniques. Quite simply, the developers, understandably, are in it for the profit; the engineers are in it to further the quality and function of the technology.

But one must ask, as it becomes more and more difficult to be a part of any environment without coming into contact with solar energy generation equipment: Who is going to take responsibility for shaping a well-designed quality of living and beauty for this

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emerging infrastructure?

Jaycee Rodeo Parade 1937 Photo: McCulloch Bros Archive, ASU

We began to focus more clearly on the idea of SHADE in 2005, when our studio was invited to be one of several architects challenged to strategize with ASU in development of a downtown Phoenix campus. This opportunity and responsibility caused us to think back to an earlier time when our city was shaped by pre-air conditioning sensibilities. Then, downtown Phoenix was developed largely around the idea of creating walkable spaces using shade – typically in the form of building overhangs, awnings and western fronts on buildings that allowed one to navigate up and down the streets largely in shade. Walking was the primary mode of transport; shade was the only way to make it work comfortably.

In spite of today’s abundance of technology and information accessibility, it is ironic that our downtown is less [comfortably] walkable than it was 100 years ago, when shade was part of the DNA of Phoenix architecture. Our strategy for ASU downtown was radical in scale and thinking, but simple in concept: Create a priority for ample shade in the central open core of a major light rail influenced section of downtown.

By contrast to New York’s Central Park, Phoenix would have“Central Shade,” in the form of a 15-acre shade structure supporting thousands of solar power generating glass thin-film solar modules levitating 100’ above the ground via a cable tensegrity

ASU Downtown Shade Study * All artwork, photography, and images are the property of the author unless otherwise noted.

Images provided courtesy of DeBartolo Architects

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structural system. The largest shade structure in North America, as well as the largest civic solar array, it would create a shaded microclimate for an area the size of 3 city superblocks. And, it would generate power.

This proposal led to an un-built design award from the AIA, but was not further developed or constructed. ASU took a more conventional approach to downtown development, driven largely by available land and developers who would carry a large part of the financial burden. By a comparison of scale, in 2009, the City of Phoenix Office of Arts and Culture drove the installation of the art piece “Her Secret Is

Patience” by Janet Echelman. The 100’ tall piece celebrates the patterns of desert winds. The three-dimensional multi-layered form is created by a combination of hand and machine knotting of recyclable high-tenacity colored polyester,beautifully lit by LED. While the height scale of the piece to our SHADE proposal is commensurate, the sculpture does little to provide shade or energy.

Six years after the study for ASU, we began to talk to private investors who had interest in solar shade structures. Finding they were mainly intending to pursue typical solar shaded parking structures, we shared our passion for a civic solar and shade

PowerParasol™ has opened up a new era in solar energy generation by creating a shaded, park-like environment and improving, rather than disrupting, how the land is currently used. combination, ideas inspired from our downtown renderings and sketches from 2005.

We expressed that our interest was in pushing the envelope and rethinking the way solar [and shade] were currently being implemented. Many hours of meetings, hundreds of sketches, digital models and ideas later– we presented an idea that they called a ‘game changer.’ Working with highly informed and experienced business owners, developers, entrepreneurs and financial thinkers, we eventually saw the transformation of everyone’s mindset; what they initially thought was a simple technology opportunity, morphed into a significant proposal to radically rethink solar development. We tirelessly talked about ‘place making’ and designing ‘environments’ more than solar

Powerparasol At Lot 59 Architect: DeBartolo Architects Photos: Michael Nothum

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power; and they started to change their vocabulary. Alongside this mantra about what the structure would accomplish, was the inherent design philosophy that it should achieve this minimally, relying upon heavy integration of only the necessary components. An often-quoted statement by members of the Strategic Solar team defines the unique nature of a PowerParasol™ structure: ‘Out of the desert. Off the rooftops. Into the community.’

We began seeing interest in the retail markets, sports venues and other large-parking lot users, where shade is needed and could be easily marketed as an asset. The first serious client of the PowerParasol™concept was ironically ASU, this time for their Tempe campus. A massive expansive parking lot, largely without any reprieve from even vegetation, known as “lot 59”, was designated as the most likely candidate for a prototypical massive solar shade structure. The shear scale available for that location would clearly display to the leadership what we were thinking, generate over 2 megawatts of power and simultaneously create over five-acres of shade. We were further challenged to shape the structure to create a new gateway to the northeast corner of the campus. After a year of pre-design discussions and budgeting, we were given approval to proceed on a fast-paced schedule that included less than 4 weeks to prepare the final construction documents and only 90-days to construct the 5-acre structure [during a football season with nine home games where most of the parking lot located under the growing structure would be utilized for each game]. Working with a complex team of owners, investors, developers, engineers, and contractors, along with ASU as the host, the structure was built successfully from September 21December 21, 2011, completed within days of the APS-driven solar credit completion deadline.

As a result, the patent pending PowerParasol™ has opened up a new era in solar energy generation by creating a shaded, park-like environment and improving, rather than disrupting, how the land is currently used, all while providing energy equivalent to hundreds of residential rooftops. While ideally it would be wonderful to simultaneously develop the ground plane to be as well designed as the structure covering it, Lot 59 is an example where there was no desire by the owner to significantly enhance the existing parking lot. The amazing transformation of Lot 59 comes with the implementation of the PowerParasol™ structure and little more than 3,000 sf of total ground-plane disruption. Receiving national, regional and local design awards for design and energy advancement, the PowerParasol™ at Lot 59 is only the first of what is becoming a successful model for a civic solar shade structure. Supported a minimum of 24-feet above the ground and providing shade to over 800 parking spaces, the structure now plays host to several major civic events throughout the year like the Rock and Roll Marathon, where thousands gather under the structures at the race start and finish.

Three new Power Parasol structures were constructed near the end of 2013 and several more are in the planning stages of future development. Two of the recently completed structures are integrated into the ASU Tempe campus, and have transformed the environment outside of the Memorial Union and along Gammage Parkway. These unique Power Parasol structures feature LED lighting technology, Pilkington channel glass, and custom seating; providing acres of shade and transforming these formally uncomfortable pedestrian spaces into highly functioning environments for civic gathering, outdoor teaching and dining.

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While each structure strives to handle the intricacies of the integration of all necessary components into an increasingly simple and elegant way, each placement presents its own specific challenges and hurdles and must address the unique circumstances of each specific site, topography and orientation. These types of steel structures, like most architectural endeavors, are always more complex than they appear. With the unique nature of solar technology – from the components of solar modules, grounding wire, conduits, combiner boxes, inverters, and transformers – it is a challenge to integrate all the component pieces and yet make the structures appear to be light, orderly and visually integrated. These structures utilize steel structural beams and columns for

Out of the desert. Off the rooftops. Into the community.

Power Parasol at Asu Downtown Memorial Union Architect: DeBartolo Architects Photo: Michael Nothum

Memorial Union Image : Mike Nothum

both the primary structure as well as the lateral bracing. In an effort to reduce the overall mass of the structure, we have strategically separated the lateral bracing from the gravity load, utilizing a series of “brace frames” that are, depending upon the client or situation, typically clad with signage opportunities or even glass, as will be the case at the new installation outside the Memorial Union. The further integration of lighting, durability and material richness is also critical to the development of each new installation.

Shaping some of the largest shade-oriented solar structures in the valley, we are honored to be part of making civic space in Phoenix. As architects, we often fall victim to investing our best energy into the design of inhabitable enclosed spaces; we need to learn to turn our attention to the in-between spaces, between buildings. This is the realm of the fabric of our civic experiences. We must take interest in advancing the quality of design for the infrastructural elements that make our society possible, but have slipped out of our grasp and are currently driven by the values of economic performance and brute functionality, while never considering the idea of developing a potent sense of place. We must elevate the design of these new environments beyond trite.

Jack DeBartolo 3 AIA is the principal and design leader of DeBartolo Architects, graduated from The University of Arizona College of Architecture and Massachusetts Institute of Technology (MIT), where he received honors for his Master’s thesis in architecture in 1994. From 1994 to 1996, DeBartolo worked with innovative desert architect, Will Bruder, supporting his firm in making architecture that strives to be timeless and poetic. In 1996, DeBartolo joined his father, forming the studio of DeBartolo Architects, where for 12 years they collaborated in making architecture in the academic, religious and residential markets. Dedicated to ‘architectural excellence’, the studio has gained a reputation for creating potent architecture through the innovative use of common materials within the discipline of restraint and simplicity, shaping space with light and material.

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adaptive reuse: innovation incubator for a vibrant city Kimber Lanning

The Metro Phoenix area continues to sprawl outward, resulting in more car mileage, more utility infrastructure, and more housing developments.

Studies show that car-dependent cities have been hit hardest by the current economic crisis. Home values, in particular, have dropped most significantly in cities that suffer from suburban sprawl. In 2010, the Brookings Institution published a report concluding that the cities most affected by the Great Recession were also closely tied to the housing bubble and sprawl, including Phoenix, Arizona; Las Vegas, Nevada; Riverside, California; Youngstown, Ohio; Detroit, Michigan; New Orleans, Louisiana; and Fort Myers, Florida.1 In addition, the 2010 Knight Soul of the Community report showed that the next generation of educated professionals is looking for urban, not suburban, lifestyle opportunities.2 So where does that position Phoenix in the neverending battle to attract large, quality companies with higher-wage jobs?

As people look to define a sense of place, community, and quality of life for their futures, they look to areas of convenience–where shops and restaurants are just around the corner as opposed to miles away. They look to areas with unique experiences and interesting architecture, with fun and walkable neighborhoods full of coffee shops, book stores, and sidewalk cafes. This is contributing to a new trend of young students and professionals migrating towards the city center rather than moving outwards to

Postino Arcadia Architect: Hayes, Inc. * All artwork, photography, and images are the property of the author unless otherwise noted.

Images provided courtesy of Hayes, Inc.

As people look to define a sense of place, community, and quality of life for their futures, they look to areas of convenience – where shops and restaurants are just around the corner as opposed to miles away.

Valley suburbs. This migration has inspired new challenges and projects for architects, developers, and business owners as they look to the practices of adaptive reuse and infill. Rather than using a blank desert canvass on the outskirts of the Valley, these stakeholders are looking to redevelop existing historic buildings and empty dirt lots in the city center to be used for a new purpose.

For decades, Phoenix has been a gold mine for developers who continuously looked beyond the city limits to build homes, office buildings, shopping centers, and entire planned communities. All those years of building came to a sudden halt at the start of

1 “State of Metropolitan America” http:// www.brookings.edu/~/media/research/files/ reports/2010/5/09%20metro%20america/ metro_america_report.pdf 2 “Knight Soul of the Community 2010” http:// www.soulofthecommunity.org/sites/default/files/ overall.pdf

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Beefeaters during demolition Architect: John Douglas Architects Photo: Venue Projects

the Great Recession in 2008. This pause in outward momentum allowed many to look inward to see what they had been neglecting for so many years: Phoenix has many buildings built between 1950 and 1975 that sit vacant right in the city center, which are perfect incubator spaces for independent businesses of all kinds. Over the past six years or so, residents, business leaders, and Phoenix officials have taken a hard look towards adaptive reuse and infill projects to alleviate the stress that came along with unregulated outward development and a slowly recovering economy.

Adaptive reuse is not a new concept by any means, as some adaptive reuse projects in Phoenix pre-date the Great Recession. However, it is a trend that has taken hold in recent years. Successful adaptive reuse projects that were completed in the last few years include some favorite local restaurants, including an abandoned and historic post office that became Postino Wine Cafe in the Arcadia neighborhood of Phoenix.

Additionally, the Parlor Pizzeria is in a building that formerly served as a hair salon for fifty years. Another Phoenix favorite is Copper Star Coffee, previously a 1930s gas station that has been turned into a neighborhood coffee shop. The layout of the gas station allows Copper Star Coffee to offer drive up service for those coffee drinkers in a hurry.

Beefeaters during renovation Architect: John Douglas Architects Photo: Venue Projects

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Many adaptive reuse projects like these have helped to inject life and culture into previously inactive and forlorn neighborhoods. For example, Roosevelt Street in Phoenix was a stretch of downtrodden homes and buildings in a neighborhood heavily patrolled by the police and never visited by Phoenicians just ten years ago.

Today, Roosevelt Street is now known as Roosevelt Row and is the city’s thriving arts district. Mid-twentieth century homes were redeveloped into colorful art galleries, coffee shops, vintage clothing stores, co-working spaces, and many other independent businesses. Roosevelt Row is now home to one of the nation’s largest, self-guided art walks and is a nationally recognized tourism destination, and local businesses continue to pop up as the community continues to expand and grow.

This resurgence of culture in Roosevelt Row has brought young art admirers from all over the Valley to visit and live. The art crowd isn’t the only group heading downtown, however. Due in a large part to the infill and adaptive reuse projects that have been completed in the past ten years for local restaurants, businesses, and housing options, Phoenix has been a magnet for young entrepreneurs. The co-working trend has taken root in Phoenix, as a 1940s auto shop has been adapted to be a communal work space fit with conference rooms and their own coffee shop. Business owners, young and old, are also finding it less expensive to purchase empty lots or old buildings to house their businesses rather than renting newly constructed space, leading to many

3 “Jobs: Where are they now” http://www. examiner.com/article/jobs-where-they-are-now

Le Grande Orange Architect: Hays, Inc.

...adaptive reuse and infill projects themselves are great incubators for creative entrepreneurship. great business opportunities and ventures. Due in part to this resurgence, Phoenix was recently recognized as one of the “ten happiest cities for young professionals,”3 and continues to be a hub for recent college graduates. The amount of creative talent Phoenix has attracted from the adaptive reuse and infill projects so far bodes well for the economic future of the city.

While adaptive reuse projects have been proven to have a tremendous and positive impact on the economic sustainability of the surrounding neighborhoods and communities, their impact on the environment is minimal. Reusing old buildings

A city can be reborn and prosper, by renovating old buildings next to new and bringing a variety of businesses to areas in need.

Windsor (below and left at bottom) Architect: Shepley Bullfinch Photo: Matt Winquist

that are already standing rather than constructing entirely new buildings means fewer resources are used. Creating spaces where businesses can set up inside the city center rather than on the outside of town means consumers do not have to travel as far to meet their needs, resulting in fewer miles traveled by car. Consumers can also use the recently constructed light rail system more efficiently when adaptive reuse and infill projects are completed along the light rail line that goes right through the center of Phoenix. Furthermore, updating old buildings with new technology means they will use less energy resulting in saved costs and resources. Another incentive is that the infrastructure for water, electricity, and energy are already in place inside the city center,

and developers and business owners will not have to be concerned about establishing utilities. These environmentally sustainable benefits of adaptive reuse projects are worth noting as sustainatbility becomes a cornerstone in the policy priorities of many cities and states around the country.

We should not forget to mention that the adaptive reuse and infill projects themselves are great incubators for creative entrepreneurship. Many small developers work closely with the city to revamp older building and turn them into shiny new shops and restaurants that create a destination. Venue Projects, led by Lorenzo Perez and

John Kitchell, is a local construction and development company that has revamped a variety of adapted buildings. Their adaptations include infill apartments, restaurants, and a project currently in process called The Newton that will transform the iconic Phoenix restaurant Beef Eaters into a mixed-use space with a local bookstore, coworking space, and a Southern-themed restaurant. However, just over a year ago, this project would have been a nightmare for the City of Phoenix to approve. But over the past year, the City has streamlined the process for the adaptive reuse of existing buildings, making it easier for a new business to open up in a repurposed building.

At the Office of Customer Advocacy, City of Phoenix officials have been working

Copper Star Coffee Design: Bill Sandweg Architect: Darren Petrucci Photo: Cheryl Colan

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diligently to ensure public safety while making the permitting process less cumbersome and quicken the pace of inspection. Their goal has been to ensure that businesses choosing infill in older buildings can get their doors open with minimal red tape.

In the past, strict adherence to modern building code standards caused insurmountable challenges to prospective redevelopers of older buildings. Those looking to start a business in a redeveloped building were not familiar with the process for acquiring the right permits and navigating zoning requirements; neither was City staff. Now, the Adaptive Reuse Program and the International Existing Building Code (IEBC) adopted by the City provide a method of relief from modern building code requirements. The City has reevaluated everything from requiring business owners to repair cracks in sidewalks in front of the property and install drinking fountains in small retail shops, to mandatory fire sprinklers in smaller buildings. The Office of Customer Advocacy also offers an array of resources and staff to assist individuals wanting to start a small business in a repurposed building.

4 “Self-Certification Program” http://phoenix.gov/pdd/scp.html

Most recently, the City has introduced a self-certification process that allows registered architects and engineers, to “take responsibility and certify a project’s compliance with building code, standards and ordinances.”4 This program offers builders and developers the ability to use their own certified professionals for inspections. There are also expedited plan review and combination inspector options, which save time for customers and money for the City resulting in greater economic opportunities for Phoenix. These changes mark the beginning of a significant shift in the way Phoenix and City officials are thinking about growth and business attraction.

Creating a more vibrant and resilient future means eliminating sprawl and encouraging infill. A city can be reborn and prosper, by renovating old buildings next to new and bringing a variety of businesses to areas in need. A community full of diverse cultural experiences and sustainable urban living can bring life back to abandoned city neighborhoods. It is important to reoccupy our cities and make them into places where people want to come and connect–and to proudly call home. Adaptive reuse and infill are the tools we can use to accomplish these goals in Phoenix and across the nation.

Kimber Lanning is an entrepreneur, arts advocate and community activist who works to cultivate strong, vibrant communities and inspire a higher quality of life across Arizona. Lanning is actively involved in fostering cultural diversity, economic self-reliance and responsible growth for the Phoenix metropolitan area. In 2003, Lanning founded Local First Arizona, a non-profit organization dedicated to raising public awareness of the economic and cultural benefits provided by locally owned businesses. She works to inform, educate, and motivate consumers to support local enterprises, and encourages public policy that enables locally owned and operated businesses to thrive.

dialogue and debate: gc1.60 Douglas B. Sydnor FAIA

Vacant storefronts, abandoned car dealerships, and tired structures characterize the languishing environment of the McDowell Road commercial corridor in southern Scottsdale, Arizona. Despite such a deteriorated condition this overlooked area is within close reach of many cultural, educational, recreational and transportation resources, wrapped by affordable mid-century modern and ranch styled neighborhoods. This community is ripe for revitalization and a new connectivity to surrounding amenities.

The following story gives a brief history of past Scottsdale open space visions made real and initiates a new community discussion about a place-making vision, GC1.60, also known as the Scottsdale Highline Park.

Scottsdale’s Early History And Development

In the 1880’s there was a vision by Army Chaplain Winfield Scott to transform a lower Sonoran Desert area just east of Phoenix, Arizona into a thriving farming community.

He promoted this area throughout the United States for its cleanliness, dry climate, open-desert landscape and fertile soil for agriculture. Access to the Arizona Canal water in 1885 triggered a population growth that brought health seekers and a welleducated, cultured, and social community together. These are the roots that have evolved into the creative and popular resort destination known as Scottsdale, Arizona

Conceptual Rendering * All artwork, photography, and images are the property of the author unless otherwise noted.

Images provided courtesy of Doug Sydnor FAIA

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with a 215,000 population.

Indian Bend Greenbelt 1973 Image: Scottsdale Historical Society

In 1951 this small farming community of about 2,000 residents and one square mile in area was incorporated. City leaders had the vision to put numerous ordinances into place and that set the stage for the warm-colored, landscaped, and desert-sensitive built environment that we see today. Scottsdale has been nurturing a rugged architectural character for decades starting with a vision as the ‘West’s Most Western Town’ in the late 1940’s followed by ensuring adherence to this theme with an architectural board in 1953. This proved effective at drawing tourists and residents into the early 1970’s. Nineteen fifty-four brought an ordinance to manage signs followed by banning billboards in 1962. In the 1970’s a landscape ordinance was adopted and required that minimum design standards be met. During this period the City formed the Design Review Board to review all commercial development. The cumulative effect of such policies, combined with the western revival architectural character have made for an urban downtown with covered walkways, neighborhoods of varying character, and a community devoid of visual clutter all of which have been attracting people to Scottsdale ever since.

Starting in 1964, citizens formed the Scottsdale Town Enrichment Program (STEP) committee and studied important infrastructure improvements. It was this volunteerdriven group that questioned the U.S. Army Corp of Engineer’s proposal to construct a north/south concrete-lined channel through the heart of the city for flood control.

During most of the 20th century, periodic and uncontrollable flooding would occur from the higher northern deserts down through the lower southern community. The City of Scottsdale managed to negotiate with the private property owners along the proposed Indian Bend Wash right-of-way. In exchange for providing the land to allow construction of the proposed flood control improvements the property owners could develop higher density residential projects along its banks. By 1973 the City of Scottsdale transformed the concern of a concrete ditch into the Indian Bend Wash green belt improvement plan with its recreational amenities as open space, golf

City leaders had the vision to put numerous ordinances into place and that set the stage for the warm-colored, landscaped, and desert-sensitive built environment that we see today. courses, and ball fields. A phased construction program over the next 7 years was required to complete this nationally-recognized infrastructure improvement. Citizens have been enjoying, appreciating, and intensely using this 7.5 mile long open space for over 30 years.

Scottsdale’s Continuing Commitment To Open Space Preservation

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By the early 1990’s a growing concern was raised for the preservation of the northerly McDowell Mountains. In opposition to pressure to allow development of the mountain

slopes, the McDowell Sonoran Preserve was born. A ground swell movement was underway to set aside approximately 16,000 acres of upper Sonoran desert for future generations to enjoy. In 1995, 1998 and 2004 the Scottsdale citizens voted to approve various self-imposed taxes to purchase initially 16,460 acres, expand the preserve, and provide access to area amenities. It is unprecedented that a community set aside approximately one third of its total land area for an open space preserve within as few as 15 years. This phenomenal feat was achieved with a grassroots initiative. It is just the most recent example of what is possible if a well-grounded vision is proposed, citizens are willing to be risk-takers, and nurture the political support for their initiative.

It is unprecedented that a community set aside approximately one third of its total land area for an open space preserve within as few as 15 years

Papago Park & Mcdowell Road: A History For The Next Frontier Just southwest of Scottsdale is Papago Park, a natural desert open space with rock outcroppings made of red iron-oxide hematite that was formed 6 to 15 million years ago. In 1879 it became an Indian reservation for the local Maricopa and Pima tribes. In 1914 it became the Papago Saguaro National Monument, but this status was abolished in 1932 due to various improvements that compromised its original integrity. When viewing historic photographs of the Park it was once covered with tall

McDowell Mountains Image: Rodney Johnson

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Saguaro cactus. Sadly, the majority have been lost over the decades. In 1939 the Desert Botanical Gardens arrived as a non-profit museum dedicated to research. Within its 140 acres it has gathered over 21,000 plants and has become one of the most popular tourist destinations. In 1959 the City of Phoenix purchased the 1,200 acre Papago Park. The ‘Maytag Zoo’ then opened in 1962, but was renamed the Phoenix Zoo in 1963. Other recreational facilities include the 1963 Papago Park Golf Course and the 1964 Phoenix Municipal Stadium. A ‘Hall of Flame’ museum houses over 90 fully restored fire-fighting pieces and is also located there. Papago Park is also well known for the “Hole-In-The-Rock,’ a natural geologic formation that has various solstice Papago Park Image: Jason Rose

and equinox markers dating back to the Hohokam. The Hohokam inhabited this area from AD 1-1450. One other striking object is Hunt’s Tomb, a white pyramid that is our first Arizona Governor’s burial place. Needless to say Papago Park has a varied and rich history.

Crossing Papago Park is McDowell Road, a major east/west arterial constructed in 1960. It carries traffic from Phoenix to the Salt River Pima-Maricopa Indian Community and the 101 freeway to the east. Pressure to build McDowell Road was probably started with the 1957 Motorola Government Electronics Plant construction that was to employ 1,250 upon its opening. The plant is located at Hayden and McDowell Roads.

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During the 1960s and into the 1990’s McDowell Road had one of the highest 24 hour traffic counts of any road in the Valley, making it a prime location for retail activity.

Major commercial development followed with the 1959 Frontier Town Plaza, 1962 Valley National Bank, and 1969 Los Arcos Mall, the Valley’s first enclosed mall, all at the intersection of Scottsdale and McDowell Roads. From the mid-1950’s to the 1970’s single-family subdivisions, 13 elementary schools and the nearby 1960 Coronado High School were constructed. Scottsdale’s explosive population growth closely parallels that of Motorola’s employee growth.

McDowell Road commercial activity started to level off when the Los Arcos Mall stores started closing in late 1990’s due to competition from the Fiesta Mall in Mesa and the Paradise Valley Mall in Phoenix. The McDowell Road retail base then focused on new car dealerships and was known as ‘Motor Mile.’ In another commercial shift for the road many dealerships have recently left for new automotive corridors further north. This migration was triggered by the recent economic decline nationally and changes within the automotive industry.

A Future Linear Park In recent years a friend and client Jason Rose, a Scottsdale-based public relations consultant, visited and experienced the new Highline in New York City’s original meat-packing district. After years of neglect a 1930’s abandoned raised rail line was threatened with demolition, but a grassroots effort fought to save it. An international design competition was orchestrated and the winning design suggested that the original rail line structure be retained. The upper level improvements would capture the landscape character that had taken over the rustic rail line with natural grasses, flowering plants, and small trees. A new walkway would meander among this found landscape, integrate seating, and use indirect lighting. In summary the 2009 Highline was a smashing success with the public in all respects including functionality, accessibility, creativity, economics, and politics. It has triggered an unexpected redevelopment of this overlooked warehouse district.

After his NYC visit, Jason Rose had written a Scottsdale Republic article about how such an idea could be used as “inspiration not emulation” at McDowell Road in south Scottsdale. The article struck a chord with me, as McDowell Road desperately nnection_1.6 needed amiles: bold visionary design to energize this tired neighborhood and to start its nnection_1.6 miles: Road Corridor Transformation redevelopment. nnection_1.6 miles: 1.60 Road Corridor GC Transformation

Road CorridorGC Transformation 1.60 Green Connection_1.6

miles: A McDowell Road Corridor Transformation Green Connection_1.6 miles: A McDowell Road Corridor Transformation

Skysong Architect Pei Cobb Fried and Partners, DMJM Design, Butler Design Group, Kendle Design Collaborative, and Gary Todd and Associates

Rose + Moser + Allyn / Rose + + and Moser + Allyn Allyn // Douglas Sydnor Architect Associates Rose Moser + Douglas Sydnor Sydnor Architect Architect and Associates Associates December 5, 2011 Douglas and Rose + Moser + Allyn / December 5, 5, 2011 2011 December Douglas Sydnor Architect and Associates Rose + M December 5, 2011 Douglas Sydnor Architect a Rose + M Dec Douglas Sydnor Architect a Aerial And Conceptual Section Dec

Mcdowell Task Force Conceptual Plan Image: City Of Scottsdale

In 2011 Jason Rose and I were jointly frustrated at the lack of redevelopment and activity in the McDowell Road corridor of Scottsdale and started talking about the possibilities. Knowing that our personalities are polar opposites I knew that we would make for an effective team.

Existing Mcdowell Road

Cross Section

Clearly, the depressed economy, tightening of city budgets, and overly cautious decisionmaking were contributing factors to the McDowell Road corridor deterioration. This corridor within south Scottsdale is well positioned to access key points in Scottsdale, across the Valley and internationally via Sky Harbor Airport. Papago Park. is located at the west end, the Indian Bend Wash at the east end, and, Skysong, ASU’s Scottsdale Innovation t. with 42 acres is located at the roadway’s mid-point. In addition Downtown Scottsdale with its retail, galleries, restaurants and nightlife is 1 ½ miles north. Other resources include Arizona State University’s Tempe campus at 3 miles to the south, Sky Harbor International Airport at 3 ½ miles to the west, and the 101 freeway is 4 miles east. Affordable residential neighborhoods are within close reach and composed of the 1950’s and 1960’s mid-century subdivisions with ranch styles.

To explore the urban design possibilities some field reconnaissance was required. I drove McDowell Road repeatedly and walked the street with this particular design challenge in mind. It became clear that the typical urban streetscape improvements such as tree rows, walkways, and light standards were not going to aesthetically transform the street and soften the barren condition. However, a widened street median that is landscaped could start to address these priorities.

In response a 1.6 mile partially raised and grounded linear park located at the existing McDowell Road street median and that runs continuously from the existing Indian Bend Wash at the east end to the Papago Park at the west end is contemplated. It was being viewed as an open space extension of the popular Indian Bend Wash. Such a park would psychologically reduce the street width and visually soften this existing harsh condition, thereby making it more comfortable and safe for pedestrians to cross

McDowell Road while also accessing this new linear park. The working title for the design proposal is GC1.60 for Green Connection 1.6 miles.

A meeting with the City transportation engineers confirmed that of the 3 vehicular lanes going each direction on McDowell Road that 1 lane could be removed each side with the lower traffic volume in recent years and even with future redevelopment.

With the 2 lanes removed this gained dimension could provide a wider median for the linear park. The street right-of-way is owned exclusively by the City, thereby avoiding the time-consuming, legally-challenging, and costly assemblage of private property for such a public improvement.

GC1.60 could allow people to walk and jog from ‘park to park’ without conflicting with the existing vehicular traffic at street intersections. This is accomplished by the linear park rolling up and over the street intersections while meeting accessibility design standards. Access to the raised park sections would include stairs, ramps, inclined walks, and elevators. The captive space below the park deck at the street intersections could accommodate small shops that address various unmet needs in southern Scottsdale such as bike rental, a used book store or a hat shop.

Given the more passive recreational nature of the linear park, it was not appropriate

Section At Retail

for bikes, skateboarders, and equestrian use. Talking with cycling enthusiasts they much preferred that bike lanes be provided at the street level.

GC1.60 could function as a connective tissue tying together existing bike routes, pedestrian walkways, interpretative trails, and future infill development at upper level bridges. Existing uses such as Arizona State University’s Skysong, apartments, retail, car dealers, and restaurants would be connected with a walkable, pedestrian-scaled, and shaded amenity.

Red Rocks Amphitheater Photo: Jason Rose

GC1.60 could choreograph many components including a meandering walking deck, seating for gathering, shading devices, viewing platforms, and lighting. Interpretative markers may tell stories that occurred within close reach of the park as the Hohokam that lived in the area, recent farming, Indian Bend Wash evolution, and Papago Park history. The landscape could include a continuous 30 feet wide planter trough with desert shade trees, low ground covers, and boulders. The park’s western section may be influenced by the Papago Park desert landscape with cacti, rugged textures, and red-colored rock formations. Providing some Saguaro cactus that may pay homage to those lost over the decades may also be appealing. The eastern section may be influenced by the Indian Bend Wash with a lush oasis landscape. Such an overall approach suggests that the actual spatial experience as people move along the linear

Amphitheater Sketch

park would be ever-changing, and have them encounter a few surprises along the way.

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Ultimately this vision and passive recreational amenity could be the largest public art installation in Scottsdale and become a major regional destination. Public art approaches could explore a lighting artist that delivers a magical quality during the evening hours and dramatizes the raised concrete structure or a kinetic piece that captures the movement of pedestrians. Access to this destination would be facilitated by the existing transportation systems such as vehicular streets, bus routes, bike lanes, and frequent pedestrian crossings as examples. Existing bike routes that intersect

with McDowell Road are found on 64th Street, 68th Street, Miller Road, Indian Bend Wash, and the 10 mile Papago Loop Trail System. The linear park would build upon the preexisting network of linkages that already tie-in to the Desert Botanical Gardens and Phoenix Zoo at Papago Park: Indian Bend Wash, neighborhoods, Tempe Town Lake, and ASU. Within the Papago Park linkage a new outdoor 3,000 seat amphitheater west of Galvin Parkway may serve as the anchor use at the linear park west end.

The amphitheater’s character and experience may be influenced by that found at Red Rocks Amphitheatre outside Denver, Colorado.

Such a public infrastructure improvement could trigger a great deal of attention to this overlooked, but strategically located commercial corridor and neighborhood within the Phoenix metropolitan area. GC1.60 could become the high-impact and transformative design stroke required for serious redevelopment of the McDowell Road corridor.

Conclusion And Public Dialogue Our GC1.60 highlights a conceptual design approach, but this was being put forward primarily to initiate a community-wide dialogue about what is possible for the McDowell Road corridor. The initial step was to escort this design to a few individuals that represented a wide range of interests and gain a quick assessment on how the Scottsdale citizenry might respond to this notion. Actual response was overwhelmingly positive and an energized momentum has continued for this public improvement. Eventually this campaign led to orchestrating a Neighborhood Town Hall at the ASU Skysong facility where about 175 people attended. There is a southern community sentiment that northern Scottsdale has been receiving more of the city resources, funding and attention over the years. This potential public amenity in southern Scottsdale could be a great equalizer in delivering additional open space, recreational opportunities, and resources.

Typical Intersection

This story is not just about the proposed design, but also about an effective public outreach program that has excited a community to think about the possibilities for their city.

This story is not just about the proposed design, but also about an effective public outreach program that has excited a community to think about the possibilities for their city. However, it is clear that the GC1.60 linear park concept has sparked a spirited dialogue and debate. A GC1.60 website that went live about 2 years ago has generated about 300 email comments to date. Public questions included the construction cost, maintenance cost, safety concerns, shade, sustainable strategies, and accessibility. To date about 25 meetings and presentations have been held and additional meetings are anticipated. The public engagement process has generated exposure on television newscasts, radio stations, and a series of articles.

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GC1.60 would be funded by breaking it into two bond packages. The first phase is envisioned as the .6 mile Indian Bend Wash to Scottsdale Road segment at about $25 million. Once phase one is constructed, public support is gained, the second 1 mile phase from Scottsdale Road to Papago Park would be proposed at $40 million.

An amphitheater would cost approximately $10 million. The time to construct both phases would be 2 years. As the volunteer leadership behind the vision we are willing to collect approximately 15,000 signatures for a November 2014 bond ballot vote on the GC1.60 first phase. Should the first bond vote pass in November 2014, this infrastructure improvement would become a City of Scottsdale capital improvement project and therefore would require compliance with policies in regards to procurement of architectural and engineering services. A request for proposal would be issued nationally. In other words this process does not guarantee that the proposed GC1.60 linear park will be designed and built as proposed.

GC1.60 has effectively stirred the community’s imagination and made them realize the potential of seriously considering place-making strategies that are not predictable, politically safe, and conventional. Scottsdale has a proven heritage over the past 60 years of proposing innovative programs, signage and landscape ordinances as national models, and high impact civic improvements. Scottsdale citizens have consistently cared about their city, been involved, provided vital support, and positive votes.

Projects have included the Scottsdale City Governmental Complex and Mall, Indian Bend Wash, McDowell Sonoran Preserve, and a nationally-recognized branch library system as examples. The GC1.60 linear park is in keeping with the spirit of such facilities and expands the existing open spaces and recreational amenities for south Scottsdale. Such broad urban design ideas can take a community to an inspiring place with innumerable possibilities.

Douglas B. Sydnor, FAIA, has been active with community involvement for over 30 years in the Phoenix metropolitan area. He received a Bachelor of Architecture at Arizona State University in 1976 and a Masters in Architecture from Harvard University in 1977. Over the past 35 years he has completed a wide range of building types which have received over 60 professional design awards from the American Institute of Architects, Valley Forward Association, American Library Association and others. Mr. Sydnor is currently Owner and President of Douglas Sydnor Architect and Associates, Inc., a Scottsdale-based architectural practice.

He is currently serving as the 2013 AIA Arizona College of Fellows Chairman.

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net strength Aaron Herring Assoc. AIA

If monuments are symbols of strength, how can a monument that moves connote strength?

Janet Echelman’s art challenges certainty. Her intricate, woven structures and their gentle undulations question civic monuments’ traditional strength and durability as anchoring elements in city planning and instead evoke resilience, compromise, and concession rather than an unyielding will. Fluidity and movement are integral to her sculptures as they emphasize subtle natural forces and starkly contrast hardened urban forms. Echelman’s sculptures also hint at a larger conceptual depth. Each installation’s

Is there an emerging cultural phenomenon that embraces a new kind of civic content representative of diversity, complexity, plurality and adaptability as virtues? location and form consider contemporary cultural, social, political, and environmental issues. These monuments eschew a singular dominant and deterministic vision and instead embrace newly discovered inclusiveness, vulnerability, and resilience.

The Figure: Artwork And The Artist Janet Echelman’s work is monumental. Symbolically, the monument has stood for variety of causes, but its underlying assurances of steadfast structure have been relatively universal. With the prominence of Janet Echelman’s work, the monument landscape has changed, prompting questions: Is there a growing sentiment for more organic objects that are closely related to the human experience? Is there an emerging cultural phenomenon that embraces a new kind of civic content representative of diversity, complexity, plurality and adaptability as virtues? Are monuments going to continue their lasting formal tradition of representing deterministic vision or abandon them for representations more conducive with the pace of contemporary cultural shifts?

Janet is not the only artist questioning the meaning of monument. Other monument artists, like sculptor Anish Kapoor, have seen increasing public and commercial success focusing less on artifact and more on the relationship of artifact to immediate context.

Martin Luther King, Jr. Memorial Lei Yixin, Et Al. - 2011 Photo: Garrett Hubbard

In Kapoor’s case, his figures are intent on redirecting our focus outward towards the world in which his pieces reside. For example, Cloud Gate, Kapoor’s mirrored sculpture in Chicago’s Millennium Park reflects a distorted image of the Chicago skyline as well as onlookers. Echelman, like Kapoor, evokes in her work connection to a specific time and place. The activation of Echelman’s work by sunlight and air movement highlights even the subtlest light change or wind movement.

Prominent and historical examples of what may be called ‘the monument standard’ are evident in the Capital Mall in Washington, DC. The mall commemorates national Cloud Gate - Anish Kapoor - 2005 Photo : blancayceleste

1.26 Sydney - 2011 * All artwork, photography, and images are the property of Echelman Studio unless otherwise noted.

1 Echelman, Janet. Personal Interview. Part 01. 02 August 2011

unity, identity, legacy, order, confidence, stability, wealth, power, and strength, through a collection of monuments. The Capital Mall is also deeply rooted in our collective psyche as a place of shared experience, tying us together in representative memorials of collective loss. If the national treasures of our US capital are ‘the monument standard’ and have this kind of civic responsibility and stabilizing force, can an ephemeral monument connote the same values? Furthermore, is it possible that Echelman’s diaphanous monuments are more appropriate and significant now than monuments constructed in the traditional vein?

Janet’s artwork challenges modern social conception rather than repeating formal historical sentiments. Her work provides cultural clues about our priorities, sensitivities, and fears. It gives us a lens to observe an evolving national identity, memory, and collective expression. While the capital mall symbolically conveys stability, Janet’s monumental art is layered with contradiction. It is centralizing and disrupting. It is nurturing and imposing. These contradictions alter perception. As Ms. Echelman states,“the role of art is the release from the habitual way of perception.”1 Art Alters Perception

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Echelman’s work alters the entrenched perception of strength. In a Discovery News interview Janet describes, “[My work represents] strength through the ability to adapt

which is a different kind of strength than brute force.”2 Her work is analogous, if not mimetic to biologic adaptation. Yet, can strength be classified in terms of what has been given up?

Failure is the means by which material strength is measured. In some cases, where steel has failed, Janet’s netting has proven to endure. “In Denver with the 1.26 project, a big storm came through and blew down the steel light post beneath the sculpture, but my work was unscathed.”3 It may not be strength that Janet is describing after all, but durability, the proclivity to last. Her flexible, durable forms bend with the elements rather than rigidly oppose them. “In preparation for severe ice storms, the Richmond Olympic Oval in Canada was engineered to gently release under modest ices loads and to be reattached after the passing storm.”3 In contrast to the imposing sentiments of other monuments, Janet’s work is non-threatening and approachable.

Maybe it is this vulnerability in Janet’s work that makes exploration of its meaning widely accessible?

2 Staedter, Tracy. Colossal Net Sculpture Floats Over Olympic Stadium. Discovery News. http://news.discovery.com/tech/ colossal-net-sculpture-floats-olympics.html

3 Echelman, Janet. Personal Interview.

Aug 2 2011

Get People Together Echelman’s art offers a respite from the hard and impersonal city. She believes her biophillic forms share an intrinsic connection to the human body. To achieve more

Material Samples

humane forms, Janet finds significance in flaws and imperfections. Her process captures inadvertent error and subsequent corrections of the human hand. The idiosyncrasies Janet discovered in the ancient art of handcrafted fish netting have a quality that cannot be replicated by manufactured, machine-made goods. In her words, “perfection is not natural to the body.”3 Her art subsequently has focused on maintaining imperfect symmetry. Janet points to the human face as an example of imperfect symmetry. She explains a visual study that compares a portrait of a person against a portrait of that same person with one side of their face duplicated, mirrored, and then recomposed side-by-side. The resultant distortion of the recomposed portrait

Echelman In Her Studio

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is an illustration of imperfect symmetry. While physical features of the human face appear to be symmetrical around an invisible axis, it is clear that what appears largely symmetric is comprised of a multitude of local asymmetry.

As the mode of production in Janet’s artwork has shifted from handmade to machine made, Janet has remained vigilant in protecting imperfections without allowing them to be overly forced, nostalgic, or romantic. The variability in her process is not conducted by a single determined algorithm but is the result of her intimate and fluid interface between what she can build with her hands and the limitations of the machine. Each knot is machine tied by a process of turning off the machine, adjusting the settings, turning the machine back on and tying another knot. The intimate interface she maintains between operator and machine insures her deliberate imperfections. This imperfection has an economic cost: time and efficiency.

Janet’s process of artistic development is the result of a non-linear relationship between concept, digital software, and industrial machine. Her process is more akin to a network than a production line. If any one of the production sequences is affected, the entire design network is reshaped. This network thrives on the tension between machine regularity, digital abstraction, and handcrafted irregularity. Without the precise contributions of industrial machines, digital instruments, and material innovation, however, Janet may not have ever realized or discovered her most ambitions visions.

Accelerate Innovation As technological developments have emerged some distancing has occurred between her and the creation of her physical pieces. A continual struggle exists between mediating the ancient craft of weaving and the technologies that enable her works’ production. Even if her studio has changed with advancing technology, Janet continues to make discoveries by working with her hands. Physical tests remain a pivotal and

The variability in her process is not conducted by a single determined algorithm but is the result of her intimate and fluid interface between what she can build with her hands and the limitations of the machine. experimental part of her practice. When technological limits are reached her work has oscillated between new technologies and the handmade craft.

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The usefulness of technology lags behind the demands of the creative mind.

Technology acts as a means for reducing the uncertainty that exists between the raw, untested idea and the tested practices of the market. Therefore, the lag between Janet’s highly complex visions and the available technology to execute them is the margin in which specific criticism about her work festers. The reality is that Janet may always be one project ahead of the available technology. For her, there is no waiting

for technology to catch-up. It is the role of art to apply pressures on science and technology as a means for innovation.

The technological lag is demonstrable in the Her Secret is Patience installation in Phoenix, Arizona where the delicacy of the netting and the heaviness of the structural ring and embanked columns awkwardly come together in the piece. The structure lacks the detail and intimacy that are so attentively, even obsessively achieved in the woven netting. The dichotomy between the two is either intentional or unforeseen, and either way, unfortunate. There was not the available technology to ensure structural certainty or public safety. It is evident here in the chasm between form and structure that the lack of understanding these new forms created a gap between artistic vision and technical execution. This discrepancy is more evident when compared to followup works that have replaced weighty structural objects with an innovative fiber. Janet may be focused on creating art, but her collaborations have resulted in new applications for existing products and presented new investigations and innovations for science.

The synthesis of artistic component and innovative object become increasingly important to Janet’s work as she investigates new ways for each building component to perform more, complex functions. The complexity of her work depends on the sophistication, or multi-functionality of each of its parts.

Cultivate Complexity How Studio Echelman stays relevant hinges on her ability to cultivate complexity and her attention to the shifting relationships between figure and field.

Tension existing in her work emerges from the assertion of opposites. Difference is heralded rather than subverted. In Janet’s words, her work can be both “bold and delicate.”3 She captures the paradox that exists between the ephemeral quality of her work and what it means to be a permanent structure. “To create something both ephemeral and permanent is a huge challenge. That contradiction gives energy to the work.”3

To create something both ephemeral and permanent is a huge challenge. That contradiction gives energy to the work.

Janet has reframed strength in the context of a willingness to be flexible and compromise. She has also demonstrated the fluid interchange between handcraft and industrial technologies. Further building upon an art about contradictions, Echelman’s artistic process comprises contradictions. She suggests intuition as a significant contributor to her research methodology. From her graduate studies in psychology, Janet refers to the process of honing her intuition and observation skills as “self as instrument.” This process is one of forming herself into a reliable and objective mechanism of research. Janet’s artistic process is confronted with balancing intuition

Pulse - 2015 Photoa: Andrew Sachs

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about how space is perceived and feels with data from evidence-based research. But she is convinced that the intuitive approach contributes “staying power”3 in her work.

The idea of “self as instrument”3 juxtaposes the observations recorded by personal experience against the mechanical and empirical recording of data as collected by an instrument. Is it possible for human beings to make observations objectively? Do personal experiences and feelings cloud observation? Can subjectivity be considered a legitimate scholarly response to a scientific inquiry?

Ethnography is a method of research whose aim is cultural interpretation. An ethnographic understanding of social research may help us understand Janet Echelman’s process.

“Ethnography is a means of expressing stories about what it means to be human.

Observing, imagining and describing other people need not be incompatible with the implicit personal project of learning about the self. It is the honest truth of fieldwork that these two projects are always implicated in each other. Good ethnography recognizes the transformative nature of fieldwork where as we search for answers to questions about people we may find ourselves in the stories of others. Ethnography should be acknowledged as a mutual product born of the intertwining of the lives of the ethnographer and his or her subjects.”4 4 Hoey, Brian A. The Changing Landscape of Work and Family in the American Middle Class; Reports from the Field. Lexington Books 2008: 135-137

Her Secret Is Patience - 2009 Photo: Christina O’Haver

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Interested in developing an experiential quality in her work, Janet departed from objectfixated sculptures to an art that could be inhabited. This shift to larger work embodied the newly but nebulously formed relationship that she creates between object and a myriad of contextual relationships. A constant shifting, evolving and transforming is intended to take place between object and context. This visual vibrancy between the figure and the field attempts to transform the perception of the viewer from observing an object to experiencing a space.

A familiar example of visual vibrancy between the figure and field relationship occurs in the work of MC Escher. Development 1, 1937 woodcut depicts two three dimensional lizards at the center of the piece that are transformed into twodimensional space as they move out toward the edges of the work. The visual effect essentially blends the figure (lizard) with the checkered field. The visibility of both the lizard and flat-checkered field makes the recognition understandable immediately and all at once.

Echelman’s art works are similar, if not immediately gratifying. The transformation of her pieces from figure to field requires investment, investigation and engagement.

Being underneath or ‘inside’ her work is a spatial experience. The experience of her

Target Swooping Down…Bullseye! - 2009

Target Swooping Down…Bullseye! - 2009

1 citation needed 2 citation needed 3 citation needed

work as an object necessitates viewing from afar. Intent on creating an experience in addition to an artistic object, Janet shifted her focus from “look-at” to get “lost-in.”

Creating shift from object to experience was largely a byproduct of increasing the scale of the objects. “Target Swooping Down…Bullseye!’ – was a big step that revealed how one could use the netting method to make an environment. “The concept is what guides the scale shift, and my concept is about creating a particular kind of experience.

I determine the scale for each work based on its relationship to two things: the human body, and the context of its site.”3 In some cases, regulations have prevented her net sculptures from creating a tension with the ground that draws a sense of enclosure. In Her Secret is Patience, the suspended height above the ground never fully achieves enclosure. Thus, the impact of the ‘interior’ experience is lessened. There is little effect of being ‘inside’ looking out. Even though the relationship between figure and field in Echelman’s work may sometime be tenuous, her city scaled monuments certainly contrast their metropolitan context.

The Field The ‘field,’ is often referred to as the space that immediately surrounds an object.

The field could be the surrounding landscape, but it could also be the cultural, social, political, and environmental context that effects us consciously, as well as subconsciously. Author, and professor Richard Sennett, PhD. describes two ways of calling attention to an object, “emphasis and discontinuity.”5 Janet Echelman’s work does both.

Development 1 - Mc Escher. - 1937

5 Sennett, Richard. The Conscience of the Eye; The Design and Social Life of Cities. W.W. Norton & Company. New York. 1990: 13 6 Popescu, Roxana. Art Attack. Newsweek.

Dec 27, 2007. http://www.thedailybeast.com/ newsweek/2007/12/27/art-attack.html

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Softness and movement are acts of emphasis. The gossamer and billowing forms emphasize the subtle movements of the wind and the variable qualities of natural light. These slight, but intentional movements have two purposes. First, the organic and fluid movement caused by the wind carries with it a sense of biophillia. Imperfect palpitations parallel our own biological process and connect us to other living organisms. Secondly, we are reminded of the variability of our environment - air movement and the nuances of luminance, color, and depth. By comparison, the delicacy and intricacy of the object is a mere fraction of the complexity revealed in cast shadows interwoven across the ground.

Janet Echelman achieves “discontinuity” by heightening contrast in two ways, abstraction of content and a use of contrasting material. Sociologist Kim Babon states, “context rather than content pushes our buttons today. People are sensitive to anything that changes habits or meaning and associations with place.”6 Janet seems comfortable entertaining this kind of provocation.

“I am drawn to work with spaces or genres that come with ingrained expectations - it gives me something to play off.” 3 The abstraction of content contrasts the large-scale functional signifiers of city forms.

There are many signifiers: the sleek glass commercial building or the rusticated and columnar façade of a historic civic building. In Her Secret is Patience the use of soft materials creates contrast against the “hard” and rectilinear forms and unyielding automotive infrastructures of central Phoenix. The lacey, circular and billowing forms of Janet Echelman’s work allude to an absent feminism in an otherwise hardened building environment. “When I am confronted with an urban environment filled with

unresponsive forms and materials—an expanse of concrete highway overpasses is an image that comes to mind—I feel a sense of isolation. It creates in me a longing for a place filled with soft, fluidly moving form. So the voluptuous forms I’m making serve as counterpoints to the hard edges and hard materials of the city.”3 Janet’s sentiment references what could be argued as a feminine perspective on the city.

But inclusiveness has advanced issues into the public consciousness and transcended gender. “In a sense women, but also men can relate to delicacy and question the norms of masculinity.”3 Perhaps more relevant today, a post-gender society begins to value strength that does not derive from force but resiliency.

“In a sense women, but also men can relate to delicacy and question the norms of masculinity.” Perhaps more relevant today, a post-gender society begins to value strength that does not derive from force but resiliency.

Pulse - 2015

Trying To Hide With Your Tail In The Air - 1998

Relevance: Making Sense Of It Now is a very uncertain time. The collective psyche of the United States carries heavy scars from a string of emotionally charged events. The stunned and practically paralyzed building environment has been in bewilderment, reacting to everything from industrialism and Fordism, 9/11, globalization, recession and continued economic uncertainty. As opposed to radicalism and intolerance, determinism, and singularity of vision, Janet has introduced a new inclusiveness and with it a desire for a symbiotic

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relationship between people and between people and nature. Janet Echelman’s work begins a reflection upon all these influencing fields Industrial production continues to contribute to the vast production of impersonal and inhumane objects. Digital technology and its effect of collapsing distance and difference between cultures, combined with globalization, have begun large-scale homogenization towards generic and ‘flawless’ places.

Vulnerability has ignited global fear, insecurity, and has perhaps intensified cautiousness in city planning and building. In most recent history, the collapse of a hollow economic market left vacancies in dwellings and government revenues. A restorative look at the city has had the effect of inclusiveness – city planners are cognizant and responsive to an aging and increasingly diverse population.

Every Beating Second - 2011

“The idea of strength through responsiveness or adaptability has been with me a long time. There was a small earthquake, and some concrete structures cracked, but bamboo scaffolding survived unscathed. This was an important lesson for me. [My work is] gentle, flowing, adapting and monumental because that’s what I feel the world needing.”3

Janet Echelman’s landmark sculptures continue the monument tradition of creating a civic center – a ‘there, there’ and underscore the civic standard of cohesiveness, unity, and uniqueness. Although Janet’s sculptures impose a large presence, they are languid rather than massive. The overt contradictions in her work allude to allegory.

“Softness is part of the content.”3 Janet suggests. Her monuments can represent inclusion, resilience, acceptance, equality, diversity, and environmental stewardship.

Softness could also relate to the broad range of interpretation and the malleability of meanings and messages. Janet bends our preconceptions of conventional values, making plastic the traditional parameters that form public art, and adapts them to emerging need. Her adaptable, monumental art is leading this movement. Rarely, have monuments been this personal.

Aaron Herring, Associate AIA is an artist and architectural designer working for Gould Evans where he has led multiple finalist design competition entries: Gimme Shelter: National Ideas Competition for Urban Shade, Flip-a-Strip: New Ideas for Old Strip Malls, Fences and Gates, and Canalscape. Aaron also enjoys sharing his passion for art and architecture through teaching. He created and taught the art curriculum, (Re)Play, to elementary school children and served as an ASU faculty associate, teaching second year undergraduate architectural studio. Aaron received his BA in Studio Art with an emphasis in figure drawing & sculpture from Indiana University Bloomington in 2000, and his Masters in Architecture from ASU in 2006.

rehabilitation of the yavapai county courthouse William Otwell AIA

The Courthouse holds a special significance for me and all Prescottonians. Working every day on the Plaza, my wife and I raising our family attending events there, and encountering friends on my daily walks across the Plaza to lunch all add up to a pleasant urban experience, a vibrant place, and a fulfilling lifestyle. Since 1977, I have maintained a design studio in downtown Prescott. During that time I have worked out of five different locations, all historic buildings around the Courthouse Plaza. I rehabilitated my current building in 1984, a 1905 row-house listed on the National Register of Historic Places, as well as most of the buildings facing the Plaza. I feel fortunate to be able to now rehabilitate the centerpiece, the Courthouse.

Courthouse + Statue Photo: Sharlot Hall Museum

I am not the only one who appreciates the Courthouse Plaza and Prescott’s historic downtown. One hundred and fifty nine user days are booked every year for art shows, musical events and political activities. The annual courthouse lighting ceremony, attended by 7,000 people, is the reason for Prescott’s designation as “Arizona’s Christmas City.” In addition, the American Planning Association listed the courthouse and plaza in 2008 as one of the top ten public spaces in America. This was the inaugural year for the program, and elevates the status of this unique place in America on par with Central Park, Santa Monica Beach and Union Station, Washington, D.C., which also made the list.

Despite the City’s success, Prescott doesn’t allow this to lead to stagnation. I currently have five projects in design or construction within walking distance of my studio; much is happening in Prescott as the city continues to develop. As we consider the change that is happening around the Courthouse, it is also important to understand the significance of the building and the plaza that anchors Downtown Prescott and brings the city its unique charm.

The American Planning Association listed the courthouse and plaza in 2008 as one of the top ten public spaces in America...on par with Central Park, Santa Monica Beach and Union Station, Washington D.C. Courthouse Photo: Sharlot Hall Museum

History And Background The Yavapai County Courthouse is located in the center of the one block Courthouse Plaza as surveyed by Robert Groom in 1864. The original 19th century gridded City plan still works well today, with the 4.1-acre Courthouse Plaza bordered on all four sides by commercial and public buildings, including the notorious Whiskey Row which lends its historic character – eleven of the masonry buildings are listed on the National Register of Historic Places – and boisterous evening activity.

The north-south streets were named after characters in William Hickling Prescott’s book “A History of the Conquest of Mexico,” thus we have Cortez, Montezuma, Alarcon and Marina. The east-west streets were named after the first Territorial Governor’s party sent to establish the Territorial Capitol by President Lincoln: Gurley, Goodwin, Willis and Sheldon.

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The Courthouse was designed by William N. Bowman of Denver Colorado, the winner of a national design competition for the building. In 1915, Mr. Bowman’s neoclassical design was selected from 23 architectural proposals. The cornerstone was laid on October 19, 1916. The Courthouse was completed in 1918 at a cost of only $223,753. It is the third Yavapai County Courthouse. The first was a wooden

structure built in 1867 on North Cortez Street, later destroyed by the fire of 1900 that burned most of the downtown. The second was a red brick Victorian building, built on this site in 1878 and demolished in 1915 to make room for the current building.

The neoclassical design features include a decorative glazed terracotta cornice and pediment, massive columns at the building entrance and grand staircases leading up to the entrances on all four sides of the building. The 800 pound bell, which had hung in the previous courthouse is still in use ringing the time of day atop the south tympanium. The bell measures 34 inches in diameter and has a 20 pound hammer.

A major portion of the cost of the building was spent on the granite veneer. All of the stone was quarried locally, at the site of the current Granite Mountain Middle School.

The lucrative contract allowed the quarry owners to install modern machinery, a big boost to local industry. The structure of the building is cast in place concrete which the granite and terracotta veneers are attached to. The use of CIP concrete was a fireproofing technique also used in the 1908 Prescott Train Depot. The first use of this material in Arizona was the 1906 Powerhouse in Kingman. The Courthouse roof is constructed from riveted steel trusses with precast concrete planks for decking, covered with a reinforced concrete parge coat.

The Plaza is a beautiful park, with large mature American Elmtrees and a city block of manicured lawn. The plaza is frequented by musicians, dog walkers, tourists, parents with strollers, children running through the grass or jumping on the courthouse steps, and workers walking to lunch. Because of all of this activity, this amazing space has not only survived various schemes to cut down the trees and solve the downtown parking problem with more asphalt but garnered a strong Civic pride and commitment. In 2000 the City created a historic preservation overlay district that requires the Prescott Preservation Commission approve any new construction. The City of Prescott also eliminated the parking threat while increasing access to the historic center in 2006

The Courthouse + Grounds Photo: Sharlot Hall Museum

After The Fire Of 1909 Photo: Sharlot Hall Museum

with the construction of a 500 space parking structure behind Whiskey Row and an additional 72 space two level structure one block east of the Courthouse in 2012.

On the north side of the plaza stands the Solon Hanibal Borglum sculpture of Bucky O’Neill, a prominent local sheriff and gambler, who died in Cuba fighting with the Rough Riders. It was dedicated on July 3, 1907. The plaque reads “Erected by Arizona in honor of the 1st US Volunteer Calvary, known to history as Roosevelt’s Rough Riders, and in memory of Captain William O’Neill and his comrades who died while serving their country in the war with Spain.” The rough riders gathered on the plaza on May 4th, 1898 before departing for San Antonio as the Spanish-American War began. This sculpture is considered by art experts to be one of the finest equestrian works ever created in bronze.

Until 1974, the Courthouse housed the entire County Government, the Arizona Driver’s License Bureau, and the County Jail. All four entrances were open to the public to access the symmetrical interior. The original elevator was strictly for prisoner transport, the rest of the population used the stairs.

Over the years the County has actively used the building, adapting and remodeling it to fit their needs as the county government grew and modernized. The County

Modern Day Cornice Condition * All artwork, photography, and images are the property of the author unless otherwise noted.

Images provided courtesy of Otwell Associates Architects.

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removed the jail in the 1970’s, relocating the jail one block away in a new building. As a result they were able to close off hallways to create libraries and office space. In the late 1960’s exterior access restrooms were added to the west façade, to allow public use beyond normal business hours. The original west granite staircase was removed to provide space for the restrooms, with a new concrete stair built on top of the restrooms. This element is the most dramatic alteration to the structure. The other three grand staircases are intact, and will be restored. As an interesting side note, the former Arizona State Capital never had its grand staircase. The contractor ran out of money so it was never built as designed. Imagine what it would look like with this

all-important welcoming element.

The Rehabilitation In 2002 the Yavapai County Board of Supervisors commissioned Otwell Associates Architects to prepare a “Building Condition Assessment Report” for the Courthouse describing the developmental history of the building and its historical context in Arizona, the significance and integrity of the existing building and systems, and recommended preservation treatments. The recommended treatment for the Yavapai Cornice Detail: Original

County Courthouse is preservation; to apply measures to sustain the existing forms, integrity and material of the building. Preservation shall include stabilization work, where necessary, and ongoing maintenance of the historic building materials. It is recommended that any proposed interior rehabilitation of the building be carefully considered so that existing character-defining features of the building are maintained.

A decade later, the Board of Supervisors commissioned Otwell Associates Architects to follow-up on that plan. The Board is now taking steps to bring the building up to current codes, due in part to the 2008 Top 10 designation, as well as a strong sense of pride in the beauty of the structure. Our team is using the 2002 “Building Condition Assessment Report” as the master-planning tool to define a three-year, three phase rehabilitation of the courthouse and plaza.

Phase One: Sewer And Storm Drains Today the building is now used mostly for court functions with five courtrooms. The building houses approximately 100 employees and receives hundreds of visitors each day. Due to the heavy court schedule, all work must be performed at night and on weekends. In addition, all work must also avoid conflicts with public events on the Plaza. Due to these potential conflicts, progress will appear slow but steady.

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The sewer was analyzed with a camera by County facilities staff and we provided a complete replacement of the system up to the City of Prescott connection. This involved digging up portions of the Plaza and tunneling under original concrete curbs and sidewalks. The routing was laid to minimize damage to the tree roots of more than 170 trees that define the Courthouse Plaza.

In addition, because Prescott does not have a storm water collection system, historically the four roof drains were tied directly into the sewer, causing a spike at the City wastewater facility in heavy monsoon rains. During the first phase of rehabilitation, Cornice Detail: Updated

the system was rerouted to the curbs around the Plaza sending the water to Granite Creek instead. Phase one was completed in 2012.

Phase Two: Roof, Hvac And Electrical Systems Phase two focused on building systems and energy efficiency. It was important to the project to not only rehabilitate the Courthouse to its original architectural grandeur but to use modern technology to support that goal - all while achieving contemporary standards for energy efficiency and sustainability.

The entire existing roof was stripped down to the deck and a new standing seam metal roof was installed to match historic photos. Historically, the attic had never been insulated so our team added ten inches of foam to the rake of the roof to provide an R38 value. This treatment will dramatically improve energy savings.

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In addition, we replaced all existing ground and window mounted heating and cooling equipment. Removing this dated equipment will not only significantly improve the building’s aesthetic, but also improve visitors’ and employees’ comfort while improving energy efficiency. New VRF mini-splits were placed on the roof below the parapet.

This system allows us to provide heating and cooling at the same time, balancing the needs of the occupants by using excess heat on the south and upper quadrants to heat

the north and lower areas. One of the main issues we flagged in the 2002 report was the lack of fresh air in the building. This was solved by installing a single fresh air unit on the roof that delivers conditioned fresh air to the four quadrants of the building from the attic. The system is CO2 activated, providing air to a courtroom, jury rooms, and other rooms only when they are occupied.

The combination of the VRF heating and cooling system and the CO2 based fresh air system is highly efficient, we expect energy use to drop by 32%, and the increased comfort level with fresh air has resulted in some very happy County employees. Only

3% of buildings in the US use this approach. In Europe it is 24%, and in China it is used in 35% of all buildings. In addition, a completely new electrical service was provided to replace old, dangerous equipment. Phase two was completed in 2013.

Phase Three: Exterior Skin, Windows, Stairs, Main Courtroom Acoustics And Restoration Phase three, beginning construction in the spring of 2014, will move beyond the technical and less visible aspects of the rehabilitation into the aesthetic preservation of the Courthouse.

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A symbolic feature on many courthouses, four grand staircases feature prominently on all sides of the Yavapai County Courthouse, including the northern steps from which Barry Goldwater announced his candidacy for president in 1964. The major work in this phase will be the jacking and stabilization of the four grand staircases. Deep below grade, the building sits above a basement with a stable foundation, however the stairs are solid granite treads on granite veneered concrete and shallow footings. Due to differences in settlement, the stairs have pulled away from the main entrance. We will carefully realign them back into position.

In addition, also contributing to restoring the building’s exterior to its original, masonry and glazed terracotta elements will be refurbished and secured. The original steel supports are being inspected and will be replaced as needed as well. Non-original windows will be replaced with replica units to match the 85% of original windows still in place.

Interior rehabilitation will continue for another year. The original main courtroom is being restored to match historic photos getting into details as fine as refurbishing the chairs with the original wire hat racks. At the same time we will also greatly improve the interior acoustics. The intention is to return the building to its original beauty

the restoration will continue the vitality and life of the Courthouse and Plaza that residents have grown to love over its 100-year history. and grandeur while keeping the spaces active and usable into the future. Rather than viewing the rehabilitation as creating a museum of Prescott history to be viewed from afar, the restoration will continue the vitality and life of the Courthouse and Plaza that residents have grown to love over its 100-year history.

The Yavapai County Board of Supervisors and their Facilities and Development Services Departments are totally committed to the preservation and continued daily use of this historic place. Our work will be completed in time for the Centennial Celebration in 2016.

William Otwell AIA is principal of Otwell Associates Architects, a firm specializing in historic preservation, solar and energy efficient design, and preservation of natural site features. Bill is a native Arizonan, born and raised in Phoenix. After completion of his architectural degree in 1973, he moved to Prescott, Arizona and began his career, working for a local architect, and later as Assistant Director of Planning for the City of Prescott. In 1979, he established his own architectural practice in Prescott. Bill has a thorough working knowledge of the local environment, which gives his projects a strong sense of connection and compatibility with the location and climatic conditions.

identity, anxiety, and rediscovery Wellington Reiter, FAIA

When presented with the issue of identity and the Phoenix metro region as a point of departure, I immediately assumed the question to be based on insecurity, a kind of “glass half full” lament that we live in the nation’s sixth largest metro but rarely make any other top ten lists. Identity is not a Shanghai, Paris, or London issue. Nor is it a top-drawer concern for San Francisco, New York, or even Austin. It is, however, a persistent and growing challenge for “emergent” cities trying to keep pace with contextual circumstances beyond their control and, if possible, set themselves apart from their competitors in the race to attract businesses, capital, employment, cultural amenities, and buzz.

In other words, simply bringing up the issue of identity is a strong indicator of a deficit situation or, at least, a measurable degree of anxiety about the increasing disparity that is sorting not only our cities but all aspects of American society. It is a legitimate concern; one that is captured in Timothy Noah’s, The Great Divergence,1 a review of widening economic divides which, in turn, are reflective of larger financial, political, and educational shifts of power. Correspondingly, a handful of global cities are beginning to pull away from the rest as has been well documented, a situation which is, in part, enabled by unimaginable wealth, the fluidity of air travel and easily transferable assets. This can no doubt contribute to a sense of opportunity being unfairly distributed.

1 Noah, Timothy. The Great Divergence: America’s Growing Inequality Crisis and What We Can Do about It. New York, NY: Bloomsbury, 2013.

2 Richard Florida with Tim Gulden, “The World Is Spiky” Atlantic Monthly October 2005, 49-51.

Researchers asked 40 participants in a study to look at a sketch of a hypothetical city and imagine where a successful ‘Dr. Bennett’ might live. here is the breakdown:

For those of us working in higher education- one of the most identity-driven sectors of the American economy- this is a familiar pattern, one in which an elite group of institutions dominate annual rankings and have the assets, reputation, and momentum to maintain their position. In this respect, cities and universities are confronted with parallel realities- an increasingly“spiky” world, one with an expanding spectrum of clear front-runners, stragglers, and a vast middle striving to remain viable and even more importantly…relevant.2 Interestingly, the public comes to the issue of identity with preconceived notions about success, failure, and how it is distributed. For example, a recent research study “found that participants preferred to live in the northern part of a city. The participants saw the north as more affluent—72.5% of respondents believed an affluent person likely lived in the northern half of a hypothetical city.” This could be residue from what people think they know about Chicago, the U.S., Europe, or even the northern and southern hemispheres. For those in the Phoenix metro, such a mental model might be affirmed by the abrupt contrast between South Phoenix and the more northern Paradise Valley including the border/immigration issues attendant to that socioeconomic divide. However it comes about, “the location bias likely boils down to psychology and how we view the words "north" and "south," the study’s researchers

Source: Social Psychological And Personality Science, August 2011, The Wall Street Journal

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3 “Study Points to Bias Toward a City’s North Side” http://online.wsj.com/article/SB100014 2412788732341960457857392297766392 6.html

discerned. “Although north and south are abstract concepts, we tend to understand them in spatial terms, with north meaning up and south meaning down.” The take away- changing the perception or identity of a neighborhood requires overcoming a set of ready-made assumptions, many not based on empirical evidence but instead tethered to perceptions of difference.3 Similarly, mention that you are affiliated withany state university and an image has already formed in the mind of the listener. The label conjures up a composite image of a large institution, non-descript bulky buildings, sidewalks overpopulated with swarms

simply bringing up the issue of [a city’s] identity is a strong indicator of a deficit situation or, at least, a measurable degree of anxiety... of logo-clad students, and surely Saturday afternoon football. As in the example above, location matters, especially if it is in the southerly direction and the climate happens to be conducive to palm trees, warm weather, and swimming pools. With this as a backdrop, you can assume that the label “party school” has already been applied to the institution by an unscientific but widely distributed polling “system,” one that will require constant refutation. No matter how many Nobel laureates, Rhodes scholars or other highly motivated individuals are toiling away in the laboratories, libraries, and studios on campus, this designation will reappear like a rabid mascot, undercutting not only the identity but also the substantive work of the university for the betterment of society.

To combat the uninformed and predigested notions of identity, it is critical to keep in mind that it is a construct, not an index of casual attributes or conditions. Perception and reality can be managed, recalibrated, or even invented when necessary. For example, New York City in the 70’s or the Apple Corporation in the mid 90’s were both perceived to be lost causes, so profound were their financial challenges. In a complete turn around, today one can see waves of New Yorkers (and tourists) enjoying a formerly abandoned railroad trestle turned contemporary park- the well regarded High Line- and most of them doing so while on their Apple I-phones. Vision and leadership were key ingredients to the reversal of fortune in these two examples, as they are in every case of transformation. Tellingly, they drew upon the past in order to find a way to a better future, a critical characteristic of authentic identity development.

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I am going to limit my remarks in this essay to cities and universities as they have an uncanny resemblance and relationship. Judith Rodin, President of the Rockefeller Foundation, makes the case many others have reiterated: “More than half of the nation’s colleges and universities are located in cities. They represent significant contributors to the character of their cities and to the definition of the urban environment. By virtue of their mission, intellectual capital, and investments in physical facilities, urban universities and their medical centers are uniquely positioned to play a leading role

in their communities in powerful ways.”4 There are no great cities without powerful knowledge creation engines at their core and thus the fate of cities and universities are inextricably linked, a relationship, which was simply assumed in the past but is now a required partnership in any metropolitan development strategy. Accordingly, the identity of one is inextricably linked to the other.

4 Rodin, Judith. The University & Urban Revival: Out of the Ivory Tower and into the Streets.

Philadelphia: U of Pennsylvania, 2007.

In the abbreviated analysis that follows, three characteristics reveal themselves with regard to the identity of both cities and universities in the 21st century: connectivity, scale, and brand. For those able to leverage these assets, their futures are bright. For others on the bubble, these will be difficult times.

Identity U A Saturday afternoon in October and a made for television spectacle is unfolding with military precision within a neat three-hour package: Powerhouse football team A is playing storied university team B. The sides are resplendent in their respective colors and brand bearing helmets (and the ubiquitous swoosh indicates the imprimatur of the Nike empire upon the proceedings). The end zones spell out the home team in letters twenty feet high. The stands are filled with the supporters and alumni of both institutions fully outfitted in the appropriate logo wear or splashed directly on the bare chests of seemingly possessed young men. The announcers do everything possible to impart a sense of urgency for the field generals on the sidelines and the individual players involved, the latter of which are fully prepared to sacrifice their bodies for the cause.

It’s halftime and abruptly the gladiatorial context on the screen is replaced by the tranquilly of lush green lawns, bright autumn foliage, and inspiring music. It is time for each institution to present their case, albeit in a 30 second infomercial. Throngs of earnest young people are seen dutifully heading into the surrounding buildings where we are introduced to the activity taking place inside: students and faculty in animated exchanges, earnest young researchers toiling in a laboratory, a programmer causes a robot to replicate perform human-like movements, dancers rehearse tirelessly in a vast performance hall, etc. The message is clear: universities are serious places- hothouses of experimentation and innovation.

The discrepancy between the proceeding hour of athletics and these portrayals is somewhat jarring but also a continuation of the contest. These high production vignettes are meant to redirect our attention- however briefly- to the desirability of being an admitted student to one of these campuses and the invaluable role of higher education in our society (alumni and donors: please respond accordingly, thank you very much). The message is simple: we are glad you tuned in for the loss leaderfootball- however, this is our true identity and what we are all about. Seriously.

Identity is a commodity with which anyone in higher education is intimately familiar.

Few sectors are more brand or “affinity” driven for all of the obvious reasons. Students feeling embraced by the university later become grateful alumni/ambassadors, which can lead to an important revenue stream and greater connectivity for the institution.

In a media saturated environment, universities and colleges must work harder than ever to project a compelling image, one that will attract students, confirm value, and promote societal benefit. Essential to this model is the notion of transferable

Photos: Arizona State University

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identity- an exchange between the institution and future, current, and past attendees to the benefit of all parties.

Sebastian Thrun With Google’s Self Driving Car Photo: Erik Charlton

In recent and unexpected twist on the formula above, Massive Open Online Courses, or MOOC’s, have demonstrated the power of identity. MOOC’s are stripping away all of the accouterments associated with college life and distilling the university experience to straighforward instruction…and brand. In 2011, Professors Sebastian Thrun and Peter Norvig launched a unique online course on artificial intelligence.

It attracted over 160,000 students and set in motion a revolution in the delivery of higher education. Why? The course offering included the trifecta of contemporary identity: connectivity- the ability to reach students at any location and time on the planet thanks to the internet and readily available receivers, scale- a course could be precisely constructed to accommodate an expansive audience, and most importantly, brand- Stanford University as the academic home to the Thrun and Norvig in addition to Thrun’s deep connection to Google.5 It is no accident that the MOOC movement is emanating from established institutions with the most desirable academic brands. Thurn’s new education company, Udacity, and its counterpart, Coursera, are extensions of Stanford faculty. EdX, is a joint project of Harvard and MIT. Combined they represent the three most potent names

three characteristics reveal themselves with regard to the identity of both cities and universities in the 21st century: connectivity, scale, and brand.

5 “The Stanford Education Experiment Could Change Higher Learning Forever” http://www. wired.com/2012/03/ff_aiclass/

in higher education connoting history, excellence, exclusivity, and innovation; these are names one wants on a resume. As undeniable sector leaders, they are in a unique position to project and leverage their global identity. And as with other recently launched name-brand technology/media companies, they can, will, and must capture a massive audience long before figuring out the associated business model. Identity equals market share and those who have it cannot be faulted for using it in order to create even greater distance between themselves and the remainder of the pack.

Cities As Network

Stanford’s Palo Alto Campus Photo: W. Mustafezz

Just as the status of a very limited cohort of universities is being used to buttress the emergent MOOC platform, so too are nationally prominent cities a required backdrop the conveyance of meaning. It is not by accident that syndicated late night talk shows broadcast from the two largest popular culture incubators, New York and Los Angeles. And consider the near impossibility of network news programming not originating from New York or Washington given their respective roles in business, banking, and government. Place confers a degree of authority, a resource which is always limited in quantity.

How then to explain the rise of CNN in of all places…Atlanta? Not scale or branding but connectivity- one of the three essential ingredients of global identity. Hartsfield

Dubai International Airport Photo: Konstantin von Wedelstaedt

International has established itself as the busiest airport in the U.S. and the fluidity of air travel is a key lubricant of contemporary commerce. Just as the Internet has liberated education from the campus, air travel and our ability to move resources and people in large quantities has unhinged cites from their traditional coastal moorings.

Likewise, the headquarters of multinational corporations are no longer bound to placebased manufacturing processes and/or the nearby resources that made Pittsburgh the Steel City, Akron the Rubber City, or Detroit…Detroit. Production identities have been superseded by cosmopolitan urban centers dedicated to the exchange of capital, not the production of goods.

Tethered by technology, a handful of blue chip cities constitute something of a new world order almost exclusive of national boundaries and cater to a set of travelers detailed in David Rothkopf ’s, Superclass: The Global Power Elite and the World They are Making.6 Dubai is a case in point, fueled by the three criteria previously outlined.

First of all Dubai has constructed a completely new infrastructure expressly geared toward a vision of global connectivity with its perceived peer cities. Secondly, seeking to demonstrate parity with already established urban centers. Dubai has an obsession with scale and the need to achieve it quickly, which is surely manifested in the Burj Khalifa, the world’s tallest and possibly least necessary building. And finally, we have all seen the aerial views of the surrounding artificial islands willfully shaped in the form of trees and maps which can only viewed from the Burj, Google Earth, or possibly Richard Branson’s Virgin Galactic space tours. This is a branding strategy at a decidedly global scale.

Back on earth, for U.S. cities, the issues are a bit more mundane but no less competitive.

Cities advance at the expense of their peers as Enrico Moretti has convincingly documented in the Geography of Jobs7: “…once a city attracts some innovative workers and innovative companies, its economy changes in ways that make it even more attractive to other innovators. In the end, this is what is causing the Great Divergence among American communities, as some cities experience an increased

6 Rothkopf, David J. Superclass: The Global Power Elite and the World They Are Making. New York: Farrar, Straus and Giroux, 2009.

Burj Khalifa Photo: Pranav Bhasin

concentration of good jobs, talent, and investment and others are in free fall.”7 As Moretti goes on to explain, this “…is now beginning to affect cultural identity, health, family stability, and even politics. The sorting of highly educated Americans into some communities and less educated Americans into others tends to magnify and exacerbate all other socioeconomic differences.”7 Similar to the distortions in the higher education marketplace, this is exacerbated by the seemingly endless assembly of rankings purporting to sort and label cities by quality of life, entrepreneurship, cost, crime, dating, and even happiness. Like others, I sympathize with cities and universities ill served by rankings not meant to inform, but sell product. I not only doubt their veracity, I am certain they do not capture the actual experience of the respective residents or students.

7 Moretti, Enrico. The New Geography of Jobs.

Boston, MA: Mariner /Houghton Mifflin Harcourt, 2013.

The Forbes list of the most miserable cities in the U.S. provides a most irresponsible imposition of negative branding onto communities battered by globalization (Detroit, Gary, Youngstown) while also including places that are highly desirable and thriving by any number of measure (New York City and Chicago). This transparently betrays a perilous anti-urban strain of conservatism, which is increasingly breaking down along urban/rural and university degree/non-degree lines. This is a place-based form of new identity politics, which does not bode well for the nation and our ability to remain competitive on the world stage.

Conclusion - Rediscovery The vastness of the examples above might suggest that there is little opportunity for the individual to bend the identity curve in the spheres of education or the built environment. But some rather stunning cases are instructive. For example, Salman Kahnof Khan Academy has single-handedly reinvented the idea of education by building a connected, scalable, and ultimately branded form of instruction literally from his desktop. Donald Judd transformed tiny Marfa, Texas into one of the most unlikely art pilgrimage sites on the planet and completely overhauled its identity in the process. And Tony Hsieh, the CEO of Zappos is combining aspects of education, entrepreneurship, and art to create an alternative and even more compelling Las Vegas beginning with the former city hall and its surroundings.

There is a common thread, which runs through the work of these visionaries. Their project was not so much about invention and novelty leading to a strong sense of identity but rather a return to basic principles in order to pull forward something essential, and often forgotten. They uncover something as basic as engagement, learning, space, light, and community. They remind us that identity is a design project of the highest order, one that requires the excavation of the unique genomic structure to every place, institution, or even corporation, a code just waiting to be unearthed and represented in a format causing us to take notice. Once illuminated, it will be the map leading to realms not accessible from any other point of departure, as is surely the case above. Identity built purely on invention will produce only a mask as the strip in Las Vegas has been teaching us since the 60’s. We are required to dig deeper.

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Identity is an intricate assembly and is rarely achieved in a single gesture. Nevertheless, as architects, we believe in our craft and, on occasion, are sometimes too eager to apply it. The “Bilbao effect,” the by-product of Frank Gehry’s remarkable museum in that previously ignored Spanish city, would seem to be the exception that proves the rule. I

recently visited Milwaukee, possibly amore instructive case for cities like Phoenix and others striving to get above the noise. Like Bilbao, Milwaukee has its own signature museum designed by Santiago Calatrava, an architect/engineer noted more for novelty than profundity, and I assumed his flamboyant winged atrium was potentially in this trap. And in fact, it may be. But I was mistaken in my first impression, as there is as much rediscovery as invention in this structure.

Milwaukee is a city “caught in the middle,” to use the powerful argument put forth by Richard Longworth regarding globalization and the demise of the Midwest.8 From a relevance perspective, Milwaukee compares poorly to the last dominant city of the region, Chicago. At the same time, it lacks the cache of the hipper university town and state capital, Madison, to the west. Sadly, it is also no longer the beer producing capital in the world, a position it once held thanks to the Germanic migrants who helped to build the city. And while it has many other quality industries of national import and powerful brand recognition (Harley Davidson is surely exemplary in this regard), it is conveniently representative of larger society ills as featured on the website, “What’s Wrong with Milwaukee in Seven Charts,” a byproduct of a Moyers/Frontline expose.

The information supplied will be of little surprise and show a series of declining trends in income, jobs, and educational attainment.9 In short, Milwaukee has an identity problem, one that is quintessential America at the dawn of globalization.

Nevertheless, sparks of optimism and rejuvenation are to be found throughout the city, especially in the historic 3rd Ward where a collection of once neglected warehouse structures are now brimming with new businesses, incubators, shops, restaurants, and art venues- a confirmation of the Jane Jacobs observation, “New ideas require old buildings.” While different in character, this is a reflection of the rediscovery process found in Judd’s Marfa or Hsieh’s former city hall neighborhood. It is a very vibrant and uplifting place.

8 Longworth, Richard C. Caught in the Middle: America’s Heartland in the Age of Globalism. New York: Bloomsbury USA, 2009.

9 “What’s Wrong With Milwaukee in Seven Charts” http://billmoyers.com/2013/07/03/ whats-wrong-with-milwaukee-in-seven-charts/

Nevertheless, you can imagine the city fathers wanting to accelerate the transformation

identity is not an applied feature or external amenity.

It is something which requires personal engagementan accurate reflection of one’s self in a place, work, or community. of the city by supplying an icon with a more forward-looking posture. The Calatrava project- essentially an inhabitable logo- certainly delivers on that score. As such, I was prepared to dismiss the building as a singular indulgence. And while the architecture may not be to everyone’s taste, there is no doubting its role as the new icon of the city, its careful placement, and a beacon for those deciding to relocate to this exceptionally hospitable city.

The other landmark building in town is appropriately City Hall, a spectacular masonry pile of a century previous, the likes of which will never be built again. Completed

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Milwaukee Art Museum Photo: Nick Mickolas

in 1895 by the architect Henry C. Koch in the German Renaissance Revival style, it’s bellower was the second tallest structure in the nation, behind the Washington Monument. Like the Art Museum, this building was clearly intended to inspire individuals and families to have confidence in this emerging metropolis and to find their personal identities in the work of building this rising city. Upon entering, I immediately saw Calatrava’s atrium as a deliberate echo of the powerful city hall lobby of a century earlier, one equally inspiring and luminous.

This experience made all the difference in my understanding of Milwaukeewhat it was, what it could be, and how individuals participate in the construction of a collective narrative. The Art Museum was also a demonstration of invention at the service of rediscovery and origins, the ingredients of sustainable identity construction.

Finally, this bookended experience was a reminder of the fact that identity is not an applied feature or external amenity. It is something which requires personal engagement- an accurate reflection of one’s self in a place, work, or community. This is the assurance inhabitants of Milwaukee, Phoenix or even Dubai are surely seeking.

Wellington “Duke” Reiter FAIA has played numerous roles: academic administrator, community leader, architect, and public artist. He has established a record of effective partnerships with public office holders, the business community, non-profit groups, and universities. Central to his portfolio of experience has been the construction of mutually beneficial relationships between the institutions he has led and the cities in which they are located. Reiter is particularly interested in the economic, cultural, and sustainability of major US metro areas and the engagement of the top tier colleges and universities that are embedded within them. Mr. Reiter serves as the Senior Vice President of the ASU Foundation, is the past President of the School of the Art Institute of Chicago, the former Dean of the College of Design at Arizona State University, and a long-term faculty member at MIT.

building community: the new hance park Phil Weddle AIA + Jerry van Eyck ASLA + Kris Floor ASLA

Great Cities Have Great Urban Parks If you were to list your favorite cities of the world, most likely many would include a central urban park that is just as recognizable as the city itself. Think of New York and Central Park, San Francisco and Golden Gate Park, Chicago and Millennium Park, and London with Hyde Park.It is hard to imagine these cities without the great parks that have come to define them. In fact, it’s hard to name any great city that does not also have a great urban park.

Urban parks function as “grand outdoor rooms� that are the democratic spaces and social equalizers of our cities. They play host to cultural institutions, community events, active recreation, people watching, and rich botanical gardens. Successful urban parks are community catalysts that have significant impacts on the physical, social, and economic health of the city, and can have a transporting effect that connects people to nature while also being strongly connected to the urban fabric. In short, urban parks promote a sense of community that is critical to the social well being and identity of any great city or downtown.

Community meetings * All artwork, photography, and images are the property of the author unless otherwise noted.

Images provided courtesy of Weddle Gilmore !melk, Floor Associates.

The value great urban parks create in communities can be measured on many levels.

In addition to providing open space for recreational activities that promote healthy

What is missing [in Phoenix] is the grand urban green space that provides a balance to the built environment of our core and brings our collective community together.

Images from workshops & community meetings used to gather public input and ideas

lifestyles, parks can provide the impetus for urban infill projects, creating a unique identity and sense of place. Urban parks are often the engine that helps drive tourism in many cities, and are often recognized as living works of art that function as an attraction while also drawing visitors for special events and festivals.

Hance Park should Be The Grand Urban Park Of Phoenix The new vision for Hance Park is a key component to building our community.

Phoenix has the elements within our urban core that contribute toward a vibrant

center including a rich collection of cultural institutions and museums, a diverse employment and education center, two major sports arenas, a vibrant entertainment center and a variety of residential options ranging from single family residential to multi-family. Light rail links our urban core with neighboring cores in Tempe and Mesa. And we have a network of desert preserve parks connected by an urban trail system linking together our community at large. What is missing is the grand urban green space that provides a balance to the built environment of our core and brings our collective community together. Margaret T. Hance Park should be that space.

‘Canyon’ rendering

The Oasis Plaza isis the perfect spot to relax urban and enjoy thepark beauty of located Hance Park Originally completed and opened in 1992, Hance Park a 32-acre on the northern edge of downtown Phoenix. Historically the Park was established as a result of the last mile of interstate freeway construction for U.S. Interstate Highway ZONES 10 (I-10) connecting Florida to California. The ‘Deck Park’ consists of 19 bridges covering over one half mile of I-10 freeway through the creation of master a tunnel running HANCE PARK plan | final report 15 between 5th Avenue to the west and 3rd Street to the east. The City’s main arterial street, Central Avenue, and Light Rail line spans the park over the Central Avenue Bridge from north to south. The ‘Deck Park Tunnel’ was the result of years of negotiations between surrounding historic neighborhoods, City of Phoenix, Arizona Department of Transportation and the Federal Government as a compromise solution that would maintain the integrity of downtown neighborhoods once the I-10 construction was completed.

Over the past 20 years, Hance Park has been unable to achieve its full potential as a grand urban park and often feels empty and uninviting, and lacks a sense of identity.

A recent survey completed by ASU showed most Phoenicians don’t even know the location of Hance Park1. Other issues include a shortage of park amenities, daily programming to activate the park, and a perceived lack of safety. These are the challenges that must be addressed for the park to reach its true potential.

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The City embraced a grassroots community-driven initiative to re-envision Hance Park, initiated by the Hance Park Conservancy. The Hance Park Conservancy is comprised of stakeholders including cultural facilities, public entities, neighborhood associations and large private property owners within a half-mile of the park boundary. The Conservancy was formed in early 2010 as a non-profit to protect the intended uses for the park as well as to bring recognition to its importance to the downtown fabric.

Hance Park is positioned to become the grand urban park of Phoenix because of its compelling urban location. The park is situated on the northern edge of downtown

...inspiration [is taken] from local geographic features within the Valley of the Sun. Landforms, such as buttes and canyons, have been abstracted to create distinct spatial and programmatic moments.

the plateau the valley the canyon

within walking distance of Phoenix’s signature arts and cultural institutions, Arizona State University’s downtown campus and the Roosevelt arts district. Proximity to light rail and freeway access position the Park to serve downtown residents, greater Phoenix metro residents, and visitors to our city. Additionally, the Park is surrounded by a rich diversity of cultural and community institutions, including Phoenix Center for the Arts, Japanese Friendship Garden, Irish Cultural Center, the McClelland Irish Library, and Burton Barr Central Library. In addition, the Cutler Plotkin Jewish Heritage Center, Great Arizona Puppet Theater, Parsons Center for Health and Wellness, historic Ellis-Shackelford House, historic Winship House and historic Kenilworth

3 zones of HANCE PARK

The three main zones of the proposed park PRINCIPLES

HANCE PARK master plan | final report 7

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Elementary School all share a border with the Park. The Phoenix Art Museum and the Heard Museum arealso a short walk from the Park. With all of these institutions nearby, the park is poised to become a lively and loved urban destination.

Hance Park’s redevelopment represents an unprecedented opportunity for Phoenix to construct a signature destination urban park where locals and visitors will want to return again and again. In order to entice public use and encourage repeat visits there was a necessity to develop a unique park identity. The new design references the context of Phoenix by drawing inspiration from the local geographic and geologic

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Overview of 200’ ‘The Canyon’ 100’

CANYON of HANCEhave PARK features within the Valley of the Sun. Landforms, such as The buttes andzone canyons, been abstracted to create distinct spatial and programmatic moments. Furthermore, the massing and topography of the landforms reduce the scale of the park and provide comfort by defining “rooms in the park” each with differing microclimates.

Three main zones, “the Valley,” “the Canyon,” and “the Plateau” will define distinct areas within the park.

‘Canyon’ rendering

“The Valley,” situated nearest to downtown residences, is conceived as the neighborhood park with spacious and shady fields, rolling hills, areas for picnics and barbeques, places for children’s play and relaxing nooks for quiet respites. “The Canyon,” flanking Central Avenue, serves as the primary urban plaza with dramatic water features, areas dedicated to gastronomy and a direct connection to the public library. “The Plateau,” functions as the area for large events while also welcoming and integrating the adjacent Phoenix Center for the Arts into utilizing the park for expanded programming.

The park identity is further reinforced by iconic shade structures placed around the park and the iconic “Cloud” shade structure spanning over and across the Central Avenue bridge which bisects the park. This architectural feature will mark the section

Plenty to see while looking out over the adventure plaza from the Central Avenue Bridge

ZONES

HANCE PARK master plan | final report

can provide donor benefits while capturing philanthropic contri O&M (operating & maintenance), as other parks have done succ of the parkas currently hidden above the I-10 and below the Central Avenue bridge. n Hance Park a desirable These voluminous and dramatic sculptures will act as visual beacons for the park. weddings, andtoother private To ensure thearepark’s ongoing In addition the shade structures, various microclimates also created by the success, access to these sources plantingcosts. design that weaves throughout park. as Native and adapted ating &comprehensive maintenance) pursued asthesoon possible.

pace use and vendor fees.

plant species have been selected to frame corridors, produce fragrance, provide shade to create intimacy.

To reinforce the sustainability initiative, all of the plant material osks, and including an outdoor is irrigated by innovative recharge basins integrated into the park design. By using solar ng costs either in the formrun-off of and using cutting-edge irrigation technologies that will power, capturing irrigation minimize water consumption Hance Park will serve as a sustainability model and new benchmark for large urban parks in arid climates.

The iconic “Cloud� shade structure spanning over and across the Central Avenue bridge which bisects the park.

By using solar power, capturing irrigation run-off and using cutting-edge irrigation technologies...Hance Park will serve as a sustainability model and new benchmark for large urban parks in arid climates.

The Opportunity Is Now Now is the time to advance plans to reinvigorate Hance Park. There is a dramatic resurgence of downtown Phoenix underway and a signature urban park is a critical piece of the livability, vibrancy, and identity of the downtown. Urban parks are playing ever greater roles in economic development strategies of cities across the country. A wellappointed and activated Hance Park that has a regional draw is an essential ingredient to a thriving downtown. And one that will play a key role in helping Phoenix achieve its vision as a 21st century world class city.

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It is clear with today’s budget realities that a grand vision for Hance Park will not be implemented in a single sweep. It will take multiple phases and a long term commitment to success. It is equally clear that it will take a public-private partnership to successfully achieve the full vision for Hance Park. Across the county, public and private sectors have joined in new and innovative ways to effectively fund the construction of parks and to more efficiently fund and manage the parks when completed. This type of public-private partnership and long term commitment to implement a new vision for Hance Park will be essential to sustained vibrancy and identity of downtown Phoenix.

Phoenix is in the middle of an unprecedented transformation that is as unique as it is rare in a city of its size. We have the opportunity right now to build a 21st century city that makes people proud to call this place home. Repositioning Hance Park to become the grand urban park our city needs will be the catalyst to make this change and shape our urban core.

Philip Weddle FAIA co-founded WEDDLE GILMORE Black Rock Studio in 1999 with partner Michael Gilmore. Philip’s completed projects in fields of architecture and urban planning demonstrate his unique approach to discovering appropriate responses to site development across a range of ecological and urban contexts.

Committed to the public good, Philip has actively sought out project opportunities that directly benefit underserved and culturally diverse communities. Through the projects he undertakes, Philip explores his career-long interest in the complex relationship between the urban form of the Phoenix Metropolitan area and its natural host–the Sonoran desert.

Jerry van Eyck ASLA is founder and principal of !melk landscape architecture and urban design. Trained as a landscape architect and also an industrial designer, he possesses an unusual breadth and variety of skills that contributes to the continuing success of his projects worldwide. Formerly a partner of the Dutch firm West 8, Jerry has over 20 years of experience; he collaborated with and led international teams on award-winning projects and competitions world-wide, including Toronto’s Central Waterfront, London’s Jubilee Gardens, One North Park in Singapore. Currently, Jerry is an adjunct associate professor of Landscape Architecture at the University of Pennsylvania, serves on the Board of Governors of the Frank Lloyd Wright School of Architecture.

Kris Floor ASLA is a founding partner of Arizona-based landscape architecture firm Floor and Associates. Kris focuses on providing innovative design solutions for projects ranging from detailed urban plazas to large scale master, site and open space plans. Kris has focused much of her career crafting people oriented open space within the urban context that knits together various uses while balancing the built environment. Her dedication to collaboration with clients and other design professionals has resulted in several award winning projects that create a sense of place that honors and respects our sensitive desert environment.

spring 2014

identity

A publicationa of the American of Architects │ August 2014 publication of Institute aia arizona + aia phoenix metro